Word: soloed
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Dates: during 1960-1969
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...perfect landing and taxied over to a hangar. There, a crowd of R.A.F. officers raised a cheer. Out of the plane stepped Britain's Prince Charles, flashing a broad grin. After 14 hours of instruction, the 20-year-old heir to the throne had logged his first solo flight and was well on his way to earning his pilot's license. ∙∙∙ The pews in the chapel of St. Luke's Church in McLean, Va., were filled with relatives and friends. Aunt Jackie had flown from New York. Uncle Ted and Aunt Joan were there...
...Iron Butterfly discover a pleasant riff and instinctively they begin to give it the full treatment--toying with it pretentiously for about thirteen minutes, padding it with irrelevant organ solos and guitar solos and the mandatory drum solo (with extensive use of the bass drum yet!). This music is very different from, and inferior to, the concentrated, strictly organized, but striking sound of early black rock and roll of the Chuck Berry-Fats Domino-Little Richard variety--a sound which had its greatest impact among the swaggering, brash young British proletariat. When the white working classes in America finally shake...
...individual who so dominated the week's stories that he deserved a place on the magazine's cover. "Forget the man of the week," someone finally suggested. "Let's select a Man of the Year." That choice was easy. Charles A. Lindbergh, first man to fly solo across the Atlantic, was clearly the hero of 1927. Thus, almost by accident, Lindbergh became TIME'S first Man of the Year...
...with simple, effective judiciousness resulting from the unself-indulgent understanding of a work. The few instances of imprecision, such as slight rhythmic tediousness in the "Marche du Soldat," unsettled trumpet playing in the difficult "Marche Royale," and a careless-bassoon duet in the "Brook" were hardly noticeable amid excellent solo and ensemble work. This delightful compendium of street band, drawing room, Hades, the gently-watered country-side, and dance hall is unlikely to receive a significantly finer student performance at Harvard...
...surpassing beauty and power of the Finale swept all these profanations before them. The orchestra coalesced with fine string playing for the most part, especially in the opening violincello recitative which comes just before the main theme dispels Beethoven's irresolution. The solo quartet, however, was unconscionably bad. The bass, Mr. Mac Morgan, was totally inadequate to his tasks, displaying no vestige of tone and only a certain diaphrammatic eloquence. Paul Huddleston, the tenor, was the best of the four soloists, but was unremittingly routine. The two women, soprano Chloe Owen and contralto Mary Davenport, sang like superannuated Valkyries, spoiling...