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Inside this framework Michael Todd (who last year produced The Hot Mikado and this year The Streets of Paris at the Fair) put on a show which, at 25?, is the best buy in the history of the amusement area. No high-brow affair, it is lavishly designed for the outdoors with floodlights, loudspeakers, has Irene Sharaff's gorgeous costuming and Hassard Short's lively direction, does a slick...
...became the leader of this faction-whose foes, it was agreed, were the blackguards and fools who championed moral complacence, social respectability and badly written books. Among these foes Yeats circulated bravely and ceaselessly. With his long, flowing cloak, hair, tie and pince-nez ribbon, hawk face and eagle brow, he impersonated a priestly poet so perfectly that many were won to believe that such a thing could exist. With Edward Martyn, George Moore and Lady Gregory he founded the Abbey Theatre (1904), gave the often mocking and protesting public large doses of mythological drama, forced it to swallow...
...Minister's closest friend, later "Canadian eye witness" at the front during World War 1 and in 1918 Minister of In formation and Chancellor of the Duchy of Lancaster. In 1917 The Beaver began making a huge Fleet Street fortune by giving London a cockeyed version of low-brow U. S. journalism. "I have all the money any man can want!" Lord Beaver brook likes to boast, slapping his trouser pocket for dramatic emphasis while conservative Britons shudder...
Alfred Wallenstein, sometime concert cellist, has been musical director of Newark, N. J.'s station WOR (Mutual network) for five years. Long ago he disabused the station's management of their theory that Bach was too high-brow for their listeners; long ago he began putting new compositions on the air. Last week Director Wallenstein for the 300th time gave a work its radio debut...
Half a century ago, when frail, poetic Edward MacDowell was No. 1 U. S. composer, the models for high-brow music were Brahms, Grieg, Wagner. Just before World War I, Kulturbolschewiks Arnold Schonberg and Igor Stravinsky (TIME, March 11) led a revolution against musical romanticism. When the revolution was over, U. S. composers still found themselves writing European music. Such U. S. composers as Aaron Copland and John Alden Carpenter tried to go native by using jazz tunes, but only the tunes were American. The musical grammar and syn tax still sounded like Brahms or Stravinsky. Today there is still...