Word: wagner
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Dates: during 1930-1939
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...newspapers in popular esteem, to endanger the freedom of the press, and has even gone so far as to urge its members to breach the law. . . Your board recommended to its membership that 'no agreement be entered into with any group of employes.' As we understand the Wagner Act, it is obligatory upon employers to negotiate with representatives of a majority of employes in any department or craft. Any member of your association who enters into negotiation with employes when he has mental reservations not to make any agreement, only makes a pretense at negotiation. He would...
...Director Levering Tyson of the Rockefeller-endowed National Advisory Council on Radio in Education had warned the 500 educators invited to the Conference that "any discussion of such controversial subjects as the allocations of wave lengths will be scrupulously avoided." Two years ago Congress overwhelmingly rejected the Fess and Wagner-Hatfield bills calling for a definite allocation of wave bands for educational purposes. Last week more cold water was thrown on that hope when Chief Engineer T. A. M. Craven of the Federal Communications Commission flatly told an engineers' sub-committee of the Conference: "In talking with some educational...
...pops its protagonist on the boards naked in all his pompous vanity, groping lubricity, childish craftiness, monetary venality and explosive blasphemy. Author McNally has studied the character of Wagner with an unblinded eye, makes full allowances for the poetic moral license commonly granted artists. The McNally-Lawson Wagner states the morality of an artist very clearly when he confesses that he has been mean, selfish, harsh, unfaithful, ungrateful; but, he says, he has learned his trade so well that no one in the world can teach him anything about music, and he has never allowed the most egregious hardships...
...play opens and closes in 1858. Its title is something of a misnomer since Wagner's exile dates from 1849, when he fled Dresden after getting mixed up in revolutionary politics. In 1858 the musician and his wife Minna (Evelyn Varden) are under the patronage of Otto Wesendonck (Leo G. Carroll) at Zurich. With Tannhauser, Lohengrin, Das Rheingold and Die Walküre behind him, Wagner has finished the libretto of Tristan und Isolde, is working on the music, under the inspiration of Mathilda Wesendonck (Eva Le Gallienne), with the Schnorrs (Arthur Gerry and Beal Hober) singing his scores...
Always the self-dramatizer, Wagner lifts his arm and thunders: "Let this be your epitaph - 'I struck down the mightiest talent that God ever created for the enrichment of music!'" Grandiosely he flings away the envelope containing a loan of money from her husband, but, a moment before his carriage rolls away, sends a servant back to retrieve...