Word: drum
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Dates: during 1960-1969
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Stunted Growth. "Pictures must talk by themselves," Antes says, but many critics see a clue to his stunted gnomes in their resemblance to the deformed dwarf, Oskar Matzerath, of German Novelist Günter Grass's bestseller, The Tin Drum. As Antes seeks to show life from a different perspective, so Grass's Oskar, a moral hunchback who reaches his third year and refuses to grow any more, sees the world from chair level. There are striking parallels, too, between writer and painter. Both were born in the decade that spawned Nazism, both learned their ABCs in Hitler...
...engine (which was developed in 1954 by Felix Wankel, a German engineer). The Wankel replaces conventional pistons and cylinders with a triangular rotor, has only two major moving parts and weighs much less than conventional engines. Other engineering trends showed off: a swing toward a combination of disk and drum brakes even in some of the lower-priced cars, reduction in the number of lubrication points, wider use of double carburetors to provide better fuel mixtures...
...want to see a talented fellow who can impersonate anybody. They want to meet Bat Masterson; they are not interested in an actor called Gene Barry, who happens to be a Jewish boy from Brooklyn. When a youthful fan at Canada's Calgary Stampede handed him a snare drum, and asked "Would you sign this, Bat?", Barry snapped: "My name is Gene Barry," and bashed his gold-headed Bat Masterson cane right through the head of the drum. He was not asked back...
Tolen has The Knack. With a tap on his snare drum, a fillip of his hair, or an rpm of his white cycle he can banish the serneity of any normal giri and transform her into a quivering mass of ungovernable desire. Colin wants to get The knack. He's just a mild-mannered, horny school-teacher who'd be satisfied with one of Tolen's girls. So when Nancy arrives, Colin decides to make his feeble play, with some help from Tom, a crazy Irishman who must paint everything white. Good destroys evil, Colin gets Nancy, and Tolen loses...
Psalms, like its predecessor, is a choral work in Hebrew and is scored for a prodigious cavalcade of instruments including a glockenspiel, xylophone, a pair of cymbals, a suspended cymbal, tambourine, triangle, rasps, whip, wood block, three temple blocks, timpani, snare drum, bass drum and three bongo drums. Conductor-Composer Bernstein made the most of them; he went through his entire ballet routine on the podium and had the Philharmonic Orchestra playing like gods, and the Camerata Singers sounding like angels...