Word: petted
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Dates: during 1950-1959
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...fact, as London's Economist soberly noted last week, "by the time he got it home, Mr. Macmillan's diplomatic luggage was pretty light." In the face of French, German and U.S. skepticism, Macmillan had dropped one pet concept after another. In the beginning the British press, taking its cue from the Macmillan-Khrushchev communiqué which mentioned a possible limitation of weapons "in an agreed area of Europe," had talked eagerly of steps toward "disengagement" of Western and Soviet forces in Central Europe. Macmillan's aides diluted this to a "thinning out" of the military...
...credit. They supply arms-jets and tanks, and Russians to train their operators-with a lavishness that the U.S. has no intention of matching. As recently as last December, the Soviet Union acquired by agreement all construction rights for the first five years' work on Nasser's pet project, the Aswan Dam, despite a counteroffer from West Germany that would have involved no political strings...
...visit to the stables of Santa Anita race track, Turfwoman Elizabeth Arden Graham stopped to pet one of her surest stakes winners ($349,642 in 1957), Jewel's Reward, got no reward herself: the surly four-year-old chomped hard, nipped off the end of her right index finger...
...Pet Hates. Casa Ricordi was founded in Milan in 1808 by a violinist who, so the legend goes, noticed that the workers around La Scala wore paper hats made of discarded musical scores. Giovanni Ricordi investigated, found that valuable scores and orchestra parts were stacked high in La Scala's cellar. He began to buy up some of the scores, set himself up as a copyist, got a contract stipulating that all the scores he produced would remain his property after a performance. In an age without copyrights or royalties on performances, he funneled some of his earnings back...
...poetry and chamber music, negotiated so shrewdly that Casa Ricordi realized as much as 65% from the earnings of its composers' work. With a near-monopolistic control over Italian opera, Giulio attended rehearsals at La Scala, recommended the hiring or firing of singers, publicly castigated conductors. A pet hate for a time: Toscanini, whose style he once likened to a "mastodonic mechanical piano." Above all, Giulio commissioned Arrigo Boîto to write the librettos of Otello and Falstaff, which fired the aged Verdi into composing again. Although Puccini drew monthly advances for nine years before paying the money...