Word: sch
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Dates: during 1930-1939
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...Kammen Music Co. published a song entitled Bei Mir Bist Du Schön, from a Jewish musical comedy (I Would If I Could) by Sholom Secunda and Jacob Jacobs. The song went practically unnoticed until last summer Johnny & George, a Negro piano team, played it at a Jewish summer resort in New York's borsch belt, then brought it to a Broadway night club. There it was heard by Saul Chaplin and Sammy Cahn, two East Side boys who had written Posin', Shoe Shine Boy, Rhythm Is Our Business, could recognize a song when they heard...
...even before Harms could get the song printed, Bei Mir Bist Du Schön (You Look Beautiful to Me) had become a hit. Decca had two records out: the Andrews Sisters', which had already sold 10,000 copies, and Glen Gray's. Brunswick had released a Russ Morgan version, and at Manhattan's Paramount Theatre the crowd called for four encores the first time Morgan played it. Victor had Guy Lombardo's recording of the song ready this week in time to be put on sale with the sheet music. First day's sheet...
...dead of night at Cologne this week with shouts of "Heil Windsor!" Sliding into Berlin early next morning, the Duke and Duchess were met on the platform by Nazi Labor Front Leader Dr. Robert Ley who presented a bouquet of red roses. Excited German women cried "We schön sie aussieht" ("how well she looks!") while the Duchess' two maids pointed out to porters her 30 pieces of luggage, most of it still labeled "W. S." (Wallis Simpson...
...Brookline High Brookline Helman, Clifton F. 18 160 5.11 Boston Latin Brookline Hires, William L. 19 170 6. Montgomery Berwyn, Pa. Hornblower, Ralph Jr. 18 160 5.10 Milton Academy Boston Hulse, Stacy B. 17 160 5.9 Belmont Hill York, Penn. James, Robert A. 17 175 5.10 H'rv'rd Sch'l f'r B'ys Chicago, Ill. Keyes, Frederick A. 17 160 6. Boston Latin Boston Kurtz, Paul B. 18 130 5.8 South Kent Philadelphia, Pa. Lo Roun, Yann 18 165 5.10 Andover Philadelphia, Pa. Lyell, Rosslyn A. 16 155 5.11 Penn Charter Philadelphia, Pa. Noone, Richard...
Revolting as Lulu's career is in outline, Composer Berg dressed it in music too peculiar and powerful to be discounted. Throughout he used the twelve-tone scale he learned from Arnold Schönberg, to whom the opera is dedicated. Song forms are woven in so cunningly as not to be obtrusive. A sonata form announces the appearance of Dr. Schön; a rondo suggests his son. The whole orchestra converses gruesomely over one death, lyrically pleads when the composer wanted sympathy for his heroine, strikes an ugly dissonance of shrieking brasses when she is murdered...