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...fired almost the entire army officers' corps. The ousted officers holed up in the National Hotel. Batista sent soldiers to disarm them. Welles, who lived at the hotel, stopped that showdown by seating himself midway between the rival forces in the long lobby and imperturbably discussing Emily Dickinson's poetry with Adviser Adolf Berle until the soldiers withdrew. But 25 days later, fighting broke out at the hotel. After Batista's soldiers had lobbed 200 shells into the building, the officers surrendered. Batista, then only 32, was master of Cuba...

Author: /time Magazine | Title: CUBA: Dictator with the People | 4/21/1952 | See Source »

...third appointment has made Howard C. Greer the Dickinson Lecturer for 1952 at the Business School. He is the Vice-president in charge of Finance of the Chicago, Indianapolis, and Louisville Railway Company...

Author: NO WRITER ATTRIBUTED | Title: McCloskey Makes Associate's Post; Other Jobs Filled | 4/17/1952 | See Source »

Charlie Ufford, playing first for the Crimson, easily defeated John Dickinson, losing one game, 12 to 15, but winning three others, 15-6, 15-6, 15-12. The most exciting contest of the match was at the number six slot where Charlie Elliot dropped his first game to Bill Banks, but took the next three by close scores to win the match...

Author: NO WRITER ATTRIBUTED | Title: Squash Men Top Amherst Here, 9-0 | 2/28/1952 | See Source »

Copland's settings for twelve poems of Emily Dickinson were especially enjoyable because they were sung by Katherine Hansel, one of the finest vocalists to appear in Cambridge in months. A soprano, her wide range made her sound at home even in the lowest alto registers. She has a surety of pitch that enables her to make skips of as much as two octaves without noticeable effort. Add to this her spacious tone and fine powers of interpretation, and the result is a singer who would make even bad music sound good...

Author: NO WRITER ATTRIBUTED | Title: Music by Aaron Copland | 2/23/1952 | See Source »

...Copland's songs are far from bad. Once in a while he sank to the cliche of repeating the first lines at the end of the song, thereby destroying the calculated effect of Dickinson's stanziac form; but on the whole, his settings agreed perfectly with the words. The composer's own playing of the accompaniment made the songs even more enjoyable...

Author: NO WRITER ATTRIBUTED | Title: Music by Aaron Copland | 2/23/1952 | See Source »

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