Word: familiarization
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Dates: during 1960-1969
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...recent weeks, Washington Correspondent Hays Gorey found traveling with Kennedy not a bit more relaxing. One night just before the Indiana primary, Gorey was entering his motel, worn out and ready for bed. "Had your dinner yet?" asked a voice with a now-familiar accent. "At 1 a.m.?" said Gorey. "Of course." Said Kennedy: "Join me anyway." Gorey did. When he crawled out of bed early next morning, the first person he saw was Bobby, briskly walking his dog Freckles. That exercise was cut short when the tireless candidate joined a game of touch football. "Sometimes," says Gorey wistfully...
Finally touched on the left shoulder, the subject forgot the entire fabrication until he was shown the film five months later. He was flabbergasted. Left of center politically, he thought himself fundamentally skeptical of Communist-conspiracy theories. Even the details did not strike any familiar chord. He does not drink any beer; he had never been to a Greenwich Village loft and knew no Harris or anyone like the man he had so vividly described...
...dialogue between orchestra and Syn-Ket. With the orchestra divided into two sections tuned a quarter tone apart, Eaton's Concert Piece was able to achieve a dense, microtonal fabric of sound that would have made even Charles Ives envious. Though the Syn-Ket started out with the familiar blips, snaps and bee-swarming sounds usually associated with electronic music, it soon proved its special if not necessarily pleasing power with waves of organ-rich tones and descending spirals of patterned trills. "This was an adventure in sound," said Mehta later. "We must remember that when Petrouchka was first...
...grind a metaphor to dust faster than Godard, and in this pacifist fable, he grinds out dozens of familiar antiwar gambits. But this time the man ner enhances the material, and man ages to prove Borges' maxim correct...
...their musical thoughts about love or hate or anything else that happens to strike their fancy. Michel Martel clowns around, but also finds time to display a voice that can find its place in any octave. Helen Ireland, throaty and soothing, and Nigel Pegram, quiet and cynical, handle the familiar folk songs with an unfamiliar sense of style...