Word: best
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Dates: during 1950-1959
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When a modern bomber strikes into hostile air, it will carry few guns or defensive rockets-perhaps none. Its best defense against missiles and interceptors will be the countermeasures expert, who does his fighting with electronic bullets. In Aviation Week, Philip J. Klass tells a small part of the large, top-secret story of electronic countermeasures...
EILEEN RODGERS is a pretty, 24-year-old song belter-whose belting is the wide, black-leather kind worn by unruly teenagers-signed up a couple of years ago by Columbia's bearded bush-beater, Mitch Miller. One of the best of the polysyllabic-vowel school, e.g., "There's a wall between us, and it's not made of sto-o-o-one/ Although we're together I feel so alo-o-o-one"), she blasts out her ballads in what, if she did not use phony electronic echo effects, would be a good voice...
...Using a vocabulary of oo's, ee's and ah's, she sings one entire side of her first LP (That Satin Doll; Atlantic) almost completely without words. This could sound like a cat trapped in a rain barrel, but somehow manages not to. In the best of her all-but-wordless songs (the composer, Phil Moore, calls the technique "Woman-as-an-Instrument"), Carol fogs out three minutes of lowdown vowels, then wraps it up with wacky sexiness in a single phrase of explicit English: "Saved it all for you." Titles on the reverse side-Lying...
...Only one anonymous American League lover prevented a jury of baseball writers from voting unanimously to give Milwaukee's great lefthander, 'Warren Spahn, the Cy Young award as best pitcher in the majors. But by the 15-1 tally, Spahn was a shoo-in. At 36, he shows no sign of tiring. While pitching the Braves to the pennant, he won 21 games, lost only 11, equaled a National League record for lefthanders by finishing his eighth season with 20 or more victories...
...Eugene with a quiet sensibility that gives his last vibrant scenes (the very last is one too many) their stunning force. Jo Van Fleet is extraordinarily good as the mother; as the father, Hugh Griffith acts with a vigor and virtuosity that match the role. The play, at its best, conveys how, for almost every true writer, youth is a bursting of bonds and a simultaneous bondage to dreams; and how, for most men, the impact of their own flesh and blood can become at times a thing of blood and tears...