Word: laughters
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Dates: during 1940-1949
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Authors Victoria and Robert Case (brother & sister) are far from agreeing with Carol Kennicott that Chautauqua was "nothing but wind and chaff and heavy laughter, the laughter of yokels at old jokes, a mirthless and primitive sound like the cries of beasts on a farm." We Called It Culture recalls how cheap and tedious Chautauqua could be at its worst. It also insists that at its best it brought to provincial society a leaven of excitement, entertainment and intellectual stimulus...
...Laughter. He was reassuring. He hinted strongly that he could reach a peaceful settlement in his present negotiations with the radio networks. FM? Television? He was "keeping an open mind on those questions." He made it plain that James Caesar Petrillo had a heart which beat for the public. He and his musicians were perfectly willing to make records for home phonographs; they refused only because 20% of the product was used by radio stations and jukeboxes without payment of royalties to the musician or the union...
...times, his answers set off uproarious waves of laughter. At one point he complained that musicians were too poor even to patronize the nightclubs in which they played. Illinois Republican Thomas L. Owens quoted back a statement of President Harry Truman's that everybody had a lot of spending money. Petrillo beamed. "I don't contradict the President," he said. "After all, as a piano player, he's a potential member of the union...
...Poverty brooded threatens and failures multiply," brooded Novelist-turned-Scenarist Rupert Hughes, in a thoughtful piece for Variety. "There is no laughter left. The whips of scorn make the naked flesh wince and the bruised pariah cower and slink. . . . These are cloudy days for the motion picture world. And it is a world. A new world. But, like other worlds, it revolves from night to day and back to night and back to day again and again...
...well by The Cradle's sometimes crude, sometimes clever music. But time had been less kind to The Cradle itself. It seemed more strident and less exciting; it had also become less topical. Its cockiness about labor- which had led it to treat the bosses with contemptuous laughter rather than bitter words-seemed early New Deal, not postwar. The Cradle's stagecraft, far from seeming daring, almost seemed dated. Only where Blitzstein's best talent-for mimicking fashionable chatter and parodying popular songs-came into play, was The Cradle really...