Word: shows
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Dates: during 1940-1949
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Last week, he made his second try with Breakfast With Burrows (Mon. 9:30 p.m., E.D.T., CBS). His explanation of the seeming contradiction between time and title: "I get up late." The show comes from his "little apartment located high above the ceiling price" and, though it is a breakfast show, Burrows says: "I got no canary, there's nobody here named Tex, and there will be absolutely no cheerfulness." For his premiere, Burrows wound up with a big production number: a Burrows version of Hamlet, adapted for Hollywood ("Hamlet is upset because he doesn't like...
...Maria does wooden candlesticks and Werner farms and we all sing together-we do things together, and that is real family life. That is what is wrong with everybody. They don't do things; they buy them at the five-&-ten. Everywhere we go, I try to show people how to do things together, in the family, which is the way God meant people to live...
...better politician than a scientist. In conversations he found that Lysenko and his followers "simply do not talk the same language as Western men of science." Much of Professor Huxley's long article consists of quotations from Soviet official scientific bodies and officially approved scientists. They clearly show that Soviet scientists are no longer free to seek for truth; they must seek for "truth" which pleases the Communist hierarchy. Lysenko himself said to Huxley: "If you want to get a particular result, you will...
...some Italian critics as Italy's best living painter. Morandi's specialty is bottles, preferably empty bottles. He has been arranging them on tables in his dusty Bologna studio for most of his 59 years, painting them as undramatically as he can, in pale, dry colors. The show contained examples of his endless variety: bottles grouped like ballet dancers, like factory chimneys, or just like bottles...
...best artists in the show were among the youngest. Twenty-five-year-old Renzo Vespignani's melancholy pen & ink drawings of the debris of Fascist Rome, and 23-year-old Marcello Muccini's Bull, as sharp and simple as a pair of murderous horns, held their own beside the work of their elders. Italian art had survived Fascism, the exhibition proved beyond a doubt. It was at least as lively as that of the U.S., Britain and France; and, on the evidence of the younger painters, there was more to come...