Word: organisms
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Dates: during 1940-1949
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...Said Pravda, official organ of the Communist Party: at Casablanca President Roosevelt and Prime Minister Churchill agreed on "an exhaustive plan of action to be applied in the next nine months." The nine months, Pravda reminded, are nearly up. The Allies have a choice: "The opening of a second front in 1943 means the war will be ended quickly or become a war of attrition...
...steady job on the organ in Harlem's Lincoln Theater. He made Q.R.S. piano rolls, records with blues-singer Bessie Smith and Sarah Martin. The late Arnold Rothstein backed Waller's first show, Keep Shufflin'. On records Waller began to sing as well as play, and in his expressive mouth the inane words of a popular song often came in for very searching satirical treatment. In 1929, in collaboration with Guitarist Eddie Condon and a small but vital ensemble, he made one of the greatest jazz records of all time: The Minor Drag and Harlem Fuss...
...Paris Period. In 1932 Fats balked the depression with a rapid month in Paris. There his enthusiastic friends included Marcel Dupré, onetime organist of Notre Dame Cathedral. With Dupré, Fats climbed into the Notre Dame organ loft where "first he played on the god box, then I played on the god box." In Paris Fats also came into cultural contact with a fellow pianist and expatriate named "Steeplehead" Johnson. Fats got home from the French capital by wiring Irving Berlin for funds...
...weather handkerchief, he is one of the most infectious men alive. With his wife Anita and their two musically gifted sons, Maurice, 15, and Ronald, 14, he lives in an eight-room English brick house in St. Albans, L.I. The house has a Hammond organ, a size B Steinway grand and an automatic phonograph with 1,500 records. Next to Lincoln and F.D.R., Fats considers Johann Sebastian Bach the greatest man in history...
...comic; Forster owes much to Fielding, Dickens, Meredith and James. . . . Stendhal believed that gaiety was one of the marks of the healthy intelligence, and we are mistakenly sure that Stendhal was wrong. We suppose that there is necessarily an intellectual 'depth' in the deep tones of the organ; it is possibly the sign of a deprivation-our suspicion of gaiety in art perhaps signifies an inadequate seriousness in ourselves. A generation charmed by the lugubrious-once in O'Neill, Dreiser and Anderson, now in Steinbeck and Van Wyck Brooks-is perhaps fleeing from the trivial shape...