Word: kinds
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Dates: during 1940-1949
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...Manhattan, Britain's crusty old (70) Conductor Sir Thomas Beecham had undergone no sea change. He planned a concert and lecture tour in the U.S. and Canada, including four stops in Texas, where, he intoned, "Western culture has arrived at its highest peak." Having disposed of these kind words, he turned on modern classical music: "A continuous succession of promissory notes. Composers are always promising but only keep on promising." What about bebop? Snapped Sir Thomas: " What the devil is that...
...year and a half ago public-spirited Physician Capito put a proposition to Conductor-Composer Antonio Modarelli of the 85-piece Charleston Symphony Orchestra: Capito would pay $1,000 for the kind of composition he had in mind. Modarelli agreed. Last week, along with West Virginia Governor Okey Patteson and the biggest Charleston symphony audience in history (2,500), Capito heard the result: a six-section program piece entitled River Saga...
...rotund little man who looks more businesslike than he is, long ago startled the U.S. with designs for three-wheeled, tear-shaped cars and pear-shaped "Dymaxion" houses hung from metal masts, but he never succeeded in convincing investors that his ideas were adaptable to mass production - the only kind that interests him. At 54, Bucky confesses without a smile that his one purpose is still to house "the 800 million people now alive who will at one time or another die of exposure...
Dubos took samples from patches of soil and noted which micro-organisms were present in them and how many of each kind. Then he made a brew of pneumonia bacteria and poured it on material from the patches. He repeated the experiment many times, watching for changes in the soil's microscopic population. Some of the organisms thrived on the strange diet, indicating that they might destroy pneumonia bacteria. Dubos made cultures of the hardy fighters and tested them against various disease-causing organisms...
Suggesting those legendary tales involving both an agonizing decision and the guts to see it through, Montserrat is a kind of moral duel between cynicism at its most brutal and idealism at its most impassioned. Both themes suit the stage, neither quite fills it, and Montserrat has been fattened up by giving the six pawns in the game their grim, gaudy exit scenes as people. As melodrama, Montserrat, though sometimes talky, is oftener tense. As writing, it has much of Adapter Hellman's sharpness and bite: in particular, her villain (well-played by Emlyn Williams) brings a fine sardonic...