Word: cues
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Dates: during 1940-1949
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Once in the Ziegfeld Follies he discovered Comedian Ed Wynn making faces at an audience from beneath the billiard table over which he was brandishing his famed bent cue. He conked Wynn with the cue, knocked him cold, beamed at the applause and went on without interruption...
...last time Harvard and Yale met together on a field called Soldier's to play football it was November, 1941, and Pearl Harbor stood in the wings waiting for her December cue. In a sense, that game was a capstone of the Years Between the Wars, of the World as it Used to Be. Before the war engulfed them both, the two schools played one more, as anti-climactic as the other had been a climax, the last gasp of a world that was already dying. Taht year an underdog Crimson eleven saw an upset victory over Yale slip from...
...Mooney himself who makes the quartet spark. He does the arrangements they start from, writes many of the tunes, provides every cue during the improvisational passages, and sings the vocals in the soft style of Nat (King) Cole. Sometimes he switches from accordion to piano, astonishes fellow musicians by playing contrasting figures with right and left hand simultaneously. The other three members of the quartet watch Mooney closely, and with evident admiration. (He cannot watch them: he is blind.) Their cue from Mooney is often merely a smile or change of facial expression...
Burden on the Masses. Taking his cue from Generalissimo Stalin's recent statement (TIME, Oct. 7), one Dr. Lund, a Moscow radio commentator, last week ironically offered his sympathies to U.S. taxpayers: "Keeping this huge $16 billion military budget . . . will mean a terrible burden on the masses. . . ." Pravda reported that unemployment was growing in the U.S., that only "huge Government expenditures on war needs" along with slow demobilization kept it in check...
Rozsa writes his sound-track scores in a soundproof room at home with a cue sheet of the film script, a stopwatch, and his boxer dog Mowgli beside him. Usually by the time the studios get the script to him, he has only about six weeks to do the entire score. Much of his work sounds like a cut-&-paste job on themes and orchestral effects out of Tchaikovsky, Debussy, Ravel, Shostakovich. Some of his scores (for which he gets $15,000 to $20,000 apiece) have scarcely an original theme in them, are made up largely of a succession...