Word: bucks
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Dates: during 1960-1969
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...philosophy to restore the proper balance," said Nixon. Scott, trying to heal the sectional split over Haynsworth, said he hoped that Nixon's next nominee would also be a Southerner. He would probably have a better chance; White House aides believe far fewer Republicans would be willing to buck the President twice. "The President could nominate Lucky Luciano next time and it would go through," said...
...baby in Gone With the Wind. He later played Ma and Pa Kettle's ninth kid, changed his name from Smith to Curtis (after his boyhood hero, Tony). When he was 13 he landed the TV role of Buzz in Leave It to Beaver; his eternally boyish face and buck teeth allowed him to keep the part for six years. Patrick wanted to get into the production end, though. He eventually wound up with Rogers and Cowan, a show business p.r. firm, and waited for his own break...
...iron will and her proven ability to hog the spotlight were put to their most severe test. For sheer incompatibility, the volatile cast of Myra is rivaled only by the Burton-Lyon-Gardner gallimaufry of Night of the Iguana. There is crustaceous Veteran Director John Huston portraying Uncle Buck Loner, the sagebrush sybarite. Huston, an inveterate cigar smoker, has been unhappy with a no-smoking clause that Mae West had written into her contract. There is the epicene Rex Reed, who eats peaches, scribbles notes for his book (about the making of Myra, naturally) and regularly breaks up the crew...
...want to, the Whole Earth Catalog is an almost inexhaustible compendium. Although it is specifically aimed at "technological dropouts" (in the words of its authors), the catalogue's phenomenal success shows that it has a far vaster range of appeal. It is a sort of Sears, Roe-buck-Consumer Report for the minorities of the cybernetic age-from activists who want to improve the environment or create a Utopian society to abdicants who simply want to write bad poetry in the woods...
...first two, Ron Rich in the latter). But, perhaps to counteract this, he makes the victimizers increasingly grotesque. Walter Matthau's conniving lawyer Whiplash Willie in the recent Fortune Cookie is Wilder's most terrifying caricature of humanity. Matthau, constantly shifting his eyes trying to locate the quickest buck, fails to say one generous thing during the entire picture. The cruelties of this character, as you might expect, contrast sharply with the mild evils of Wilder's first American feature, The Major and the Minor (1942), where the plot's major deception is Ginger Rogers' cheating of a railroad company...