Word: controllable
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Dates: during 1960-1969
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...minutes-carried live in the dinner-hour news slot by the networks -Agnew inveighed against the commentators and producers who control the flow of information and comment to the nation's television viewers. "A small group of men," said Agnew, "numbering perhaps no more than a dozen anchormen, commentators and executive producers, settle upon the film and commentary that is to reach the public. They decide what 40 to 50 million Americans will learn of the day's events in the nation and in the world." Such vast and unchecked power in the hands of a "small...
...strange, pervasive love-hate relationship that Americans seem to have with TV-the force that entertains them, unifies them by making them simultaneous witnesses to great events, and yet also brings them words and images they resent. Most often, of course, they are words and images beyond the control of the distant and suspect networks; they are the inevitable result of social upheaval, of change, or war. But in challenging the qualifications and motives of the TV news commentators and producers, Agnew brought to the surface questions that have been in the mind of every American who has ever tuned...
...Making of a President, 1968, White attacked the "increasing concentration of the cultural pattern of the U.S. in fewer hands. You can take a compass with a one-mile radius and put it down at the corner of Fifth Avenue and 51st Street in Manhattan and you have control of 95% of the entire opinion-and influence-making in the U.S." On William F. Buckley's TV program, Firing Line, White suggested breaking up the networks. "Let's say we can rear back and pass a miracle bill. We would say only one national network can have...
Agnew's proposals were not nearly so Draconian, but singled out "a dozen announcers, commentators, executive producers" who control TV news, and superficially he got the number right (see box, page...
...sang? with ?ear diction, precise ensemble and balance, and spiritual sympathy. But conductor James Yannatos deserves special praise for a manly, unostentatious, dramatically well-proportioned, moving yet suitably chaste reading of this Requiem of consolation for both dead and living. Baritone Thomas Beveridge sang with subtler phrasing and dynamic control than soprano Helen Boatwright, who, while possessing considerably more substantial tone, tended to substitute distracting inhalatory anguish for simpler feeling. The sorrow of her central text resides in the unadorned line, without need for such overt emotional infringement...