Word: mortalism
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Dates: during 1960-1969
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...Mortal Fiddler. The advance began on a violin fashioned out of an old cigar box and played by Kreisler when he was four. Son of a Viennese doctor, young Fritz entered the Vienna Conservatory at seven, the youngest child ever admitted. His career was interrupted by World War I, in which he was badly wounded while serving in the Austrian army, and again by the anti-German sentiment of wartime U.S. audiences. In 1941, he was struck by a truck in Manhattan. He recovered after days in a coma, but for a time forgot all modern languages and could speak...
...deplored the "fear of sentiment" among younger musicians. As for his own career: "I have achieved only a medium approach to my ideal in music," said Fritz Kreisler at 79. "I got only fairly near." Perhaps-but he got as close as any other mortal fiddler...
...Kolouch's prize case was a businessman of 46 who had had a mortal fear of surgery since childhood, capped by an unsuccessful operation for hernia repair at the age of 41. After this earlier operation he had needed seven doses of pain relievers and was hospitalized for five days. Moreover, the operation failed, and he suffered agony for five years because he could not face repeated surgery. Dr. Kolouch talked him into it and used hypnosis. With his unconscious anxiety and conscious fears at rest, the patient needed only one dose of an opiate...
Costly Facial. There are some gloomy realities behind these figures. The Ladies' Home Journal, once the uncontested doyenne of the women's magazine field, is locked in mortal combat with McCall's-and losing. McCall's has passed the Journal in both circulation and advertising, and the Journal has slipped into the red. Curtis' prize possession, the Post, was given an extensive and costly facial three months ago. And although the renovated Post has since shown a healthy growth-it touched a circulation high of 6,800,000 last month-it is not likely...
...Early Music seemed to suffer from a paralysis of over-refinement. While the music wanted to skip up the aisles of Sanders Theater, or in its serene moments, stretch out on its back and smile up at the ceiling, most of the performers held on to it with a mortal fear of spontaneity. Thus two sonatas by Bach and two by Mozart were unduly tame in a generally competent, but uninspired performance...