Word: good
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Dates: during 1940-1949
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...their degrees (only one out of 100 think they should "do something else" besides going to college). But more than two-thirds of the farmers and wage earners in the survey also want a college education for their sons. A smaller majority (56%) think it would be a pretty good idea for the U.S. Government to start passing out federal scholarships to send "qualified" youngsters who "otherwise couldn't afford...
When she got to the piano, she didn't have much idea of what she was going to play. She has never worried much about that. "If the crowd is noisy, or I don't feel so good, I just play some of my old arrangements and get out," says Mary Lou, flashing her white teeth. "If I feel like it and the crowd is good, then I just settle back and maybe do a little composing right on the spot...
Felix's librettist had taken a theme somewhat appropriate to the time. The beloved son has been away "fighting the good fight" for seven years (Felix had actually been on a six-month trip to England and Scotland); finally, after an imposter (the stranger) tries to pass himself off as the returned prodigal, the real son returns to his parents amid great rejoicing. But in the Lemonade Opera's church-basement opera house, even John (Man in the Moon) Gutman's fine translation and adaptation failed to give the action much charm or excitement...
...quarterfinals, his relaxation was almost too good. He found himself in a dog-eat-dog match with rosy-cheeked Frank Sedgman, the 21-year-old Australian singles champion. It took five sets and some energetic net-rushing to subdue Sedgman, 6-3, 0-6, 6-4, 6-8, 6-4. Meanwhile, the other players that Schroeder wanted to meet were progressing nicely. In the opposite bracket, Parker and Gonzales fought through to the semifinals. Schroeder's semifinals foe was sophisticated, crewcut Billy Talbert. Billy, a diabetic sentenced to daily insulin doses, got off to a quick lead, but Schroeder...
...Hands. Producers also moaned about the scarcity of good scripts. It was an old lament, but this time it rang true. Many established playwrights seemed to be between plays. Of shows hopefully announced for production so far, only a handful involved old hands: Terence Rattigan's Double Bill (a London import); a Maxwell Anderson-Kurt Weill dramatization of the novel Cry, the Beloved Country; Marc Blitzstein's musical version of Lillian Hellman's The Little Foxes; an S. N. Behrman adaptation called I Know My Love (with Alfred Lunt & Lynn Fontanne); a new Cole Porter musical, Heaven...