Word: broadcast
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Dates: during 1950-1959
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...using the violence to 1) test Hong Kong's strength for a possible Communist takeover, 2) to discredit the Nationalists internationally. A pointed warning came from Communist China, just across the border. "China," said Red Premier Chou Enlai, "can neither ignore nor permit such events." Said an official broadcast: "We will watch carefully whether the British are capable of maintaining peace and order in Hong Kong and Kowloon...
...Nieman Fellows, the former director-general of the BBC stated that Communist appearances are frequent enough "not to be news." If the party puts up the number of candidates required of every party, it is entitled to an equivalent amount of time. Communist speakers also participate in broadcast discussions if their presence is "relevant," he added...
Juliana's renewed obstinacy prompted two of her three wise men to protest that she had gone back on her word, and this in turn so angered the Queen that she threatened to broadcast her version of the story to her subjects. When pro tern Premier Willem Drees heard of this, he told Juliana bluntly that he had given orders to broadcasting authorities not to permit the Queen to go on the air. Meanwhile, far from fulfilling his ordained role in the masquerade of renewed connubiality, Prince Bernhard, the Queen's husband, made less and less effort...
...Federal Court in Manhattan's Foley Square had not been so lively since Estes Kefauver interviewed Frank Costello. A House Judiciary subcommittee, holding hearings on monopolistic practices in the broadcasting industry last week, wound up testimony from leading tunesmiths, lyric writers and librettists. Upstaging Committee Chairman Emanuel Celler were Librettists Alan Jay (My Fair Lady) Lerner, Oscar (South Pacific) Hammerstein II, Dorothy (I Can't Give You Anything But Love, Baby) Fields and Otto (Roberta) Harbach; Composer Stanley (What a Difference a Day Made) Adams, Occasional Songwriter Billy (Barney Google) Rose. Their statements were all designed to show...
...arguments all go back to the fact that air is free and music in the air is fleeting. Composers could almost always collect cash for sheet music and later for recordings, but collecting for public and broadcast performances was more difficult. For the past generation the American Society of Composers, Authors and Publishers (ASCAP) has been handling such collections, the largest share of them in the form of flat annual fees from broadcasting stations, which nowadays amount to as much as $18 million a year. The bite was painful, and in 1939 broadcasters raised the cry of "monopoly" against ASCAP...