Lyndon Larouche had a thing about this too - the trend in recent years has been for orchestras to use A=442 or even A=444 and he was agin it. I'm not sure if he blamed the Jews or the Queen for it.

I know some accordionists who tune their instruments to A=443 because they want them to stand out more over the rest of the band (as if you could lose an accordion behind the wall of sound created by a fiddle, guitar and whistle). Attempt to play with one of these guys and it isn't long before you start wondering if Lyndon Larouche was right and start fantasizing about accordionists in stripey pyjamas behind barbed wire fences.

I have a clarinet in C sharp - I bought it thinking it was a C clarinet, but it turned out to be tuned to some Central European pitch prevalent in the late 19th century, like A=460. It makes playing in E flat minor a doddle (as used in a lot of Balkan music).