Word: familiarizes
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
This approach was familiar to Eleanor Steinert, who has covered the Chicago angles of TIME'S Petrillo stories for the last two years. Her first brush with the boss of the musicians' union was a by-product of the press conference at which he said: "We don't want any victories or any rights. All we want to do is live." Western Union transmitted it as "love," and TIME printed it that way. At a later press conference Petrillo leveled a finger at Miss Steinert and hollered: "There's that gal from TIME magazine that said...
This week Bernard Baruch gave the Senate Foreign Relations Committee and the U.S. the benefit of an old man's experience and advice. As usual, it was so commonsensible it sounded daring. The nub of it (with familiar Baruch bells on): the time has come to quit horsing around and get to work...
...hideous Flemish masterpiece, newly acquired by London's National Gallery, looked strangely familiar. Probably, said the National Gallery experts last week, Illustrator John Tenniel had used it as the model for the Duchess in Alice. Flemish Master Quentin Matsys (1466-1530), who had painted the original, had intended it as a caricature of Margaret (nicknamed "Pocket-mouth"), Countess of Tyrol. About the only change Tenniel made, agreed the London News Chronicle, was to add "ermine to the headdress and sausage curls to the forehead." Otherwise little was otherwise...
...phone rang in the Chicago Symphony's office, and a familiar voice spoke all-too-familiar words: "Dr. Rodzinski cannot conduct rehearsal today." Assistant Conductor Tauno Hannikainen was hurriedly called in. He had just 24 hours to rehearse with the soloist (Pianist Myra Hess) and to start learning Shostakovich's Fifth Symphony. Several hours later, the phone rang again; once again it was Mrs. Rodzinski on the line: "Dr. Rodzinski is better; he will conduct the Shostakovich; Hannikainen can conduct the rest." But the orchestra's trustees had already heard enough. Midway through the concert next...
Rooms for Tourists, like most of Hopper's work, has the strange clarity of something seen once for an instant by a passing driver. It is a familiar vision without any of the dullness familiarity brings. The house looms sharply in the long darkness of the night, and the light shining from its windows is warm as bed. The impression, and the invitation, are instantaneous; the road leads on past...