Word: waited
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Dates: during 1940-1949
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...ivory boxes. People in mourning and octoroon courtesans took their opera behind latticed screens. Barbers and hairdressers discussed high Cs with their customers. During one performance of Faust, an expectant mother is said to have turned to her husband, remarking: "Pierre, I do not think I can wait for the ballet." Many a French opera, including Samson, L'Arlésienne and Hérodiade, had a New Orleans première before reaching Manhattan. Then, in 1919, the New Orleans French Opera House burned to the ground...
...suggested theme for local laundries might be, "Why go elsewhere and wait? Leave your laundry here." ... Maybe I should be a little kinder to the laundrymen hereabouts for now they are nice enough to send me my buttons back ... Does your Dad need a former khaki shirt now a stop-light red for his V Garden scarecrow? ... I could let him have the one I just got back real cheap. I don't know when I could wear it unless I began selling cocoa coals on street corners...
...gone. But examination of the bodies revealed that many who chose death probably were not even wounded. They could have kept on fighting. They had plenty of ammunition left. They had raided American supply dumps for food. But so eager for death were they that they could not wait. The grenades they could have thrown against Americans were pressed against their bowels in honorable hara-kiri fashion...
...film opens during the Battle of Britain. Mitchell's former test pilot (David Niven), now a wing commander, tells the story of Mitchell's working life to a group of flyers as they wait for the order to "scramble" into action. Retiring, publicity-hating Reginald Mitchell was no flyer. He was in every sense an artist, whose struggles and triumphs had a solitary character. As a study and an appreciation of that kind of man and that kind of service-which usually lies forgotten for a generation-this film comes notably soon. Mitchell had to fight official inertia...
...idea was to have vocal soloists accompanied, not by the usual dance band, but by an all-vocal (hence nonunion) ensemble. Decca issued two trial records by Vocalist Dick Haymes with singing support: It Can't Be Wrong and In My Arms; You'll Never Know and Wait For Me Mary. Columbia, working on a similar plan, was about to release two orchestra-less Sinatra recordings: You'll Never Know and Close...