Word: soaringly
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Dates: during 1950-1959
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...impulse is felt by all ages. Nobody among the junior low-fi set knows exactly what he will hear when he takes the disks home (buying has actually been cut down by a phonograph playing samples in the store) but the riotously colorful jackets are enough to make sales soar. Packaging and merchandising are fancy and getting fancier-Cellophane windows, stereoscopic pictures with viewer, picture books with sound cues on accompanying records for turning pages. But the tunes that go into the grooves have shown no basic development since Polly Put the Kettle...
...goals, individual companies were boldly raising their already lofty sights. General Electric Chairman Philip D. Reed, whose company is committed to a $500 million expansion program in the next three years, announced last week that the figure was "very much on the conservative side." As predictions of future markets soar, General Electric may well have to boost its original estimate by a spectacular 40%. Said Reed: "There is no leveling off in the need for capital expenditures, and nothing in the picture to suggest any lessening of pressure for new equipment and facilities...
...Mexico to get in on one of the biggest oil rushes in U.S. history. The sellers: the Navajo Indians, who are fast learning to play what oilmen call "grunt and groan." As the bids for oil lands are announced, the tribesmen merely grunt, and as the prices soar higher, the oilmen groan...
...step or two downward in Shakespearean art. Yet since the Old Vic's current bill, unlike its earlier one, is all-Shakespearean,* this brilliant bit of early characterization, a sort of watercolorist's Hamlet, was not necessarily ill-chosen. It was a good taking-off point to soar from. And as proof of the Old Vic's feeling for tradition, its reaching for distinction, its high competence in production, Richard was rewarding enough. What reduced a good early work to the level of mere good workmanship was John Neville's unsatisfying Richard. His reach, quite possibly...
...element of dramatic construction is almost completely lacking. When O'Neill wants to get a character off stage for any reason, the character just leaves, with nothing said about why he should. For another, the language is often pedestrian, particularly in those places when it is meant to soar as poetry. Yet these shortcomings pale nearly into insignificance in the light of the playwright's grand intention, which is at once to write a genuine tragedy and also to explain how his tragic view of life grew out of the problems of his own tortured family...