Word: vocalizer
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Dates: during 1940-1949
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...such tactics, albeit sensational, do not involve dangerous violations of civil rights. The real danger lies in the ability of one man to create, dominate and pervert a Congressional Committee the way john Rankin has. When a Congressman can subpoena an American for taking a vocal role in an election campaign, can cite this same man for contempt and force him to waste his and the government's time with a costly contempt suit, and can deprive the witness of counsel in the manner of the better Inquisitors, it is time Americans look closely to discover where the shoe fits...
Despite the testimony of scientists that the strength of Kenneth McKellar is insignificant compared to that of the atom bomb, the Senator from Tennessee has lately been experiencing delusions of grandeur, and is prepared to display his vocal brawn in an attempt to twist fissionable uranium into a political crowbar. Contesting the appointment of David E. Lilienthal as Chairman of the new Atomic Energy Commission, McKellar is reviving an old political battle as significant to the problem of peacetime atomicenergy development as an Ozark blood-fend...
Said he: "A healthy child of [three] wakens with the dynamic force of an animal and the vocal exuberance of a bird. Many children are treated with the most appalling dictatorial tyranny by their parents because of this. . . . The child lies in his bed meek, cowed and completely inhibited...
...sang The Merry Widow's dashing Prince Danilo. Less vocal (for reasons of state), Britain's gamesome King Edward VII and gamey King Leopold II of the Belgians were just as intime chez Maxim. To many another princely sprig, millionaire, archduke and demimondaine of the fey '90s, Maxim's in Paris' rue Royale was the most elegant bistro in Europe, the gaudiest symbol of the mauve decadence. Its décor was the most glittery, its women the most ravishing, its top-drawer scandals the most toothsome. No Manhattan nightclub captain was ever so suave...
...John Faustus, Charles McFarland played a difficult part with tremendous energy and understanding. At first a little stiff, he moved on to become actively lucid and supple. George Kyron, in the role of Mephistopheles, supplied an efficacious verve in facial characteristic and vocal bearing. Richard Kilbride and Harry Cooper, as sixteenth century comedians, were really funny. But the device employed most efficiently by the company was in the lighting, handled by Duvey himself, which served to heighten every moment and provide for the rapid change of scenes so essential to Elizabethan drama...