Word: smashingly
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Dates: during 1930-1939
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...life as a youth was fighting the Chicago traction interests."* Some professors at the University of Chicago, the city's schoolteachers, various racial groups, the Lawyers' Guild, social workers like Miss Charlotte Carr, head of Hull House, were foremost in the draft-Ickes drive. They want to smash the celebrated Nash-Kelly machine. If New York City smashed Tammany with a Fusion ticket led by Fiorello LaGuardia, why couldn't Chicago do likewise under an old Bull-Mooser, a New Dealer, a grand-scale benefactor of Chicago like Harold Ickes? From his PWA the city has received...
...copyrighted, but few are chosen. Of close to 5,000 registered with the Copyright Office each year, possibly 2,000 go the Broadway rounds, 500 receive serious consideration, 300 land their authors a contract. Of 100 to 200 that are produced, more than 75% flop, less than 10% become smash hits, two or three run into their second year, one wins a Pulitzer Prize...
Overnight, Priestley-who had never acted before-stepped into the part, played a drunken Yorkshire photographer so nimbly that he boomed the show from drowsy success to smash hit. After his first performance Priestley confessed he had not been so nervous in 23 years: "My trouble was I didn't know the lines. You see, I wrote them...
Jovial young Physicist Ernest Orlando Lawrence has an 85-ton atom smasher at Berkeley, Calif. Intrigued by the Lawrence cyclotron, promoters of the Golden Gate International Exposition asked if they could borrow it to smash atoms for next year's fair. Physicist Lawrence, who was deep in experimentation, pointed to the protective wall of six-foot-high water tanks surrounding the cyclotron, explained that neutrons flying free as hail around an exhibition room might settle in the tissues of spectators, even render them sterile. The exposition officials hastily retired, and last fortnight they hatched plans to exhibit a model...
...smash hit overnight. Leave It to Me! is a good show, but far from a knockout. Dripping with fat moments, it too often relaxes that festive, madcap spirit, that no-slowing-down-for-curves tempo, that kettle-boiling-over excitement that mark the top-notch farce musical. But it has fast dancing and pretty girls. It has some beguiling, insouciant Cole Porter tunes, some pert cafe society Cole Porter lyrics. It has Sophie Tucker, who can make ambassadorial high-life so low-life that even her pearls seem to leer...