Word: wrongs
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Dates: during 1920-1929
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Although there is a current feeling that one hundred million dollars can't be wrong and that even three million is very effective in its way, there is still strong suspicion that one million dollars leaves room for doubt. So, climbing down the ladder of material love one is forced to a consideration of the "Ladder" itself. Opening after what is termed in the advertisements as a two year engagement in New York, the dramatic composition of this name is attracting curiosity seekers at top prices of one dollar and a half. Such a substantial increase over the free...
...kept at it over the radio. James Middleton Cox strove along the Border. George Herman ("Babe") Ruth, famed baseballer, repeatedly told Midwesterners to disregard the Wall Street odds. "Don't forget Wall Street bet 3 to 1 against the Yankees in the World Series. Wall Street will be wrong again...
...opera, liked especially Die Fledermaus of Johann Strauss. He went one night when Jeritza was Rosalinda, sat attentive in his box, tapped his foot to the music, clapped loudly when she sang the Czardas. Three times Jeritza curtsied deep and began again. . . . The performance went on. ... Right triumphed over wrong. . . . The old Emperor beckoned an attendant: "Why have they always old, fat singers at the Hofoper? . . ." Soon Jeritza went to the Imperial Opera...
...outgrew even that colossal instrument, became a conductor. Not until last year did he gather his admiring Bostonians around him and show them what he used to do with the double-bass. Boston rhapsodized but Manhattan waited to form her own judgment. In Boston King Koussevitzky can do no wrong. Neither could he last week in Manhattan. Of his first double-bass recital there, Critic Lawrence Oilman wrote in part...
...nudes, some, including Italian Achille Funi's The Awakening of Venus, had little to commend them. Others were sensational, like Britisher Laura Knight's baldly anatomical Dressing for the Ballet. This study was too frank to be voluptuous. Squeamish persons felt as if they had opened the wrong door. But Eileen, a seated girl in a chemise, thrilled everyone with its pliancy of shoulders, arms, tapering hands. A soft sidewise fall of light allowed Miss Dod Procter the use of tremulous chiaroscuro. She is an adept in the nuances of reflected light, a familiar phase of architectural rendering, an annoying...