Word: clips
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Dates: during 1940-1949
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...picture. There is the growing conviction among competent observers down at the practice field in the afternoons that if the Crimson Juniors can flash their weekday form on Saturdays, they will give the major opponents on their schedule all they can handle. Signal drills go along at a merry clip, with the squad beginning to acquire that fine veneer of polish and precision for which Harlow elevens are famous...
...pointed out a difference between 1940 and the classical overproduction year of 1937, in which steel output went into inventories, stayed there, caused the autumn depression. Trade reports indicate that steel inventories and steel backlogs are practically equal, backlogs being large enough to keep the mills at their present clip through the year's end, inventories being large enough to keep steel users supplied for no longer...
...this credit. Thus, the company which averaged $100,000 from 1936-39, and made $150,000 in 1940, pays 25% on 10% of its $100,000 normal profit. This is 25% of $10,000, or $2,500. Bracket No. 2 takes another clip out of the next 10% of the normal years' profit-this time 30%, or a $3,000 tax. Finally, Bracket No. j takes 40%-the top rate-of anything left of the excess profit after Brackets 1 & 2. In this case, Brackets 2 & 2 would have absorbed $10,000 apiece of the $100,000 normal-income...
More Goodman repressings: This time "You Know" by the Trio. First good clip tempo with "Flash" Krupa showing the folks back home he can play. Second side much better with ideas, swing, and Today Wilson piano galore . . . Freddy Slack claims that he'd arranged "Rhumboogie" and that the Bradley band was playing it long before the Andrews Sisters did it. At any rate their recording of it is a good one . . . "I've Got Rhythm" by Horace Henderson is marked "Special Version"--we like the original better. "Shuffin' Joe" on the back...
...Marjorie Lord Combines youthful beauty with more than adequate acting. Gordon Richards as Johnny Jelliwell and Barbara Brown as his seducible wife, are good enough backdrop for Horton's inimitable double-talk comedy. The show is well-polished from beginning to end and proceeds at a rapid clip. By such clever setting arrangements as substituting paintings of still life for those of nudes between the first two acts, more is said about Casanova's conversion to "the decent thing" than through dialogue. Horton is the whole show; and for a Horton admirer, it's a riot...