Word: actes
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Dates: during 1950-1959
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...right of self-preservation is just as instinctive and natural for a nation as it is for the individual. Therefore, if we know we are at any moment under a threat of attack, as would be evidenced by missiles or planes coming in our direction, then we have to act just as rapidly as possible, humanly possible, to defend ourselves." And although the declaration of war is a congressional function, that there could might be "put "certain your life or circumstances the nation's life right at stake. Then there is no time, and whatever would be necessary...
...make it clear that the U.S. Government opposes inflation, President Eisenhower has asked Congress to amend the Employment Act of 1946 to include "reasonable price stability" among the nation's explicit economic goals. Commented Walter Reuther's Economic Policy Committee: "An empty gesture." As advocates of more federal spending see it, the Administration's balanced budget is also an empty gesture. They argue that a deficit of a few billion dollars in the next fiscal year can have only a slight impact in a $475 billion-a-year economy. But as a symbol of a commitment...
...Community's Council of Ministers that "a state of manifest crisis" be declared, permitting imposition of mandatory quotas. But in the Council of Ministers, composed of cabinet ministers of all six nations, supranationalism meets nationalism. Despite Belgium's crisis, the ministers seemed in no hurry to act against their own national pressures...
...Miss Thomas' Eileen is saucy, gay, and captivating, and hers is the outstanding voice of the show. In the rare moments when the play lagged, Miss Hallowell's forceful humor picked up the action and lent the show new life. Perhaps the most triumphant moment came in the second act when Ruth led the chorus in an exciting delivery of "Swing," the play's fast-moving jazz number...
...this play which depends to such a great extent on a fast pace and sustained humor, the contribution of the chorus is essential. Although occasionally awkward and at first somewhat limp, both the male and female choruses soon found their stride and by the climactic scenes of the second act, successfully projected their spirit to the audience. Their singing and dancing of such numbers as "Swing" and "Conga" was not only circusy but buoyant. Jim Fadiman's Valenti, the sleezy operator of a Village nightspot, was perhaps the outstanding member of the chorus...