Word: employer
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Dates: during 1960-1969
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...pent-up resentment of the white businessmen who make their living from the slum's daily needs. These white-run enterprises, blacks complain, not only batten on the ghetto's misery by overcharging for shoddy goods but also siphon off their profits from Negro neighborhoods and seldom employ black workers...
...with one health assistant per doctor in 1900, the ratio today is 13 to 1, reports the University of Florida's Dr. Darrel J. Mase to the A.M.A.'s Council on Medical Education. By 1975 the needed ratio will probably reach 25 to 1. Health may then employ 6,000,000 people, and constitute the nation's biggest industry...
...attempt sculpture until the very end. Still, it was a fore gone conclusion that he would succeed handsomely. His enigmatic painting evoked objects seen in the round, and his bottles, painted in the forms of women, are among the most cherished talismans of the 1930s. The eight sculptures employ ideas Magritte previously used in his paintings, gaining solidity without loss of magic. La Folie des Grandeurs derives from a 1947 fantasy showing three women's torsos, each set implausibly one inside the other. Souvenir de Voyage shows a coffin reclining gracefully on an Empire couch, in a grisly parody...
...frequent times and places, especially in the early years, the concern for impact outstripped the capacity of the host country to fully and usefully employ Volunteers. An inability to recognize this capacity was one of the greater weaknesses of Peace Corps staff. While Peace Corps Director Jack Vaughn is committed to significant impact, he has stressed and repeated for two years now that in any choice between growth and quality, the latter must remain supreme. Selection standards have indeed gone up; most newer programs have stayed small or grown slowly. In Botswana, we calmly waited eighteen months for the completion...
Guess Who's Coming to Dinner reads like an Arthur Goldberg speech, one of his more interminable. It is the ninth and last film to employ the talents of Spencer Tracy and Katharine Hepburn, and for that distinction a picture worth seeing; but on all other counts it stinks. Stanley Kramer has degenerated from one of Hollywood's more interesting bad moviemakers into one of its most maudlin. The crude but somehow compelling live-TV quality of Judgment at Nuremberg and Ship of Fools, painted with crayon and musicalized by DeVol, blessed with Sidney Poitier, reveals Kramer...