Word: designer
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Dates: during 1930-1939
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Three sides of the octagonal interior of the building have been converted to a series of inner stages, fronted by a large fore-stage, following the design of Albert Lovejoy, director of the School, and his associate, A. P. Segal. The inner stages, each with a 16-foot opening, and the forestage, 45 feet wide, permit both a simplicity of mechanical arrangement, and an almost unlimited adaptability to the varied nature of dramatic production...
...those collegiate halls whose very size and costliness and grandeur overawe and humiliate him. He cannot lighten by so much as an ounce the pressure of undergraduate opinion, which, finding him not only insignificant but at numerous points objectionable, sets out to work him over into conformity with standard design. But the professors, who have somehow an air of owning the institution and owning him--those, at least, he can defy...
...greater ground speed with less engine speed. A "slender profile" radiator has been added. Prices not yet announced. Plymouth. New body styles with a wide-shell radiator, motors with fuel pumps, greater speed and acceleration. Cost: $535 up. Packard in its line of eights showed small change in body design but a new fuel pump which provides a steady feed and prevents boiling of the gasoline. All new Packards have wider and longer springs, automatic chassis lubrication. For the first time Packard is showing its own custom-made bodies. Prices: $2,385 up. Hudson worked two years...
...chief interest to the University at the present moment are the tapestry and paintings, which are now on exhibit at the Museum. The tapestry, which exemplifies a type of weaving and design not previously exhibited in the permanent collection here, probably was worked in the first quarter of the sixteenth century. It is of Flemish origin...
Viennese Nights (Warner). On every costume plate and scene design used in making Viennese Nights appeared the work "Oksroh"-a word meaning that the article on which it was placed had been approved by Sigmund Romberg and Oscar Hammerstein, authors of the story and the music. Although this kind of supervision-a reaction from a period when the cinema was condemned for giving authors nothing to say at all-is merely a mannerism of the studio, the picture is satisfactory. It succeeds principally because of its music, on which Romberg and Hammerstein did not have to pass judgment since they...