Word: like
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Dates: during 1940-1949
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...when he first got his Young People's Records, Inc. started, he asked questions in schools, children's centers, and in his own home (three children), to get an idea of what children want to hear. From three-year-olds he got reactions such as "I like my horsy record -I put it on the victrola . . . take my bicycle and ride through the dining room, galloping, galloping ..." So Grenell put out plenty of that (The Little Fireman, The Circus Comes to Town...
...advice of his editorial board-the Eastman School of Music's Howard Hanson, Columbia University's Douglas Moore and Child Psychologist Randolph Smith-he also started putting out the kind of music children didn't know they would like until they tried it. He began to get reactions from seven-and eight-year-olds such as "I like Stravinsky . . . You take nice jumps and land on your toes." As fast as Grenell could press them, kids all over the U.S. began devouring such nutritional morsels as Haydn's Toy Symphony, Mozart's Country Dances, Liadov...
...visited by a former schoolmate, a priest, who found his face "cold as alabaster . . . Bubbling with wit and exceedingly kind, he seemed to belong only in slight degree to earth. But, alas, he was not thinking of heaven." Chopin told his friend, "I should not like to die without having received the sacrament, because I don't want to bring grief to my mother. But I cannot take it, because I don't understand it in your...
Because he is not well enough to climb ladders, Matisse uses a 4-ft. brush for his murals, which are to represent the Virgin and Child, St. Dominic and the Stations of the Cross. Like the windows, the murals please him enormously. "All my life," he exults, "I've studied the works of other artists-Raphael, Griinewald, Memling-but do you know what enabled me to free myself from their influence, to satisfy myself with my work? Operational shock! "In 1941 I had a serious operation and almost died. But I survived, and I thought, 'Look, Matisse...
Really There. There were a few fine portraits. Lester Bentley's George Wyckoff Jr., a straightforward picture of a boy whittling, looked like a good bet to win the exhibition's popularity prize. Charles Hopkinson's carefully constructed Double Portrait of a mother and daughter showed the dean of U.S. portraitists at the top of his form. At 80, Hopkinson is more than ever concerned with creating an illusion M>f reality on canvas. "Things are really there," he explains, with a diffident wave of his hand, "so why shouldn't one try to capture...