Word: tenors
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Dates: during 2000-2009
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...even more insistent echoes of Al Jolson's, with its declamatory style and its tendency to end on an orgasmic high note (though Bing tended to moo his glissandi, where Jolson went "mwaaa"). Apparently skeptical of the appeal of his natural baritone, he forced it up into the familiar tenor range. It took a while for him to realize that the bu-bu-bu- boos were original, natural and, to his widening audience, deeply satisfying. It was also wonderfully adaptable to the musical genres he would investigate for the rest of his career: Irish songs, cowboy ditties and hymns...
...faculty were shocked. In an April 4 meeting requested by Hooker Professor of Visual Arts Alfred F. Guzzetti, Knowles described to the VES permanent faculty the general tenor of the complaints but refused to give them specific examples of misconduct...
...Prince Charles called him "one of the great life enhancers of our age," perhaps the best epitaph for SIR HARRY SECOMBE, an ebullient comedian, acclaimed tenor, film actor, charity worker, author, and longtime TV and radio personality. These were the extensions of an exuberant character, whose spontaneous wit never relied on malice to entertain. For those who grew up in Britain in the '50s, Secombe is best remembered as Neddy Seagoon of radio's long-running Goon Show. With Peter Sellers, Spike Milligan and Michael Bentine, Secombe gave us our first taste of alternative comedy. In those ordered, respectable times...
...behalf of scientists and smart people everywhere, I congratulate you on your newly clarified policy of not publishing opinion pieces containing “unsupported generalizations” (“To Our Readers”, March 20). This will surely raise the intellectual tenor of the op-ed page, and probably save a lot of paper too. Rest assured, someone in the Harvard community is bound to conduct an “unsupported generalization” watch to help you in your quest. Thank goodness we have protesters to spur these much-needed editorial advances...
...work, it never seemed that Scofield was derivative or stretched for motivation. Grasped by the inspiration for a musical idea, he would push it to the limits of creative invention, feeding off his sidemen until grasped by a fresh concept that he would subsequently exhaust. Blake’s tenor provided particularly potent fuel, as they, face to face, improvised harmonies, some of which melded seamlessly with the tune. Others that didn’t quite work were nonetheless commendable for their innovation. Free to experiment beyond the confines of chords or melodic conventions, Scofield and Blake fed off each...