Word: eras
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Dates: during 1970-1979
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Whether the Shah retires to St. Moritz or tries to stay on in Iran, there is no question that an era of imperial aspirations has come to an end. As the protests against him spread, gathering momentum with every strike and riot, the Shah's personal power has been completely eroded. Even those in the middle classes who still backed him, partly out of fear of what might follow, knew his cause was lost. His chief support remained high-ranking officers in the military. Several hard-lining generals urged the Shah to stay and pleaded with him for permission...
...office on Connecticut Avenue. One eye popper for the 500 guests was an American flag that the Chinese had tacked on the wall-but backward, its stripes pointed to the left. Unruffled by this bizarre display, Vice President Walter Mondale rejoiced over "the dawn of a new and bountiful era" and hailed China as "a key force for global peace." In response, Ch'ai Tse-min, head of the Chinese mission, declared that the new Sino-American ties would serve to "combat the expansion and aggression of hegemonism"-a reference to the Soviet Union. Exhilarated by the festivities, National...
CHINA HAS NEVER been an easy nation for Americans to understand. One can only hope that Americans will seek to correct our mistaken visions of the past and that a new era is genuinely in the offing...
...since I lived near New York during the Orr Era, a different goal of his is frozen in my mind, rather painfully in fact. Then a Ranger fan (the Islanders didn't exist yet), I was incredibly psyched on the evening of May 11, 1972 for game six of the Cup finals between Boston and New York. Though the Bruins led the series three games to two, the blueshirts had two nights earlier grabbed a tight contest on Boston ice and hopes were high that the New Yorkers could return the series to Beantown in search of their first...
American Graffiti. George Lucas' best movie. A recollection of the end of an era--glossed over, perhaps, but that's part of the concept, and the film glistens with a dopey, wistful irony. Lucas combines shimmering, colorful, almost surreal sequences of cars drifting down "The Strip"--heads craned out car windows, bare asses pressed against glass, hoots and come-ons and dares--with plain, naturalistic, informally posed medium shots of his characters; or he sets them against neon. Underneath it all--almost without a break--rocks the music of Bill Haley and the Comets, The Platters, Buddy Holly, and everyone...