Word: swinging
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Dates: during 1950-1959
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...Russians were turned down by the first 13 U.S. printers they tried to lure, finally got the State Department to swing a deal with Manhattan's small Hemisphere Press. Even then there were snags. The Russians balked at the standard U.S. "Act of God" contract clause absolving printers in case of natural catastrophes, such as floods and earthquakes. Snapped a Red editor: "Put in anything you want -earthquakes, fires, even the atom bomb. But leave God out of it." Later, when TV camera crews descended on Hemisphere Press for news program shots, a Red editor groaned: "This competition thing...
Divorced. Sammy Kaye, 46, jug-eared "Swing and Sway" bandleader; by Ruth Knox Kay, 46; after 16 years of marriage, no children; in Cleveland...
Japan's swing to the left is apt to mean more trouble for the U.S. With more than a third of the House in their hands, the Socialists can block any rearmament move, make trouble for U.S. occupation forces. Already, in the flush of victory, they banged the drums of anti-U.S. feeling. Some Japanese papers have been playing up Okinawa horror tales of G.I.s raping little girls and beating up farmers who resist land requisition, and of the U.S. taking farmers' little plots to build golf courses and expensive lawns for American occupiers. Socialists even suggest...
When the younger jazzmen did away with Dixieland and big-band swing and dove into the cool depths of bop and progressive jazz, they also left behind the sweet, lucid sound of the clarinet. Once known as an ill woodwind that nobody blows good, this relatively new instrument suddenly struck the U.S. mass ear in the 1920s in the hands of Ted Lewis, who made it wail, and reached peak popularity in the pre-World War II days of Benny Goodman and Artie Shaw, who made it swing. It is still a must in every Dixieland and New Orleans jazz...
...clarinetists have managed to make their instruments speak in a style that falls somewhere between the solid fundamentals of swing and the freest flights of progressive jazz. Their methods are similar: play a basic melody in the old style and elaborate it with floods of notes in rhythmically diverse patterns. Explains Manhattan's Tony Scott: "I want the simple cry of jazz that a gospel singer might put in five notes−only I may use 15." The effect is a bit like vanilla frosting on a beef pie−interesting, but not wholly palatable...