Word: drove
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Dates: during 1950-1959
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...Jackie Jensen in runs batted in (122 v. 113). This year Rocky is hitting better than ever. Like any good slugger, he can come alive at any moment, and last week, swinging with power and precision, he came alive. Fighting his way out Of a 25-game slump, Rocky drove in five runs to raise his total to 88, second in the league to the 91 of Washington's Harmon ("The Killer") Killebrew, hit two home runs to boost his figure to 34, just two short of Killebrew's total. It hardly mattered that Rocky's batting...
Souped-Up Power. The water monsters that these men drive are so souped up that the Gold Cup tactics are largely based on simply finishing the race. For power, the hydroplanes use either the Rolls-Royce Merlin or the U.S.-made Allison, which drove some of World War II's fastest fighters. Normally, these engines generate around 1,600 h.p. at 3,000 r.p.m. But this is not enough for the hydroplaners. Mechanics bolster the engines with fancy superchargers and heavy-duty quill shafts until they can turn out some 2,650 h.p. at 4,500 r.p.m., then...
...Slasher. Sprinting quarter horses over dirt tracks around the Southwest, Ussery learned to get a horse away fast at the start. By 16 he was ready for the thoroughbreds,, drove his first mount to victory in the 1951 Thanksgiving Handicap in New Orleans. Within months Ussery was a big-time jockey, with a reputation as a slasher who bulled his way through the field like a fullback. Ussery used the whip so much that some jockeys hated to mount the horse he had ridden because the animal tended to sulk. Not until last year, when he was set down...
Enrico Caruso and the phonograph drove the parlor tenor to the bathtub. Now Columbia Records' Mitch Miller is trying to lure him out from behind his shower curtain. Miller, a now inaudible oboist who is nonplaying captain of Columbia's pop musicians, worked up a gimmick just corny enough to click: a chorus of 28 men singing simple, slow arrangements of the old, golden songs, and an album-jacket invitation to listeners to join in the schmalz...
Copland's Piano Variations (1930) constitute a landmark in the output of our country's foremost composer. In fact, the work is a milestone in the whole course of 20th-century pianism (some would say "millstone," and it drove two ladies in the front row to a hasty retreat). It is admittedly repellent on first hearing; and I subjected myself to it only in fits of masochism for several years before I began to fathom its great stature. Its granitic, clangorous, uncompromising dissonances take getting used to; but the piece is more than worth the effort...