Word: tone
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Dates: during 1980-1989
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...called the International Communication Agency) was a neglected foreign policy backwater before Charles Z. Wick, 66, became its director in 1981, but the former Hollywood moviemaker, venture capitalist and, most important, close friend of Ronald Reagan's has brought to the agency righteous zeal and a show-biz tone. He has also earned an uncomplimentary reputation for a bumptious manner and an attention-getting lifestyle...
...teen love and cars in such hits as Good Vibrations, California Girls and Surfin' U.S.A. Although Wilson often feuded with other group members, he was on board for the satisfying moment last summer when President and Mrs. Reagan overruled Interior Secretary James Watt's tone-deaf putdown of the Beach Boys as "unwholesome...
Although the U.S. remains skeptical of Nicaragua's intentions, at least on the surface there are signs of movement in the long-frozen relations between the two countries. Shultz's new softer tone was prompted by a series of announcements and a few specific actions by the Sandinista regime that sound, and may ultimately prove to be, substantive. The Managua government said that it plans to hold democratic elections in 1985, and that the long electoral process will begin next month. It announced a limited amnesty for Nicaraguans who fled the country after taking part in fighting...
That early rhetorical skirmish set the tone for a meeting in which, according to one Irish official, "no real negotiations ever got started." A distracted Kohl did not intervene between his quarreling partners; at one point in the session, to the annoyance of other summiteers, he slipped away to a Greek TV center for a three-way conversation with President Reagan and the West German astronaut aboard Skylab. After the slender hope of a last-minute compromise vanished during the closing summit dinner, Italian Prime Minister Bettino Craxi told the press, "If I may use metaphorical language, we failed...
...major romantic-opera composers, along with enriching the repertory, each toughened the requirements for those who perform their music. In addition to the usual considerations of vocal agility and purity of tone, Wagner demanded endurance, a prodigious memory and a sound that could cut like hot steel through his dense orchestrations. Puccini required singers capable of searing dramatic flights, coupled with limpid lyricism. And Richard Strauss, envisioning his ideal Salome, was only partly joking when he asked for a 16-year-old with the voice of Isolde. No wonder then that outstanding interpreters of such operatic peaks as Briinnhilde, Turandot...