Word: manhattans
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Dates: during 1950-1959
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...music habit early. The son of a Viennese dentist, he haunted the Vienna Opera as a child, later became a regular standee at the Metropolitan Opera after his parents sent him to the U.S. at the age of 17 to make his fortune. For a time he worked in Manhattan in a millinery house, where he was assigned to the ostrich-feather department. Before long, Marek gave up feathers for advertising, became a vice president of the J. D. Tarcher Agency, spent his days writing copy (Coty, Smith Bros.) and his nights as the regular music critic of Good Housekeeping...
Since World War II, more and more medical schools (including the University of Chicago's) have cooperated in training ministers in hospital procedure; more and more seminaries (including the Episcopalians' General Theological Seminary in Manhattan) have stressed chaplain service to the sick. Four years ago, Texas Medical Center began training doctors in the minister's role on "the healing team," stressing the relation of religion to a patient's health. Protestant, Catholic and Jewish clergymen lectured to the medical students on the details of their faiths so that the future doctors might collaborate in aiding...
...Early morning in the universe," says Narrator Kerouac at the outset, by way of scene setting. On the screen, a beautiful but weary woman opens the shutters of her pad. (She is played by Delphine Youngerman, who calls herself Beltiane.) Outside is Manhattan's Bowery; inside are her little boy and, hung on a chair, her absent husband's "tortured socks...
...Misty, plus the effusions of such reformed rockers as Paul Anka, Bobby Darin, Brook Benton. Back into pop records went the sound of shimmering strings, down went the beat. Of the top ten pop hits last week, only three were out-and-out rock 'n' roll. In Manhattan, Sam Goody's famed record shops reported a 40% drop in rock 'n' roll sales compared to a year...
...dungaree-clad London housewife, Frink had her first exhibition while still in art school. Last week her tabletop bronzes were on view at Manhattan's Bertha Schaefer Gallery. At first glance, many looked like mud attempting to fly; they were that energetic and that saggy. The combination said something blue about man's estate, the approved tone of most contemporary sculpture. But Frink's ostensible purpose has nothing to do with moral messages or with ideals of any kind, not even plastic ones. "Somebody makes a metal armature for me," she explains, "and I start covering...