Word: wording
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Dates: during 1960-1969
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...Escalation" is one of those windy words that are foisted on the public by military bureaucrats, interminably parroted by the press and kept in the vernacular long after losing any real meaning. Though the word-let alone its antonym, de-escalation-appears in neither Webster's Second nor the Oxford English dictionary, it has become synonymous with the U.S. commitment to Viet Nam. More specifically, it has become a pejorative term encompassing any American increase in the level of fighting...
...Harvard's junior faculty salaries are not quite competitive." The word quite distorts the truth: no other major American university offers men who actually hold the Ph.D. degree (regardless of rank) $7800. E.g. the minimum salary, for Ph.D.s (in all departments) at Berkeley, Wisconsin, Princeton, Stanford, and most other major universities, commences at $9000. See the AAUP Bulletin (June 1966), pp. 164-95. Further, a junior faculty member at Harvard who does not actually hold the Ph.D. (i.e. an acting instructor) earns...
...Countess From Hong Kong his best film. That in itself doesn't mean very much; traditionally, film directors either prefer their most recent film or have a tendency to love the disaster, the film Otto Preminger describes as "one's sick child." If you're willing to take the word of the uniformly unfavorable newspaper reviews, Chaplin's preference for countess over his other films can be written off on one of these two counts. But you'd be making a mistake. Chaplin knows what he's talking about, and A Countess From Hong Kong is a fascinating film...
...contrast to the first half. From the long, dreamy lines of the Wedding Song to the bouncy, spirited dancing songs, each song created a convincing atmosphere of its won. In Stravinsky's Russian Peasant Songs, the women, singing alone, gave the best performance of the evening. Every note and word was crisp and clear in these pulsating, rhythmic songs. In the third, the chorus and an excellent solo trio gleefully tossed the song back and forth. Dorothy Oeste's soprano in the fourth was flawless...
...problems the Glee Club encountered in Carter's Emblems were more the fault of the compose than of the performers. Carter takes a perverse delight in setting words in unnatural ways, distorting normal word and sentence rhythms. The music itself, after a pedantic first section, gets underway with a piano interlude introducing the second, the builds to an exciting climax in the third and final section. The performance followed the same patter; the first part, although competent, was somewhat static, but the rest was magnificent...