Word: trios
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Dates: during 1950-1959
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...falls with his weak lines and impossible character into a confused and directionless series of histronics. Paul Langton, who gets third building as husband number two, is indistinguishable in one's memory ten minutes after the final curtain. The unlucky kid who is a party to the unlucky marital trio is played well by young Peter Votrain. Well, it preseverance and energy in face of medeocre material is well. The production is directed by Thomajan, according to the program...
Author Yamata (Lady of Beauty) is quick to admit that some geishas are merely beautiful dumb brunettes. But the trio whose authentic life stories she tells in her spare, grave and yet oddly debonair book, were bright, courageous women possessed of enough tragic dignity to become enshrined in Japan's human legend...
Even accidents were turned to advantage. One day, when only half the band arrived for a recording session, a new distribution of voices was evolved on the spot to make the few sound richer. The tune was Mood Indigo, and the broad-spaced trio at the start became one of Duke's sound trademarks. Other tunes lay fallow in the band's books until somebody set words to them and they caught on, e.g., Never No Lament (Don't Get Around Much Any More), Concerto for Cootie (Do Nothin' 'Til You Hear from Me). Ellington...
...days in the Senate last week a dogged trio of liberal Democrats-Missouri's Tom Hennings, New York's Herbert Lehman and Illinois' Paul Douglas-urged the Senate to blast the Administration's Civil Rights bill out of the Senate Judiciary Committee. Argued Paul Douglas, while Mississippi's Jim Eastland, Judiciary Committee chairman, chomped on a dead cigar: "If we pierce behind the complex rules and procedures, we know, as men, that the rules of the Senate have been very skillfully devised to prevent any action on civil rights which is obnoxious to the members...
...final work, Rameau's third Concert en trio, Brown fittingly used a wooden cross flute actually owned by Johann Quantz, the greatest Baroque flute virtuoso, and lent by the Boston Fine Arts Museum from its Mason Collection of Instruments. Its tone is uniquely mellow and velvety, and well points up the fact that in the arts there is no progress, but only change. No gain is made without an equal loss...