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This program reports on the growing number of senior citizens in America and their special needs. Discussed are some outcomes following the White House Conference on Aging in 1961 and the legislation that followed. Among these are meal services, elderly housing, medical services and recreational therapy. The life of John and Edna Cummins, a retired couple who sell their house to live in an apartment are examined.
What have been the results of the publication of Parkinson’s Law? Although it has prompted other critics to take new looks at the organizations which speckle out society, says Professor Parkinson, too many corporations, universities, and so on still seem to be operating under this law. Professor Parkinson turns his analysis on the social scientists, on the cocktail party, and on American motorized traffic, to conclude his examination of the basic principles of his Law.
What is the position of the Near Eastern countries today? Dr. Malik introduces the topic by describing why he feels education is so essential to their development. Theoretical values and general policies must be developed before specific problems can be attacked, such as the problems which Islam will have in adjusting to the modern world. It is no longer possible to return to pure Islam, free from the influences of the West, he believes. The Arab nations are anxious to become substantial, self-respecting members of the world community. They look for a leader who will give them direction and guidance without forcing them away from their traditional values. Of the revolutions which have upset the Arab world since the end World War II, Dr. Malik says these are usually due to circumstances which have become intolerable. At the end of the program, Dr. Malik presents a plea for understanding and toleration of the Arab community, as it attempts to establish itself in the modern world.
Does geography make a difference in political thought? Dr. Parkinson discusses his book Evolution of Political Thought, and suggests that geography, and geographical isolation, do make a difference in political thought and practice. He traces the cycle which goes from a primitive paternal structure through a monarchy to an aristocracy, then to a dictatorship, then back to monarchy. Although he sees this as a fairly consistent pattern, Professor Parkinson does not believe that this is, in effect, historical determinism. Men can change his destiny, he says, and the experiments in democracy, although they have not been going long enough to suggest a definite trend, prove man’s freedom of choice. In fitting the Soviet Union into this pattern, Professor Parkinson remarks that it could be called a technological monarchy.
Examines the eye in terms of structure, functions, disorders, and hygiene. Reveals, with animated drawings, the various parts of the eye and explains the physiology of sight. Illustrates such eye defects as nearsightedness, farsightedness, and astigmatism, and describes their correction with proper glasses. Calls attention to eye infections, the removal of foreign bodies, and damage by radiation.
Dr. Mayo explains the purpose of the Mayo Foundation, the teaching branch of the Mayo clinic. Tells of the origins of medical education at the clinic and the informal beginnings of the Foundation in 1909. Discusses the qualifications for becoming a doctor. Concludes with a discussion of the value of women in medicine. Dr. Charles W. Mayo is interviewed by Victor Cohn, Minneapolis Tribune Science Reporter, and Dr. John C. Schwartzwalder, General Manager KTCA TV.
Three young foreign students--one from Sweden, one from Venezuela, one from Belgium--talk to Louis Armstrong about what he has done as a musical ambassador. Mr. Armstrong tells them about experiences he had in their home countries when he performed there--about how how he met a Belgian diplomat who came to this country on a matter of state, but arrived early to spend some time with Satchmo, about a young Swedish girl who sang with his band and subsequently became a star, about a threatened bombing of an auditorium where he was scheduled to play in Venezuela which never took place, because when he arrived the people were more interested in music than in munitions. But more than anecdotes, he tells how he found people all over the world who were united, in spite of their differences, by their interest in music.
Mr. Armstrong is joined by Robert McCully, writer and public relations expert, Adam Lynch, news and classical music broadcaster, and Benny Benack, a musician who has concentrated on Dixieland jazz and a trumpeter who looks up to Louis Armstrong as his great hero. In this program Mr. Armstrong describes a New Orleans musical funeral and the impulses that give rise to it, the music it creates, and the way it is carried out. Speaking about emotion and music, he remarks that a good musical performance has as its base a great sympathy and feeling for the music. He talks about his love for any good music--jazz, classical or popular--and about the future of jazz and of young people who like music.
Charles Malik, President of the General Assembly of the United Nations and ambassador from Lebanon discusses criticism and truth in world diplomacy. He is joined by Dr. Richard Cottam, Department of Political Science, University of Pittsburgh, and Mr. T.F.X. Higgins, Executive Director of the Foreign Policy Association of Pittsburgh.
An interview with musician Louis Armstrong about his career, starting with his boyhood in New Orleans through becoming an internationally known figure. With Robert McCully and Adam Lynch.
A reminiscence about Lorenz Hart is naturally followed by Rodgers’ personal and professional transition in Oscar Hammerstein II. One big difference: Oscar was interested in what to say, Larry in how to say it. The first thing Rodgers and Hammerstein ever did, “Oklahoma!,” turned out to be one of the greatest American musical theatre hits. But there was nothing about “Oklahoma!,” to suggest success. The original play was a flop … the producers announced it was their last show, they were so sure it would die … Hammerstein had had eleven years of failures … the director couldn’t get a job before they hired him … the choreographer had only one other show to her credit. Rodgers and Hammerstein declared they wouldn’t touch “My Fair Lady,” as they didn’t have the courage to tamper with GB Shaw. When they decided to do “Carousel,” based on Molnar’s “Liliom,” they dared to change the ending. At an early run-through, they learned the author was in the theatre and were thoroughly intimidated by his presence. But they were relived at his enthusiastic response and particularly at his approval of the ending. In this program there is a moment of great poignancy as Oscar Hammerstein is shown reciting “Surrey with the Fringe on top,” a song which always makes Rodgers cry because of its sentimental simplicity. More Rodgers philosophy: “Somehow or other, we find what we need – in marriage, work, friends and music.
