Word: cueing
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Solemnly stepping through their paces, the Senators first received the House-passed Marcantonio bill, which would outlaw the poll tax in eight Southern states. On cue, bombastic old Tom Connally rose up to shake his grey-white mane and speak his piece about States' rights. "Because my own State of Texas does not conduct its affairs as the State of New York thinks it should conduct them," he declaimed, "these crusaders, these Sir Galahads, mount their steeds and come down into Texas to modify us, and to Christianize us, and to liberalize us, and to modernize...
Meanwhile the Army-ruled Federal Commissioner in Entre Rios, taking his cue from the Big Boss in B.A., forbade provincial newspapers-at cost of permanent suppression-to make any mention whatsoever of such dangerous subjects as the Constitution, freedom or religion...
...civil servant named William Joseph Shields stood on the stage of Dublin's great Abbey Theatre, quakingly ready to deliver himself of his first speaking role. It was brief. The play was Sheridan's The Critic and his entire role, as "2nd Sentry," was to meet the cue "All this shall to Lord Burley's ear" with a yes-man's " 'Tis meet it should." Just before the cue, the malicious actor next him whispered, and the terrified Mr. Shields repeated, loud & clear, " 'Tis sheet it mould." He has been a comedian ever since...
Slosson, a thin little man, sharply blue-eyed, appropriately billiard-bald, plays with a cue he bought for 50? in Louisville in 1874. He figures it has been re-tipped at least 500 times and had perhaps 40 leather covers on its butt. With it he won the straight-rail world championship from Maurice Daly in 1877, the Champions Game title from Maurice Vigneaux in 1882, the cushion-caroms title in 1884, the 14.2 balkline championship in 1887, the 18.1 balkline title from Jacob ("Wizard") Schaefer in 1888, the 18.2 balkline title from Willie Hoppe...
Miss Hayworth's and Mr. Kelly's amatory ups-&-downs have a warmth and poignancy which is unprecedented in a cinemusical. When they cue into a song-especially the sentimental bull's-eye Long Ago-they do not step out of character for the number. Their dance duets are the best since Astaire and Rogers split. Scene after scene, even the troublesome Manhattanites in their splendid lairs, have a remarkable authenticity of emotion, place, atmosphere and character. So do most of the sets, costumes, dance routines, Jerome Kern tunes and Ira Gershwin lyrics...