Word: often
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Dates: during 1950-1959
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...raised. Would not such a scheme remove the "elites" from the other Gen Ed courses. Undoubtedly, some of the more motivated members might be channeled off, but this could easily be salutary for the rest of section. A wider participation would probably result as some of those who often held the floor might leave. Discussion would probably become more stimulating for those who remain...
...York City's public transportation system has well earned its bad name. The city-run subways (237 miles) and surface lines (554 miles) are often slow, sporadic, smelly-and they are running $17 million in the red this year. Last week a private operator offered to relieve New York of this financial headache, reportedly was ready to pay upwards of $500 million in cash and bonds-give or take a few million-for the $2.1 billion transit system. Said O.(for Oscar) Roy Chalk, 51, able admiral of D.C. Transit System, the national capital's surface lines...
...they are simultaneously as British as Poet John Betjeman's strong-armed Dianas; they display the "outer crust ... of Miss Marilyn Monroe," and yet still manage to draw from their swains such modish endearments of the British '20s as a "tenderly" spoken "old blighter." Wodehouse heroes are often golfers, but they play upon courses which seem to be suspended in mid-Atlantic, uncertain whether to nationalize in yesterday's Surrey or today's Eastern Seaboard. His people voice such dated Americanisms as "bozo" or "They said a mouthful." and also manage to class themselves with London...
Pete Kelly's Blues (NBC, 8:30-9 p.m.). The music, in this series about a cornet player forever running head on into underworld bricks, is authentically blue, but the story line is too often merely mauve...
...once modern and timeless. While composers plead for the chance to break free from the constraints of the 18th and 19th Centuries, they tacitly concur with the critics (and the audiences), who cling to their touchstones, comparing every modern composition to the classical paragon in its form, usually harshly, often unfairly applying criteria that are not altogether suitable. The composer faces the choices of breaking definitely with the musical past; or creating a new mainstream of music by appealing to the pre-Palestrina composers; or deliberately continuing in the traditions of the great classical and romantic composers, risking invidious comparisons...