Word: vining
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Dates: during 1950-1959
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...Vine Leaves to Harvard Club. Young Cozzens may have been a showoff, but he never really was a rebel, then or later. Says a friend: "No vine leaves in his hair -the Greeks are not in him.'3-Even Cozzens' career as a Harvard ('26) hell-raiser was brief. At Harvard he was part of a splinter intelligentsia-Poet-Instructor Robert Hillyer, Classicist Dudley Fitts et al.-and kept flailing away at a novel that appeared early in his sophomore year. Aptly titled Confusion, it concerned a shimmering young sylph named Cerise D'Atre...
Last week Boris Morros was also on the move. He was back in his beloved show business as a man no longer suspect. Friends who once crossed Hollywood-and-Vine to avoid the man they despised as a flagrant fellow traveler were proud to talk to him again. Boris, who estimates he lost $2,000,000 in possible earnings by becoming a counterspy, was busy with plans for the future. He had already charmed 18 Nobel Prizewinners into recounting their life stories to him, hoped to turn the stories into a series of television films...
However, Giraudoux fails to maintain a balance between ideas and spicy French sex, and the play becomes bikini. Interspersed with rationalistic salvos are a crescendo of kisses, lovers entwined like vine leaves on a Greek frieze and racy gods until the romp is reduced to a gala Gallic gaiety and the comedy verges on hedonism. Frankly, three hours of the bed become boring...
...something like English, but it has a grammar, vocabulary and pronunciation of its own. It grows out of a rich compost of dialects heard at Lindy's and the Stork Club, in the hominy-grits-and-corn-pone belt and around Hollywood and Vine. It is calculatedly lowbrow: and out of the mouths of M.C.s, comedians, interviewers, children's hosts, singers and announcers, it has become a powerful influence on American speech. Critic Clifton Fadiman calls it Televenglish...
...fill the vast, open spaces of the Met's stage with Todd-AO-sized vistas of a kind rarely viewed by a courtesan in Verdi's mid-19th century Paris. Under Tyrone Guthrie's posturing direction, Violetta entertained her first-act guests in a towering, vine-entwined conservatory, while in the third act the chorus moved confusingly up and down a curving marble staircase. Costume Designer Rolf Gerard provided the principal ladies with frothy, subtle-hued dresses scarcely calculated to deliver a message even to the most lickerish-eyed boulevardier. As for Soprano Tebaldi, although...