Word: listen
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...nighters to another theater, where the actors per-formed the show from the audience. In 1938, he elevated radio drama by bringing the Mercury Theatre to the air and, on October 30th, offered a Mischief Night ad-aptation of "The War of the Worlds" - a sensation when thousands of listen-ers took fright, and flight, from the story of a Martian colonization of America. And in 1941, five days before Welles? 26th birthday, RKO released "Citizen Kane," a sensation that publisher William Randolph Hearst tried to stop because he believed it was a libel on his life. The film...
...putting on this radio show was fun. Otherwise, why do it? And the enjoyment the Mercury team had in doing a tough job superbly is everywhere audible to today?s listeners. The narrative tone varied from show to show, as in a well- chosen theater repertory. A stentorian "Abraham Lincoln" was followed by Schnitzler?s sad-gay "The Affairs of Anatol"; a jaunty Holmes-Moriarty saga gave way to "Hell on Ice," a docudrama of a disastrous North Pole expedition, and one of the most adroitly harrowing hours you could shiver through. Houseman, Welles and Howard Koch, who was hired...
...hokiest, and farthest from his own prodigious, wandering youth, when imitating the thin, whiny timbre of small-town America's young men in such period pieces as "I'm a Fool," "Seventeen," "Ah, Wilderness!" and "The Magnificent Ambersons." To hear him grow, and grow old, in a single hour, listen to his Edmond Dantes. The immature, innocent tones are tortured out of him; as he withers in prison, and is schooled in bitterness, his voice trudges down an octave, until by the time he has escaped and become the vengeful Count of Monte Cristo, he sounds as gruff...
...divisions stationed in their backyards kept hearing rumors about deactivation but could not confirm them. There were new leaks every day about dismantling National Guard units and mothballing ships. And when the lawmakers managed to corner him, Rumsfeld gave nothing away. "He made everybody mad," says Dicks. "He'd listen to what you had to say, but there was no dialogue...
...other words, it was music defined by class. In the corner of southeastern Michigan where I grew up, the music you listened to had everything to do with class--in a new way that transcended the old English sense, which had to do only with how you were born, and the old American sense, which had to do only with how much money you had. Sure, if you lived in tony Grosse Pointe, you were more likely to listen to Orchestral Manoeuvres in the Dark than, say, Foghat. But even we alternateens with blue-collar parents saw ourselves as separate...