Word: tuned
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Dates: during 1960-1969
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...course, the State Department has been singing a requiem over De Gaulle since 1940, and there is every reason to think he has accustomed himself to the tune by now. Washington's impatience to turn out pall bearers for Adenauer is also a bit premature. Inspired name calling notwithstanding, the two are very much alive...
...record, the needle stuck in a groove, stuttering the same strident chords, assailing ears that had grown weary of the tune. Going into its second month, New York's newspaper strike had turned into something of a bore. Manhattan readers grazed on a new crop of strike-born dailies, none of which served as a satisfactory substitute for the missing newspapers. In their separate camps, the publishers and the striking printers hibernated like bears waiting for spring...
...monitors or ordinary listeners-in can tune in on any channel any night of the week and get an earful of such prohibited gab. Many CBers regularly call each other up and conduct two, four, or six-way conversations, continue them for longer than the five-minute FCC time limit, interspersing their transmissions with "the 10 code'' made popular by TV's Highway Patrolman Broderick Crawford, and usually end up by enraging other CBers who want to get on the air with legitimate and sometimes urgent messages to office, home or delivery truck. One such dialogue took...
Macmillan did not dare attempt the tune, merely declaimed the words sonorously. But the astute owners of a London satirical sheet called Private Eye snipped the passage from a tape recording of Macmillan's speech and re-recorded it, with backing from a twangy rock-'n'-roll guitar and a swinging chorus. Though it was intended only as part of an esoteric mailorder LP, Londoners last week found the record so hilarious that they were swamping record shops with requests...
...could he sat the youngsters next to the veterans, on the theory that the enthusiasm of one would rub off on the experience of the other. But there is more than seating arrangement to account for the transformation of an assorted group of musicians into a symphony orchestra. Stokowski tunes differently from other conductors: instead of asking the oboe for an A by which the whole orchestra tunes, he asks for an A for woodwinds, a B-flat for the brasses, an A again for the strings. The three sections tune separately. Nor does Stokowski, like most conductors, stop...