Word: hayloft
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Dates: during 1940-1949
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...before he could even think of stepping into a ring with a Billy Conn or a Joe Louis. Step One was to put him on a full-time fighting basis. Until now, the pride of Yorkshire had worked all day in a Doncaster railroad shop, trained nightly in a hayloft. Since there is no one left in England capable of warming him up, Step Two was a tour of the U.S. One of Manhattan Promoter Mike Jacobs' agents was London-bound...
...prim New Englander named Wooley (Fredric March) ran afoul of a witch (Veronica Lake) in a hayloft and had her and her supernatural father (Cecil Kellaway) burned alive and buried, for safekeeping, under the roots of an oak. The doomed witch cursed him and his male issue with disaster in love. The curse holds better & better in 1770, 1861, and 1904 (Fredric March, Fredric March and Fredric March). It looks even more propitious when, on a stormy night in 1942, lightning rives the oak and sets father and daughter at liberty once more, as a talkative pair of fumes...
...this praise farmers have done everything but turn their barns hayloft out. First thing was to use more & more machines; last year they bought a record-breaking $735,000,000 worth v. only $607,000,000 worth (at higher unit prices) in free & easy 1929. They also went in for more electricity (it was poured into their laps by REA), more fertilizer, better seeds, better livestock breeding practices...
Sturges' whipping boy is one John L. Sullivan (Joel McCrea), director of such comic hits as So Long Sarong, Hey, Hey in the Hayloft, etc., who unexpectedly rebels, wants to make a sociological epic named Oh Brother, Where Art Thou? Sullivan, outfitted as a tramp, goes on the bum to find out about life. His bosses, who came from that side of life, know all about it and want no reminders, have him tailed by a busload of studio publicists-just in case...
Greenwich Village's American Contemporary Artists Gallery nestles like a hayloft hideaway in the eaves of the Village Barn cabaret. There last week William Cropper, U. S. leftism's No. 1 painter, gave his annual one-man show. A persistent sapper and gnawer at the roots of capitalism (for years the ace cartoonist of the old Liberator, the newer New Masses), Painter Gropper turns out each year some 50 oils, countless lithographs and drawings of fat capitalists, hungry workers, woe-heeled sharecroppers, bashed and bleeding soldiers. His highly-colored, savagely-drawn pictures have drawn praises and commissions from...