Word: gracefully
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Dates: during 1930-1939
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...Hollywood's Columbia Pictures, however, once imported from Texas 200 fireflies as atmosphere props for a scene in a Grace Moore picture, and these were so vigorous on arrival that they got into the wrong places (literally including the director's hair), spoiled scenes by indiscriminate flashing, had to be cleared out. The firefly scene was shot with artificial electric fireflies suspended on wires...
Bethlehem. One hard-headed tycoon who talks (four times a year) is Eugene Grace, whom Charles Schwab brought up to be the thin-lipped king of Bethlehem. Last week Grace declared for the benefit of his stockholders their first dividend (50? a share, $1,591,992) since Christmas 1937. This good news was considerably bolstered by his announcement that second-quarter earnings ($3,822,927) were up a whopping 2.443% from the second quarter of 1938. Bethlehem's common stock greeted this by dropping half a point and the stock market as a whole by backing away from...
...most brutal instincts of mankind! We say the same, until once more . . . far from conquering our enemies we let them make us after their own image. So at long last, at the end of a ruinous era, we shall be facing again the question-which God grant us grace to face now before it is too late-'How can Satan cast out Satan...
...culture was not much enriched by the Lyric Theatre last week, the reputation of Composer Copland was. His music for the "character-ballet" Billy the Kid, much of it based on cowboy songs, was close-knit, percussive, incisive, wasting not a grace note in its evocation of the dapper, New York-born killer who flourished in the Southwest in the '703 and '80s. The choreography of Eugene Loring and the dancing of the Ballet Caravan were no less exciting...
Director Victor Schertzinger has long held that the cinema is a better medium for opera than the stage. Composer of the music for The Love Parade (1929), Schertzinger started his campaign to bring opera to the screen when he had Grace Moore trill in One Night of Love, thus setting the fashion for innumerable musical films. Since all works of Gilbert & Sullivan (except The Pirates of Penzance) are in the public domain in the U. S., he could easily have produced The Mikado in Hollywood without paying royalties to the D'Oyly Carte Company, which owns the English rights...