"Everything's a screen now," he said in an adenoidal tone.
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Cosell was homely, with an adenoidal voice and a collection of toupees.
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Greet your public, Huell (played with deadpan, adenoidal perfection by Lavell Crawford).
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When backbench lawmakers interrupted her presentation with the adenoidal mooing so beloved by British politicians, Mrs.
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He has an adenoidal tenor and a lisp, but when he is indignant he can be an impassioned orator.
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It's decidedly separate from the guitar-driven and adenoidal sounds that typify music from America's most well-known college town.
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He draws on both booming trap beats and needly guitar lines, and can offer adenoidal whines when the situation calls for it.
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Recognizable in later years by his formidable gray mane, he would argue their cases, with his adenoidal inflection, at a machine-gun pace.
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Abbott is fifty-seven, with thinning gray hair, a warm, confident demeanor, and an adenoidal vocal quality, like a man powering through a cold.
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Playing during the recent Prostejov Challenger in the Czech Republic, Haase was up against Gonzalo Lama, and apparently Lama's adenoidal grunts got to him a little bit.
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Still, SpongeBob's adenoidal voice and unyielding optimism can become grating over the course of a 30-minute TV show, let alone two and a half hours live.
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He has an air of quiet sensitivity and a slightly adenoidal voice that suggests an off-hours version of the antiheroes and rogues he has embodied on camera.
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The sports commentator Brent Musberger was particularly adenoidal, comparing Smith and Carlos to "dark-skinned storm-troopers" as if they, and not Brundage, had Nazi skeletons in their closet.
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A nerdy, terminally unhip hero, Jeremy Heere (a self-effacing, sweetly adenoidal Will Roland), is offered a computerized pill, called a Squip, that rewires him to run with the cool crowd.
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The comedians said in a telephone interview that the aspiration to bring these adenoidal, self-deluded characters to Broadway arose only in the last couple of years and never appeared to be totally plausible.
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But Mr. Nanjiani builds the bit artfully, aided by a stealthy persona that comes across as perfectly ordinary until he deploys a puckish smile, revs up his adenoidal whine and gets his heavy eyebrows dancing.
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In her current one-woman show, Julia Sweeney shares the story of how she acquainted her teenage daughter with her most famous "Saturday Night Live" character, an adenoidal social misfit of uncertain gender named Pat.
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In conversation, he will sometimes stretch on the floor in yoga poses; he'll slip into the exaggerated voices of famous colleagues — the adenoidal clip of the "Star Wars" creator George Lucas or the disaffected monotone of Mr. Ford.
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And in the days after his death we returned to the myriad images of Ali in his glory: scowling in triumph and looming over the fallen Sonny Liston; shadowboxing underwater; peeking under the toupee of his adenoidal Boswell, Howard Cosell.
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Ewald and Lukens can write ragged or lilting or fierce or dejected riffs on command, rip them up with suitably serrated backup chords, and, that's right, carry a tune, albeit in flat adenoidal yowls whose occasional slip into whiner territory conveys humble human limitation.
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In the three decades that he has been a voice actor on "The Simpsons," Hank Azaria has played dozens of Springfield's absurd denizens on that long-running animated Fox comedy, including the surly bartender Moe, the inept lawman Chief Wiggum and the adenoidal bookworm Professor Frink.
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B PLUS Peter Perrett: How the West Was Won (Domino) Rousing himself from a six-minute opener as shapeless as another nodder's stupor, the original Only One delivers a revealing collection of new songs in the adenoidal singsong he trademarked in his twenties and miraculously retains at 65.
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Pugwash's adenoidal pronunciation of this character's name appears to be the main source of the urban legend about characters' sexually suggestive names.
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Primary or reactivation infections with Epstein–Barr virus, and certain other bacteria and viruses, can even cause enlargement of the adenoidal pad in an adult whose adenoids had previously become atrophied.
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It is breakfast time in the home of Henry Gow, a downtrodden, middle-aged salesman. He eats silently while the three women in his life exchange unpleasantries. His sloppy wife, Doris, and "horrible adenoidal daughter", Elsie, argue about her putting her hair up. Doris and his nagging mother-in-law, Mrs Rockett, quarrel about physical complaints, and Doris suggests that her mother move in with another relative.
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Children's Hour with Armstrong and Miller is a British four-part comedy programme broadcast on BBC Radio 4 between 2 December 1998 and 30 December 1998. It stars Alexander Armstrong and Ben Miller as media journalists. Armstrong is almost unrecognisable as the adenoidal Martin Bain-Jones with Miller playing Craig (often misnamed Crag) Children in a spoof music/children's/cultural review programme. No episode was broadcast on 23 December 1998 due to extended news coverage.
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He is also remembered for his frequent use of the expression "Yes, M'Lady" in acknowledging Penelope's instructions. Commentators Jim Sangster and Paul Condon write that the character's "adenoidal" delivery of this line "became synonymous with the show." They also describe Penelope and Parker as the "best characters in the Anderson collection", stating that the duo "managed to steal every episode they appeared in." In 2003 Virgin Trains West Coast named locomotive 57311 Parker.
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In fact, I think it's only shown in penitentiaries and comfort stations." Author Scott Eyman agreed with Vallee. "Neilan's The Vagabond Lover features the adenoidal singing and ungodly dance- band music of Ruby Vallee, who displays the preoccupied concern of a man trying to pass a kidney stone; his acting ability was of the sort usually found only in sixth-grade plays. Vallee makes Crosby look like Cagney and plays the kind of music that Spike Jones mercilessly parodied.
