Word: americans
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Dates: during 1950-1959
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...lived a soft and pleasant life in Los Angeles. They owned two Cadillacs, splashed in a heated swimming pool, entertained 1,500 guests a year in their $100,000 house. Five pages of pictures highlighted them as a "lucky" U.S. family in LIFE'S "Special Issue on the American Woman" (Dec. 24, 1956). They shot elephants in Africa, spent holidays in Hawaii, toured the Holy Land, knocked about Europe...
...self-sustaining mission in Medellin, Colombia. Returning to the U.S.. he started organizing an interdenominational mission of "Colaborers." He heard about jungled Parana State, visited it, decided it was a good site for a beginning. "I thought we could set up a little community of, say, ten American families with tractors and trucks to support the mission with coffee and crops." he said. Some 200 U.S. families heartily agreed, bought tracts at $30 an acre for uncleared land in Paraná. Last August the first five Colaborer families, including the Presbyterian Suttons, got to work...
...Songstress Carroll, billed as a onetime Miss Missouri, belongs to the whisper-from-the-navel school. Her incendiary reading of such ballads as I'm in the Mood for Love and I Only Have Eyes for You will bump the pulse, the album guarantees, "of any red-blooded American man." Toni's signature song (Call Toni) sets the pitch: "I'm all yours and ready to do/ Anything you want me to/ Just dial TONI oh-five-six-eight-three...
Behind the bonuses-for-quitting policy was an effort to pare down the Inquirer's bulging head count-more than" 700 editorial and office employees. After an American Newspaper Guild strike last summer (TIME, June 23; July 21) in which job security on the overstaffed Inquirer was a major issue, management and guild agreed that to anyone who resigned or retired in the last half of 1958 the paper would pay a bonus of one week's pay for every year of employment, plus full severance pay (maximum: 31 weeks). The plan worked. In all, 142 employees quit...
...Raymond Loewy in Manhattan and Eero Saarinen (who is both architect and designer) in Detroit has raised industrial design from a mechanical slough of vulgarity. For in the early years of mass production, the sound design of artisans gave way to the cheaply pretentious. The craftsmanlike simplicity of early American furniture was displaced by curlicues and overstuffing, and bathtubs took on lion feet in a move to look ancient...