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Norbert Berghoff of Fort Wayne, Ind., the passenger who had spotted him, became the Santa Clara's hero. To the end of his born days, Berghoff would be considered a man with eyes like an eagle...

Author: /time Magazine | Title: TRANSPORT: Man Overboard | 3/1/1948 | See Source »

...afternoon last week, as the Grace Line steamship Santa Clara lazed through the blue Caribbean, a man named Tomas Montanez was leaning against one of her bulwarks, out of sight of the bridge. Even in the small world of the ship, he was a minor figure; he was the ship's carpenter. But 30 seconds later, Tomas Montanez was a new, superior and infinitely precious being. He had fallen overboard...

Author: /time Magazine | Title: TRANSPORT: Man Overboard | 3/1/1948 | See Source »

...Hush," an unnamed but "famous American unmarried lady," murmured into a microphone these Orphic clues to her identity. Millions of Americans, feverishly jotting them on cuffs, newspapers and old paper bags, remembered that the winners of Truth or Consequences' contests on Mr. Hush (Jack Dempsey) and Mrs. Hush (Clara Bow) had won $13,500 and $17,590 respectively. Soon the Hush money had fact-finding listeners in block-long queues at the Los Angeles Public Library; in Manhattan's Times Square, tipsters hawked greensheets (the not-so-hot tip: Evangeline Booth) at $1. But nobody guessed. Miss Hush...

Author: /time Magazine | Title: Radio: Hushabaloo | 12/8/1947 | See Source »

Schuman: Symphony for Strings (Concert Hall String Symphony, Edgar Schenkman conducting; Concert Hall Society, 4 sides). This is Manhattan's William Schuman, not to be confused with Clara's Robert. His fifth symphony, it adds little in ideas or execution to what he had to say in the other four. Performance: good...

Author: /time Magazine | Title: Music: New Records, Oct. 27, 1947 | 10/27/1947 | See Source »

...biography it's bigoted, irrelevant, and untrue. Nobody acts. And it was cast by an anonymous prankster with a macabre sense of humor, who must have sniggered as he conjured up Henreid, Hepburn, Daniell, and Bob Walker as grotesque caricatures of Robert and Clara Schumann, Liszt, and Brahms. By all the orthodox criteria of movie criticism, "Song of Love" is eminently eligible for that glib type of verbal massage so familiar to readers of Wolcott Gibbs...

Author: NO WRITER ATTRIBUTED | Title: The Moviegoer | 10/22/1947 | See Source »

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