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Gillian Taylforth was an actress that Smith and Holland had encountered during an open evening they had attended at The Anna Scher Theatre in Islington, North London. They had been drawn to Taylforth because of her voice — "husky and adenoidal", which seemed at odds with her feminine appearance, which they described as "stunningly attractive". During the open evening, they considered Taylforth for the role of Sue Osman, but she was dismissed because she was blonde rather than brunette. They briefly considered her for the role of Kathy, but she was again dismissed because she was too young for the role.
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Tonsillar (relating to palatine tonsil) B cells can mature to produce all the five major Immunoglobulin (Ig, aka antibody) classes. Furthermore, when incubated in vitro with either mitogens or specific antigens, they produce specific antibodies against diphtheria toxoid, poliovirus, Streptococcus pneumoniae, Haemophilus influenzae, Staphylococcus aureus, and the lipopolysaccharide of E. coli. Most Immunoglobulin A produced by tonsillar B cells in vitro appears to be 7S monomers, although a significant proportion may be l0S dimeric IgA. In addition to humoral immunity elicited by tonsillar and adenoidal B cells following antigenic stimulation, there is considerable T-cell response in palatine tonsils.
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While there is debate as to whether the tribute to Bob Dylan is a eulogy or a "harangue", Bowie invokes Dylan-esque musical progressions in "Song for Bob Dylan." The song is in A major and the "Dylanesque, though neither passively imitative nor parodistic" coda is described as "attain[ing] ectasy when...electric guitar weaves tipsy arabesques over broken chord pulses on two acoustic guitars." The simple, descending bass line that accompanies the folk- chord progression invokes Dylan circa 1965. Bowie also imitates Dylan's adenoidal voice throughout the song and the lyrics reflect Dylan's style of starkly contrasting narrow range-verse and swelling chorus.
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So while they more than likely wont garner any new fans, they'll please their die hard following, and continue to live the dream." Entertainment Weekly wrote: "The pop-punkers too often distract from adenoidal loud-and-proud angst-athons". Kerrang! was direct, writing "It may not be rocket science, but there is an art to doing this right and Simple Plan have once again pulled it off", while Andy Ritchie from Rock Sound applauded the album, writing "This is still above average dude rock from the Canadian five- piece." On the other hand, an unfavorable review came from the Sputnikmusic's staff, who went to write that "'Get Your Heart On!' is an album of missed opportunities.
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The character was a breath of fresh air to listeners of the staid national broadcaster, and they relayed their approval with volumes of mail. Accepting his fate, Ferguson devised an entire repertory company of raucous and bizarre characters to interact with Rawhide (all voiced by Ferguson) to amuse himself and his audience, creating daily skits which parodied literary classics and satirized current events and CBC personalities. Recurring characters (other than Rawhide) included pompous, adenoidal CBC announcer Marvin Mellobell, The Goomer Brothers, Little Harold, The Black Widow Spider, and the adventurous Granny. In 1949, the show's popularity led the corporation to transfer Ferguson to its head office in Toronto, where he would broadcast nationally.
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Between the two revues she played Daisy Devon in Cavalcade at the Theatre Royal, Drury Lane. The first of her later roles in Coward plays was Martha James in Conversation Piece (His Majesty's Theatre and 44th Street Theatre, New York, 1934–35). In 1935 and 1936 she played parts in seven of the ten Tonight at 8.30 cycle, in the pre-London tour, and then at the Phoenix Theatre, London, and finally the National Theatre, New York. Her parts were: Eva Blake in We Were Dancing; Walters in Hands Across the Sea; Elsie Gow, the adenoidal schoolgirl, in Fumed Oak; Emily Valance in Family Album; Princess Elena Krassiloff in Ways and Means; Beryl Waters in Still Life; and Hester More in the single performance given of Star Chamber.
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" Craig Jenkins of Pitchfork Media referred to the song as a sprawling epic. Christopher R. Weingarten of Spin said, "Bad Guy" "is a seven- minute Charlie Kaufman movie that Rap Genius should have a heck of a time untangling, cast-wise: It sounds like Eminem, Slim Shady, Marshall Mathers, Stan's little brother Matthew, adenoidal '98 Eminem, his own conscience (or lack thereof), 8 Mile protagonist Rabbit Smith, there's a lot going on." Matthew Miller of Pretty Much Amazing spoke of the song saying, "Lyrically it’s perfect, a "Lose Yourself" style thriller, and it’s one of the few songs that live up to the astronomical Shady standards." Jesal 'Jay Soul' Padania of RapReviews said, ""Bad Guy" is absolutely classic Eminem, picking right where the first installment left off - the lyricism is epic, the voices dead on, the musical vibe just right.
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" He also praised the producer Young Fyre for "keep[ing] the song from veering into parody by going retro with a doo-wop swing that would make Meghan Trainor jealous. Plus, it's a reminder that Spears, when she's not reaching the rafters with her breathy cooing, has a growling lower register that doesn’t get used enough." In a less favorable review, Robbie Daw of Idolator thought that the song "is Britney sounding her most Chipmunk-like, singing sexy lyrics about stripper poles through filters and studio wizardry atop a throwback soul track. The aim here may be seduction, but the song comes off more comical than anything else, thanks to Spears’ bizarre vocals." Michael Cragg of The Observer, Nick Levine of NME and Sal Cinquemani of Slant Magazine considered the song a "misstep", with Cragg referring to it as "horrendous," Levine opining that "Spears doesn’t have the lung power to pull off vampish R&B; tracks like ‘Private Show’," and Cinquemani saying that the song is "as sexy as getting a lap dance from someone with the flu, as Britney's trademark adenoidal whine sounds more like a sinus infection.
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