Word: tinning
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Dates: during 1980-1989
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...London Metal Exchange, housed in a grand stone edifice on Fenchurch Street, exudes an air of ultramodern, professional efficiency. The 29 brokers sit in a circle on red leather banquettes surrounding the marble trading floor and make bids on seven metals (copper, lead, zinc, aluminum, nickel, tin and silver). For the past eight months, however, the exchange has been in turmoil. While prices for other commodities have been falling, the price of tin has been rising steeply. Since July, it has shot up nearly 30%, to more than...
...abortive attempt by Bunker and Herbert Hunt to corner the silver market in 1980. Now, as then, an unidentified buyer has been spending huge amounts of money to drive up the price of a metal. More than $500 million has been invested, and 30,000 tons of tin have been stockpiled in European warehouses. Speculators who gambled that the price of tin would soon fall face financial ruin. Major tin consumers have escalating costs. Says a spokesman for U.S. Steel, which makes tin-plated products: "Of course this is hurting...
George Gershwin was the archetypal American composer: a Tin Pan Alley tunesmith with high artistic aspirations. The man who set the country humming Oh, Lady, Be Good and Someone to Watch Over Me also wrote more formally complex, jazz-tinged "crossover" works like Rhapsody in Blue, three Preludes for piano, and most ambitious of all, the Concerto in F for piano and orchestra...
...quarter of the entire work force-and in stricken cities like Chicago the figure went as high as one-half. FORTUNE magazine estimated that 27.5 million Americans had no regular income at all. More than a million of the jobless roamed the country as hobos. Ugly clusters of tin-can shanties known as "Hoovervilles" sprouted in the midst of New York City's Central Park. Penniless men tried to sell apples on street corners. Many talked of revolution...
...same pitch of high manneristic skill can be seen, though used to wholly variant ends, in the work of Richard Shaw, 40; drawing from the American trompe 1'oeil tradition begun in the 19th century by Peto and Harnett, Shaw casts objects-playing cards, books, tin cans, ax handles-in porcelain and then glazes them into a more than photographic accuracy of surface. Sometimes, though not often enough, a flash of real poetry appears in the midst of Shaw's virtuoso pedantry. Moonlight Goose, 1978, with its loving simulations of flaking paint and marbled paper, attains a wistful...