Word: toning
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Dates: during 1990-1999
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...ensure catastrophic coverage under Medicare began with the words, "Your Federal Taxes for 1989 May Increase by Up to $1,600 . . . Just Because You Are Over the Age of 65" -- even though 60% of all seniors wouldn't have paid a dime more in taxes. The tone of cool reason favored by the Founding Fathers is similarly lacking from this Jerry Falwell mailing: "American troops are again facing madman Saddam Hussein in the Persian Gulf -- but the enemy here at home may be much more dangerous! . . . Homosexuals are Bill Clinton's 1 allies...
...State Department also took a sterner tone. Spokeswoman Christine Shelly charged that Moscow had violated two commitments to the Organization for Security and Cooperation in Europe: failing to notify its partners of large- scale movements of troops, armor and artillery, as required; and violating the organization's code of conduct, which calls on members to respect civilian populations and work for peaceful solutions to disputes...
...Crimson set the tone for the day in the opening relays where its two teams finished...
...they couldn't afford the airfare) to Los Angeles -- a nine- hour drive. The long haul was a blessing in disguise: because traveling was such an ordeal, Ryder turned down roles in many a cheesy horror film. Her debut, Lucas, made when she was 13, set the tone for her later choices. It was a sensible, sensitive tale of ordinary kids growing up. Soon she got her first two defining parts: in Beetlejuice and in Heathers, Daniel Waters' blistering portrait of suicidal teens. Heathers remains Ryder's favorite picture; she keeps pestering Waters to write a sequel...
This was drama as rant, an explosion of bad manners, a declaration of war against an empire in twilight. The acid tone, at once comic and desperate, sustained Osborne throughout a volatile career as playwright, film writer (Tom Jones) and memoirist (A Better Class of Person). More important, it stoked a ferment in a then sleepy popular culture. Anger's curdling inflections and class animosities were echoed in the plays of Joe Orton and Edward Albee (Who's Afraid of Virginia Woolf? is a direct descendant), in Dennis Potter's savage TV scripts and in a generation of performers, from...