Richard Rodgers talks about his collaborators, Lorenz Hart and Oscar Hammerstein, and the difference in the relationship he had with these two men as compared to that of Gilbert and Sullivan “who loathed each other.” Hart was “way out,” says Mr. Rodgers, whereas Hammerstein was more down to earth. In the Rodgers and Hammerstein team, Rodgers acquired the reputation of the businessman – the man who transacted the deal, took care of the finances, and knew how to count. Rodgers pooh-poohs this with “I don’t know the salary of one person who works for me. I have a business office and people who take care of that end. I don’t want to be known as a good business man. I like the reputation of writing good music, if I do.” When Hammerstein realized that his days were numbered, he told Rodgers to get a young person to work with. “A young person will give you energy, new ideas, direction; you will give somebody young experience,” he said. When 20th Century Fox wanted to remake “State Fair,” they asked Rodgers and Hammerstein for three songs to add to the old score. When it became obvious that Oscar could never do it, Rodgers decided to undertake both music and lyrics, for the first time in his life. The songs were accepted, and he says, “I never had more fun working my life. I’m on a new road whether it’s with another collaborator or alone.”
Richard Rodgers was brought up in a passionately musical family. His mother was brilliant pianist; his father, a doctor, sang. They would sing and play the comic operas of the day. He was weaned on “The Merry Widow” and “Chocolate Soldier.” “These are the happy memories of childhood.” When he was sixteen years old, he met 23-year-old Lorenz Hart, who proceeded to explain his theory of lyric writing. Rodgers was proud that the age of sixteen he understood Hart. Rodgers played a couple of tunes for him and that was the beginning of a 24-year partnership. Nothing has ever been more gratifying than his first success to its fullest ... loved every minute of it. Everything that’s come along since, I’ve loved. I roll success around in my mouth like a piece of candy.” He hates failure –but thinks it’s the result of being alive –and readily admits to several: “Chee Chee,” “Pipe Dream,” and “Higher and Higher.” “I love it when it’s good and I hate it when it’s bad,” he says. Another Rodgerism: “In writing for people, there are two facets –one is emotional, the other is intellectual.”
The final program of the series presents Mr. Armstrong, Benny Benack, a musician who has concentrated on Dixieland jazz, and Professor Frederick Dorian, a classical musicologist from the Carnegie Institute of Technology. Dr. Dorian was Mr. Benack's professor at Carnegie Tech, and has joined his former pupil to learn about jazz and what a great jazz musician thinks of classical music. Dr. Dorian, who is not very well acquainted with jazz, asks Mr. Armstrong what the elements are of good jazz, and it is this definition which occupies the major part of the program.
The first part of the program is devoted to Steichen’s memorable and world-famous exhibit, “The Family of Man.” Steichen explains his preoccupation with the forms and development of human life; the exhibit, and many of the photographs shown during the course of the program, emphasize the preoccupation. Steichen and Rene d’Harnoncourt also discuss his association with the fashion magazine Vanity Fair, his ideas on journalistic photography, and his work in Hollywood and in advertising, his photographic experiments, his experiences during World War I, his exhibitions and the ideas governing them, his work now in progress, and his plans for future exhibitions.
The first program deals largely with Steichen’s life and his development as a photographer. He comments on the first camera he use (a Kodak), the years before he came to New York City, his “romantic” period in the 1890’s, his work with photography for advertising, his stay in France when he was for a while very active as a painter, his reactions to modern art, and his feelings about the influence of painting on his photography. Steichen’s photographs are used throughout the program to complement his description of life and work, and he often gives detailed analysis of these photographs.
The third program consists of a detailed analysis of photographs. Steichen and a young photographer move from picture to picture while Steichen explains the mechanical and technical problems they presented and the ideas or interests that prompted his focusing on one or another subject. They also examine pictures taken by such noted photographers as Lewis Hines and Edward Weston. Of particular interest are Steichen’s comments on symbolist photography and his reasons for abandoning experiments he began in this area. At the program’s end, Steichen speaks generally about the future of photography, and of the things we have to learn about and from our fellow man.
Compares various systems of the human body with their machine analogs. Discusses the interrelationship of the muscular and skeletal systems and the digestive and nervous systems. Shows how the human body is superior in many ways to machines man has invented. Contends that no man-made machine can equal this work of God.
Mr. Ormandy discusses working out musical interpretation and technical aspects, the evolution of conducting and its relationship to the development of the modern symphony orchestra, domination of the orchestra by the conductor, modern music, twelve-tone music, and the role of the music critic.
