Word: vocalizing
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Dates: during 1950-1959
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...nightclub floor stands a lithe, confident little man with a pugnaciously protruding lower lip, a broken nose and a patch over his left eye. But blasting out of the loudspeakers at the delighted audiences come the vocal inflections of Frank Sinatra (applause), Billy Eckstine (applause), Tony Bennett (laughter), Arthur Godfrey (laughter), Bing Crosby (cheers). After the impersonations, the entertainer sings some straight songs-in a voice not so good as some of those he mimicked, but clear and sure. Then he may play the drums with the abandon of a voodoo priest...
...principals offset one another very well. Belafonte. singing folk songs and spirituals, is vivid and intense, with an appeal perhaps less vocal than personal, while the Champions display notable lightness and ease. If. in mass-audience terms, Belafonte is the more impressive, he is the less accomplished; and even on the score of personality. Marge Champion's delightful perkiness constitutes the evening's happiest note...
...Saints Go Marching In. brighter chitchat than likable Hiram Sherman brings to lifting the silver dishcovers off each new course. But the show's weak points may have popular lure. Its concert air half-conceals its TV approach; its chorus that specializes in trick sound effects substitutes vocal decor for visual. The show's big production gimmick is its extremely high-styled hick stuff...
...taken over r. and b., known to the teen-age public as "cat music" or "rock 'n' roll.''* The commercial product, whether by Negroes or whites, only superficially resembles its prototype. It has a clanking, socked-out beat, a braying, honking saxophone, a belted vocal, and, too often, suggestive lyrics (spelled "leer-ics" by trade-sheet Variety, which has launched a campaign to clean them up). Result: a welter of hits in the r.-and-b. idiom (including five of the first eight top tunes). Sample hits: Sincerely (McGuire Sisters; Coral), Tweedlee Dee (Georgia Gibbs; Mercury...
...basement, directly below Faust's vocal soul-struggles, Mephistopheles (Basso Nicola Moscona) paces nervously, dressed in evening clothes, redlined Inverness cape, with top hat and cane. Three grips stand ready at the trapdoor platform. Another maestro, with a score on his lap, sits near by. Mephistopheles clears his throat, begins la-la-la softly. The maestro, straining to hear the orchestra, says, "Ready!" and Mephisto steps onto the platform...