Tufts University - Jumbo Yearbook (Medford, MA)

Page 18 text:

Homes had to be furnished. Chairs, like the butterfly-type below in which Julie Harris is seated, reflect the striving for that compromise between casual comfort and modernistic styling. Korea created no butter lines or ration stamps, Americans were as ma- terially well-off as ever. And as as- sembly lines gushed television sets, people used their leisure viewing such new TV personalities as dynamic Bis- hop Fulton Sheen, who soon eclipsed Uncle Miltief' On the homefront, life was going on as usual, as this scene of some people waiting for a bus on a Pittsburgh corner depicts. The Korean conflict, which General Omar Brad- ley called the wrong war, at the wrong place, at the wrong time, and with the wrong enemy, was having difficulty find- ing space in the nation's newspapers. Amer- icais mind was busy elsewhere. One of the cleanest diversions was the chlorophyll craze, soon everything from toothpaste to dog food had the green stuff in it. IHIURUPHHllllxlliizii it ...uve -'31 . Ui-P':,1..i...1' 'Iva 'mmm -,M

Page 17 text:

How soon We forget the world that revolved about our miniature college world. This section is a kaleidoscope of the happenings, the fads, the personalities of this life around us during our four years at Tufts. geqand Me 7165! When We entered Tufts in the fall of 1951 the Korean War was beginning its second year. The truce talks had been resumed, but some fierce fight- ing continued. Soldiers still bled and died, American casualties increasing 20,000 in two months, bringing the total by December Well over the 100,- 000 mark. However, With better rota- tion programs and the diminish- ed fighting, more American boys Were returning to the United States. But it was not a homecoming of band playing, cheering, dancing in the streetsg it was rather like . . .

Page 19 text:

Oh no, whass thees, Lucee? Another of the new and popular TV shows was I Love Lucy. Television particularly fit the styles of entertainers like songster Johnny Ray, who overnight cried his way to fame. The new medium grew rapidly more attractive in the early fifties, and like a vain and jealous mother, seeing her pretty andgrowing daughter steal- ing the whistles, Hollywood primped herself and announced that movies were better than ever. And some of them were. The adaptation of Tennessee William's 1947 Broadway hit, A Streeicar Named Desire, was powerful fbut not at the box-officej and gave Vivien Leigh an Oscar and Marlon Brando his first big chance to growl. In An Americana in Paris Gene Kelly and Leslie Caron had rhythm and along with im- aginative designing and a delightful Gershwin score built a stairway to the best-picture-of- 1951 Oscar, the first for a musical.