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Seattle's Station KOMO means to wring the very best out of its scriptwriters. Last week, architects were at work on the Thinking Room of KOMO's new studio building. Immediately before he gives birth to a script, the writer will be confined in the Thinking Room for appropriate mood-building. KOMO's President O. W. Fisher explains enthusiastically: "Suppose we have a program about Polish refugees being sent back to Poland. The writer will sit in this room, lighted in a blue-greenish color. The room will be cold. We'll have Polish folks songs...

Author: /time Magazine | Title: Radio: Think | 3/3/1947 | See Source »

...over him; they "patted his cheeks, pulled his nose and poked their fingers in his eyes." The sons were roughnecks: "Willie and Tad . . . rifled the drawers and riddled boxes, battered the points of my gold pens against the stairs, turned over the inkstands on "the papers. ... I wanted to wring the necks of these brats and pitch them out of the windows...

Author: /time Magazine | Title: Books: The Many Lincolns | 2/17/1947 | See Source »

Faced with an involved and drastically over-long play, the new dramatic group cut it to workable length, cast it faithfully, and struggled manfully to wring all the laughs possible from William Gerhardi's first attempt at playwriting. The essential fault that Kilty and Company failed to recognize, however, was their original choice of vehicle--an impossibly dramatic, wordy, technically cumbersome work...

Author: NO WRITER ATTRIBUTED | Title: The Playgoer | 12/5/1946 | See Source »

...rounded athletic program." Everyone waves the banner except the stalwarts themselves, who are too busy nudging Minnesota tackles, or dodging the flying tackles and clips of the rival eleven. In great parts of the country, these players are paid well for their efforts, while Athletic Secretaries and Alumni apologists wring tears from eyes, just a mite skeptical over a goldmine on the gridiron...

Author: NO WRITER ATTRIBUTED | Title: Brass Tacks | 11/7/1946 | See Source »

Theatergoers in Manhattan who saw Olivier as Oedipus last spring knew that he had most of the makings and many of the accomplishments of a great tragic actor. Yet it was still possible to wonder whether he had quite the size of soul and voice and presence to wring the grandest roles dry. If London's generally reliable critics were to be trusted, such doubts were no longer possible. Seldom in a decade has the London Times talked like this...

Author: /time Magazine | Title: The Theater: Olivier's Lear | 10/7/1946 | See Source »

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