assured of an appreciative audience response. So effective were Sauton and Porcher in stimulating genuine audience reaction with their rigged reactions that, before long, claques (usually consisting of a leader-chef de claque-and several individual claqueurs) had become an established and persistent tradition throughout the world of opera. As music historian Robert Sabin (1964) notes, "By 1830 the claque was a full-bloom institution, collecting by day, applauding by night, all in the honest open.... But it is altogether probable that neither Sauton, nor his ally Porcher, had a notion of the extent to which their scheme of paid applause would be adopted and applied wherever opera is sung." As claquing grew and developed, its practitioners offered an array of styles and strengths. In the same way that laugh-track producers hire individuals who excel in
The O.N.I. translator noted that "as far as I can recollect, no such Weather forecast has ever been made before" and that "it may be some sort of code." It was the long-awaited winds code execute, apparently sent indicating war with Britain to make sure that some Japanese outpost that had not reported destroying its codes by the codeword HARUNA Would burn them. Shortly after noon in Washington on the day after the attack, the President of the United States stood before a stormily applauding joint session of Congress and opened a black looseleaf notebook. When the cheers had subsided into a hushed solemnity, he began to speak: Yesterday, December 7, 1941—a date which will live in infamy— the United States of America was suddenly and deliberately attacked by naval and air forces of the Empire of Japan. He alluded to the fatal Japanese delay in delivering the ultimatum: The United States was at peace with that nation and, at the
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