Word: shadowing
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Dates: during 1930-1939
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Though the ceremony was hailed as "revolutionary," though Brahman sticklers feel themselves polluted should the shadow of an Untouchable fall across their food, marriages between the three upper classes are not unknown, orthodox Hindus being less scandalized when the bride is of the higher caste as was the case last week...
...music he makes. He is so tall (6 ft. 7 in.) that he uses no podium but even without one he has to bend like a melon rind to get level with his men. When he spreads his arms an entire orchestra seems to fall under the shadow of his wings. For a lush string passage one arm will suddenly take the form of a violin while he plays on it with the other. He stands erect for staccato effects, hunches his head forward and fairly plucks the quick, short notes from out the instruments. He takes his crescendoes with...
...successful Williams' entry, Margot, and the winning entries of Dartmouth, Shadow and Carolina, did consistently well throughout the series; while the Crimson entry, Pastime, placed third in the first race of the first day, fifth in the second, and seventh in the third, which was the most difficult one, being 5 miles in length, windward and leeward, instead of the compromise 4 1-2 mile course of the first two races. These first three races were sailed in light, changing breezes, and on a flat sea, it was hoped that Cornell would be able to take place in the series...
...highest degree, in fact there is at one point some uncertainty as to whether Miss Tobin or Mr. Young is taking the female corner of the situation. The latter's excessive skill at basting a ham and doing the housework while his wife works at the office, casts a shadow over his little menage which threatens to darken it forever. However, by devious remedies, his cuckolding is averted and his manliness reaffirmed in the end. Genevieve Tobin, as the lovely woman who stooped to what she thought was folly, is very good indeed, uniting to those charms with which...
...time by songs, which may well become as popular as the ones in 42nd Street, called "We're in the Money," "Petting in the Park," "I've Got to Sing a Torch Song," "Forgotten Men." Dance Director Busby Berkeley's most decorative notion was a "shadow waltz" with a chorus in triple-decked hoop skirts carrying phosphorescent violins. The stage presently darkens so that the violins appear to float about under their own power, finally waltz themselves into the outline of an immense bull fiddle. Good shot: Guy Kibbee's alarm when he looks...