Word: master
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Dates: during 1930-1939
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...picture of billions of idle dollars. More & more public spending, in the absence of private investment, is known to be Mr. Roosevelt's sorcery against this old nightmare, as always before. Last week, therefore, observers were not surprised to see his Secretary of the Interior, "Honest Harold" Ickes.- master of PWA, appear on Capitol Hill before the Relief bill subcommittee...
...Master of PWA made a fine witness in his own behalf. He could report that, after allotting before last January 1 all the $965,000,000 given him for fiscal 1939, he still had on hand 2,800 projects approved as feasible and suitable for PWA to undertake. He could report that of all the hundreds of millions loaned by PWA to States and municipalities, only $5,000,000 or 4/5% had been defaulted. Meantime, PWA had made $12,000,000 by selling at premium local bonds put up as loan collateral. Better than 80% of all bond issues proposed...
...promotion was rapid. First he taught at Grenoble, then at Marseille, then at Lyon, where his master Herriot was also mayor. Then Daladier got a promotion to the Lycée Condorcet in Paris. At that moment the World War broke out. He entered the Army as a sergeant, fought (Arras, Champagne, Verdun, Flanders), became an infantry captain, earned a Legion of Honor medal, the Croix de Guerre, three citations for bravery. In the autumn of 1919 he went back to take his job at the Lycée Condorcet. Again it eluded him. He stayed just two weeks before...
...much a part of the Broadway scene as a ham actor out of work, the flashy International Casino, melting pot of buyers, cooks up a long, elaborate girls-&-gagsters vaudeville. With never a lozenge to cool his throat, Wisecracker Milton Berle (Earl Carroll Vanities) serves as tireless, tedious Master of Ceremonies for such acts as Georgie Tapps's neat dancing, Harry Richman's loud singing, and Caribbean Rapture, a writhing dance to voodoo drums that is the best and warmest of Manhattan's tropical chorus spectacles...
...after a recording session at the Brunswick studio, some of the big-wigs in the studio asked the Count to play the "Miss" which he had just written a few days before in Boston. Count did, and unbeknownst to the band, the rendition was recorded on a 16-inch master in the control room. The result, released this week on two sides of a Vocalion record, is very loose and easy with a tricky last chorus--the best he has done lately . . . One of the Brunswick higher officials swears that a be-spectacled clarinet player is going to start recording...