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...spell in a previous coalition Cabinet. Caldera, 53, is an immensely capable lawyer with a puritan dedication to work and a manifest sincerity that compensates for an apparent lack of warmth and humor in public. Acutely conscious of public relations, he holds weekly televised press conferences, and, taking a cue from Richard Nixon, introduced his Cabinet to the voters...

Author: /time Magazine | Title: Venezuela: Man of El Cambio | 5/2/1969 | See Source »

...swing at strikes, dammit, strikes. Wait for the good pitch. And listen, the base on balls is a hell of a play." For the pitchers, there are lessons on what makes a curve ball curve. Camilo Pascual has it down pat. "Thee speening of thee ball," he says on cue, "creates a deferential of pressure...

Author: /time Magazine | Title: Baseball: The Return of No. 9 | 5/2/1969 | See Source »

...humiliation. On Capitol Hill, Mendel Rivers, chairman of the House Armed Services Committee, proclaimed: "There can be only one answer for America-retaliation, retaliation, retaliation!" But the predominant reaction in Congress and across the U.S. was to smother outrage with common-sense restraint. In this, the nation took its cue from Richard Nixon...

Author: /time Magazine | Title: Nation: A NEW LESSON IN THE LIMITS OF POWER | 4/25/1969 | See Source »

What is more, a lot of the women who wear pants should take a cue from Ogden Nash. Designer Norman Norell says: "Every time I ship a box of pants to the stores, I worry about who is going to wear them." In Norell's trousers, which are cut straight from the hip, any woman who is not reed-thin is apt to look like a walking example of cluster zoning. A well-curved curple is absolutely essential, too, for the Yves St. Laurent pants suits that are the cat's pajamas at the moment. Although some...

Author: /time Magazine | Title: Fashion: Problems in Pants | 4/18/1969 | See Source »

Taking its title and its cue from Shakespeare's Sonnet 29, the final moments of the play are unbelievably lyrical. Queenie is offstage. In her place, we watch Smitty (Tom Roulston), the young innocent who has become a cruel opportunist, try to express his honest concern for Mona (Frank Storace). Under Patricia Flynn's direction, the conversation, the pleading, the reaching, and the grappling tumbles out so quickly that an audience can't sort out all that is happening. We see love as the confusing and desperate and tortured state it sometimes it. And, for once, we feel it, when...

Author: By Gregg J. Kilday, | Title: Fortune and Men's Eyes | 3/22/1969 | See Source »

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