Word: jazz
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Dates: during 1930-1939
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...little-wigs from all over Germany. Outstanding event on the program was an exhibition of "degenerate music" patterned after the exhibition of "degenerate art" that drew throngs in Munich last summer (TIME, Aug. 2). Scheduled for the pillory were compositions by Atonalists Schönberg, Berg and Hindemith, jazz, theoretical and critical writings by Jews and modernist sympathizers...
...concern last week to Popeye's cinema sponsor, Cartoonist Max Fleischer, was the necessity of making hippy, squeaky, short-skirted Betty Boop play second fiddle to a new jitter bug creature named Sally Swing. Eight-year-old relic of the plastic, or boop-boop-a-doop, age of jazz music, Betty had successfully weathered the Afro-manic, or hi-de-ho, period without once being referred to as corny. But to the orgiastic, or zazz-u-zazz, generation Betty's presence "has been like having grandma occupying one end of the sofa all evening. A wide-eyed, sportily...
...dash of technicolor, and even put his name in the title; and out of it all emerged "The Goldwyn Follies." Wandering in and out of Hollywood sets and hamburg stands, leaping from the insane antics of the Ritz brothers to the majestic beauty of "La Traviata," and combining jazz and the ballet in preposterous fashion, it dwarfs everything previously produced in lavish magnificence and collossal stupidity. Including almost everything except a ballet dance by Charlie McCarthy, its biggest virtue is the absence of endless rows of chorus girls; and only the quiet charm of the leading lady (Miss Leeds...
...Frank Harding published a Cake Walk version of I Dreamt That I Dwelt in Marble Halls, from Balfe's opera, The Bohemian Girl. The skies did not fall, but ever since then it has been good publicity: 1) to jazz a well-known classic or dead-serious folksong, 2) to goad a few naive busybodies into protest, 3) to pretend that the incident is splitting the world of music into two opposing camps of foamy-lipped zealots...
Catholic in her teaching principles, Mile Boulanger has teethed a varied crew of composers: conservatives like Quinto Maganini, Douglas Moore and Virgil Thomson; wide-open Westerners like Oklahoma-born Roy Harris; jazz-bred Manhattanites like Aaron Copland and Marc Blitzstein; rip-roaring cacophonists like Walter Piston. But when the late George Gershwin visited her in Paris, proposed himself as a pupil, it took her only ten minutes to say no. Said Mile Boulanger: "I had nothing to offer him. He was already quite well known when he came to my house, and I suggested that he was doing all right...