Word: contents
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Dates: during 1960-1969
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...Minister, George Brown, was indeed absent from the Labor front bench. He was in fact back at his office trying to make up his mind whether he should resign from the Cabinet. A strong believer in economic expansion, he saw Wilson's plan as too negative. Its deflationary content clearly meant a sharp rise in unemployment. After the speech, Brown called at 10 Downing Street with his resignation. Wilson asked him to sleep on it. Brown mulled it over for a few hours and decided to stay...
...evidence points in a less favorable direction. Sir Percy should have accepted the court's original ruling that it did have jurisdiction, and gone on to examine the content of Ethiopia's and Liberia's complaints. Instead his decision to throw the case out of court must be interpreted as a political move to avoid a condemnation of apartheid. The final decision attained what Lewis called "a level of sophistication even the U.S. Supreme Court has failed to reach." Ethiopia and Liberia had legal standing enough to merit a ruling...
Wood and Davis helped create EC Comics (E for Educational) and were responsible for much of the art in Tales From the Crypt, Veuls of Horror, Two-Fisted Tales, and the original Med. Although the content in EC Comics was offensive enough to cause the formation of a national Comic Code Authority, the level of artwork was extremely high, with Eisner's influence visible throughout...
During the past century, every revision of the Methodist hymnal has tended to reduce its Wesleyan content. Reversing the trend, the 1966 edition includes 81 hymns by John and Charles Wesley, 20 more than the 1935 version contained. Also included is a nostalgic fundamentalist favorite that was left out of the previous hymnal because it did not suit the musical palate of the time: The Old Rugged Cross. All in all, proudly sums up the Rev. Nolan B. Harmon, retired Bishop of Western North Carolina and one of the supervising editors, "it's the greatest hymnal...
Unlike the exuberant, often excessive Italian baroque artists around him, Poussin stripped his paintings down to cool, hard, brightly colored figures gesturing like stagecraft as he recounted his fables. The narrative content of his art instantly made him a mentor for dull academic followers who found cartooning easier than esthetics. But he alone knew how to manifest the inward emotions of his mythical people in outward physical postures. While Narcissus, for example, gazes in the rapturous vanity of youth at his own reflection in a pool, his forgotten lover Echo, is depicted in ashen tones and fuzzy contours...