Word: tracing
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Creatures of Decay. Faulkner's view of the South has no trace of magnolia-and-old-plantation romanticism; it is tough and realistic, even if sometimes debatable. From novel to novel, weaving backward and forward in patterns of time as intricate as his twining sentences, Faulkner has developed his picture of a society devastated by war-a society that was both honorable and doomed by an inherent guilt. In his view the South was right in insisting on its sovereignty but cursed by the shame of slavery. It had to fight and was doomed to lose...
Readers will spot a trace of the practiced world weariness, the wry disenchantment and resigned disillusionment with which New Yorker fiction is loaded. Editor Maxwell's storytelling is of the same breed, but it is a thoroughbred in its class...
...trim little maestro who serves up this musical corn felt that its popularity was natural and deserved. Said Bandleader-Songwriter Al Trace: "We always knew this music was in for keeps. Other stuff comes & goes, but this is the people . . . We play down to them, play requests and mention their names. We give them a good time and we play stuff they can dance to. How can you miss...
...Cocksure little Al Trace was packing a spot where anyone had to be both good and loud to blow away the memories of more memorable bands-the famed Coon-Sanders orchestra; or Ben Pollack's band, which featured a young trombonist named Glenn Miller and a clarinetist named Benny Goodman. Kay Kyser had started his College of Musical Knowledge there...
Under .300. Trace, born in Chicago 44 years ago, once thought that baseball would be his career. But he gave up ball-playing when he concluded that he could never hit .300. He knew how to bat the drums and sing a little-"I was what you call a dramatic tenor, singing The Road to Mandalay and stuff like that." After writing songs and "running material" fof WLS' National Barn Dance, he formed his own band. His first job: playing for Fan Dancer Sally Rand at Chicago's 1933 World's Fair...