Word: patronizing
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Dates: during 1930-1939
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...Santa Claus last week, as they do every year. To strict Calvinistic subjects of devout Queen Wilhelmina it would smack of blasphemy to observe Dec. 25 otherwise than with solemn thanks in church for the birth of their Savior. They figure, however, that Santa Claus, or St. Nicholas, the patron saint of Generosity, was born on Dec. 6, do their giving then. Dutchmen conceive the Saint as a bishop whose ecclesiastic dignity is above lugging presents around in a sack. This is done by his far from humble minion, Black Peter, a capering minstrel in braided doublet, van Dyck ruff...
...proved vitality. They are New Directions in Prose & Poetry, published by New Directions in Norfolk, Conn., and Twice A Year, a Semi-Annual Journal of Literature, The Arts and Civil Liberties, published by Twice A Year in Manhattan. Each is a subsidized enterprise, each is edited by its own patron, and each claims a more independent policy, a purer concern with pure literature, than professional publishing can show. Readers in the autumn of 1939 could look to them for such nonconformist stuff as The Dial and The Little Review used to print in the years before Depression...
...music lovers and a countless short-wave audience, NBC has paid the Metropolitan a cool $100,000 a season. Some years it has been higher, with sponsors like Lucky Strike, Listerine. This year there is no sponsor, but NBC is still the Met's best-bet patron...
...opera has been Milton Cross's job, hobby, and spiritual sustainer for more years than NBC has been a patron. As a boy, vacationing from his Hell's Kitchen Manhattan neighborhood, he fought for the job of delivering butter to the great Louise Homer's country house, just for the exquisite thrill of seeing the great Homer herself. Once he paid to carry a spear in a Metropolitan mob scene. He studied at the Damrosch Institute of Musical Art, sang in choirs, doodled clefs & staffs on tablecloths and phone pads and dreamed of a career in music...
...staid Metropolitan Opera orchestra surged and noodled conventionally through Wagner's foaming music. But the cavorting it accompanied would have turned a Wagnerian's hair white in a single act. No Tannhäuser was its central protagonist, but mad King Ludwig of Bavaria (Wagner's patron), who reared and reeled in the costume of Lohengrin. Before him, like something sired by George White out of Krafft-Ebing, pranced a bleached Venus (Nini Theilade), a hoop-pantalooned Lola Montez (Ludwig's grandfather's mistress) with a belt of false teeth, Mr. and Mrs. Sacher Masoch...