Word: tuned
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Dates: during 1990-1999
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There has been no reported surge in crossings from illegal immigrants trying to tune in to an O.J. broadcast, so the case has no implications for NAFTA...
...time of the murders, have confessed to shooting their parents Jose and Kitty as they watched television in their Beverly Hills living room. Erik, now 24, will again be represented by Leslie Abramson (although this time she will be paid by the county to the tune of about $10,000 a month, the Menendez millions having been wiped out last time around). And Abramson, along with deputy public defender Charles Gessler, who is lead attorney speaking for Lyle, 27, will again pound home the argument that the brothers killed, as Abramson put it last week, out of "mind-numbing, adrenaline...
...PRINT DRESS WHOSE NECKLINE dips well below the level of propriety, Julie Johnson takes a few dainty steps to the front of the stage, sucks a little more oxygen into her grand bosom and singes the audience with I Do What I Can (with What I Got), a torchy tune about the advantages and imperatives of being a knockout babe. Johnson's rendition, in the Larry Grossman musical Paper Moon, is a KO as well; she coos, she beguiles, she does everything but bump it with a trumpet. It's the sort of turn to persuade even a show...
...concert's second half continued the Ellington/Marsalis theme. Obscure Ellington tunes such as "The Giddybug Gallop" and "Anitra's Dance" from the Peer Gynt Suite preceeded the most impressive moment of the evening, "Jack the Bear." Ellington's double bass feature for Jimmy Blanton was competently played by bassist Ben Wolfe. However, the cameo appearance of pianist Marcus Roberts proved to be the highlight of the tune. Roberts stretched the harmonies of his blues choruses with Monkish lines, piano runs reminiscent of Ellington's "Ko-Ko" and an unparalled rhythmic concept. Following Roberts, Marsalis introduced LCJO's vocalist Milt Grayson...
...band was brought back for an encore of "Wild Man Moore," an obscure Ellington tune from the Paris Blues Suite which featured tenor Andy Farber in a Paul Gonsalves feature. Marsalis ended the tune by leading the trumpet section offstage followed by trombones and saxes in a second-line march. A five-minute standing ovation brought Marsalis back with pianist Eric Reed for a rendition of Marsalis's best composition of the evening, the ballad "Spanish Yaounde." Another five minutes brought the entire band back for "Across the Track Blues" to close the night...