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Even to a man with a tin ear, oil-drum music is an advance over the ashcan-and-bottle music of the Trinidadian '305. By pressing out graded circles in the bottom of a section of drum, the Invaders get a melody job (the "ping-pong") with a range of two octaves. Other refinements: "alto pans," "tune-booms." and "bass-booms." For their Manhattan audience. the Invaders beat their way through some celesta-like calypsos and a Mambo in F. One listener compared the sound to that of "a Jovian steel guitar." Consensus: certainly the best back-alley balalaika...

Author: /time Magazine | Title: Music: Drum Band | 11/5/1951 | See Source »

...blindness," said 35-year-old John last week. "The real obstacle is the preconceived notions that people have about blind people. And once people are convinced, they go to the other extreme. There's no middle ground about blind people. You're either the tin-cup variety or you're a genius...

Author: /time Magazine | Title: Religion: Miracles Still Happen | 10/29/1951 | See Source »

...Paul, alone or with his singing wife Mary Ford. So far this year, Paul and Ford have turned out about one bestseller a month.-If they keep it up, they will sell close to 6,000,000 records before the year is over-and that's tops in Tin Pan Alley's books. One secret of their success is a tape recorder on which Paul dubs multiple guitar and vocal passages, layer-cake style. The result is a reverberating volcano of polyphony which Paul calls "The New Sound...

Author: /time Magazine | Title: Music: The New Sound | 10/29/1951 | See Source »

...Chartwell Manor in Kent, the goldfish dart eagerly toward him. Churchill, wearing his familiar siren suit, an overcoat of a peculiarly bilious pea green draped over his shoulders, was feeding them one afternoon this week. One hand held the inevitable black cigar, and the other dipped into the tin of fish food proffered by his bodyguard...

Author: /time Magazine | Title: The British Election: The Tories | 10/22/1951 | See Source »

Bechet is, of course, the whole show. He takes the standard classics-"Muskrat Ramble," "That's Aplenty," "Tin Roof Blues," etc.-and gets something different out of each of them. I have heard him play "High Society" at least five times, once for almost twenty minutes, and never did he repeat or borrow from any source other than his limitless creative inspiration. And he takes such surprising tunes as "Casey Jones" and turns them into jazz classics...

Author: By Andrew E. Norman, | Title: The Jazzgoer | 10/22/1951 | See Source »

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