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Time to Sing Bass. In the midst of his cold war harassments, Kennedy kept up his pursuit of national unity, begun the week before in face-to-face talks with Dwight Eisenhower, Richard Nixon and Arizona's Republican Senator Barry Goldwater. Last week, filling out the G.O.P. spectrum, he met with New York's Governor Nelson Rockefeller at the White House, and later, visiting New York City for the first time since his inauguration huddled with Elder Republicans Herbert Hoover and Douglas MacArthur...

Author: /time Magazine | Title: The Presidency: Painful Reappraisals | 5/5/1961 | See Source »

...Republican leaders consulted by Kennedy responded handsomely, promising him their fullest cooperation. But some others seemed less willing to remain silent in the face of setback. Snapped G.O.P. National Chairman Thruston B. Morton: "The time has come for our Government to sing bass in world affairs and not take refuge in shrill Byzantine ambiguities...

Author: /time Magazine | Title: The Presidency: Painful Reappraisals | 5/5/1961 | See Source »

...quietly disdainful mouth. Whyatt is upstaged only by his Buttercupesque admirer, the Lady Jane, played with waspish hauteur by Dorothea Schmidt (she is particularly magnificent at the opening of the Second Act, when she is discovered in a glade singing a plaintive lay, and accompanying herself on a double bass). Her singing voice I can only describe as a magnificent and artfully manipulated foghorn...

Author: By Anthony Hiss, | Title: Patience | 4/28/1961 | See Source »

Last week the minstrels, usually a mild lot, massed in protest. One of them balanced a bass fiddle on his head. Another carried an inflammatory sign: "We Want to Continue As We Have in the Past." Politely they asked the cops if they could march around the square, and politely they were told that this would be all right, as long as no one struck a law-breaking chord of Greensleeves or Foggy...

Author: /time Magazine | Title: Folkways: The Foggy, Foggy Don't | 4/21/1961 | See Source »

...uses both kinds of electronic music, concrete and absolute. The former utilizes pre-recorded sounds of real instruments before alteration by oscillators, filters and the like; the latter includes only sounds that originate inside electronic equipment. One piece, Amazing Grace, combined the two very effectively. A mysteriously distorted bass voice boomed out a spiritual tune, while round, bloated electronic sonorities swelled up, over-whelmed it and trundled to a stop...

Author: By William A. Weber, | Title: Avant-garde Music | 4/11/1961 | See Source »

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