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...this, moreover, must be viewed in context, the context of a country just emerging from four years of devastation, full of gratitude for its staunch if irascible ally, full of optimism for peace, and full of the ideals for which its soldiers had just fought, among them the proposition that no man is guilty until so proven. Few people remember today that Truman had all he could do to ward off those who would appease Russia at every turn. They do not remember that such obvious moves as the Greek-Turkish Aid program and opposition to Tito's thrust...

Author: NO WRITER ATTRIBUTED | Title: After The Turmoil | 11/27/1953 | See Source »

...orchestration is sometimes sharply contemporary, sometimes comfortably old-fashioned, but there is always an inner logic to this movement (and to the next one) that is almost relentless in its forward motion. Thompson, however, does not seem to sustain these feelings. The last two movements, if heard out of context, would be quite enjoyable; there is a nice, smooth melodic line in the third movement and some sprightly tunes in the finale, but these seem divorced from what had gone before. The frequent repetitions contrast unfavorably with the economy and sparseness of the opening movements, and the final triumphant measures...

Author: By Lawrance R. Casler, | Title: Harvard-Radcliffe Orchestra | 11/24/1953 | See Source »

Cabled back to Rio, the interview kicked up such a fuss that Aranha rushed out with a further explanation, claiming in effect that he had been quoted out of context. He said that he was not against constructive investments that stayed in Brazil and were content with moderate profits; the trouble was that there has not been much of that kind of U.S. money around in recent years. The burden of both U.S. and Brazilian taxation, explained Oswaldo Aranha, "leads U.S. enterprises to seek investments and profits here that the weakness of our economy cannot stand...

Author: /time Magazine | Title: BRAZIL: Take Back Your Mink | 11/23/1953 | See Source »

...there was only Mozart's Presto from the A-minor Sonata (K, 310). It is the climax of one of Mozart's most poignant works, but its position as an isolated movement beside the intermezzi and preludes with which the program abounded hardly does it justice. Yet only the context was at fault, not the performance; Mr. Berman set a very fast tempo, the rhythmic impulse was subtle yet vital, and the poignancy never degenerated into sentimentality. Bartok's Two Dances n Bulgarian Rhythem, short work momentarily dazzling and fascinating, represented the contemporary period...

Author: By Alexander Gelley, | Title: Lawrence Berman | 11/16/1953 | See Source »

...freer version that the recent Academy Award-winning All the Kings Men and a much less convincing one. While All the Kings Men depicted an era and a people as well as Willy Stark, A Lion is in the Streets portrays only Hank Martin, a character divorced form his context. For this reason it lacks much of the color of its black and white predecessor...

Author: By J. ANTHONY Lukas, | Title: "A Lion Is in the Streets" | 10/6/1953 | See Source »

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