Word: evens
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Dates: during 1980-1989
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...market was going like the Wabash Cannon Ball through 1988 and 1989, Bond's own finances were not. His bid for Irises had been part of a consistent pattern: paying far too much for investments even though they were, as assets, sound. In 1987 he paid more than $700 million for Kerry Packer's TV stations in Australia. In the financial year ending last June, Bond's media firm posted a $34 million loss. Also in 1987, Bond paid more than $1 billion for the U.S. brewery G. Heileman, whose 1989 resale value is about half that...
...send the Van Gogh and five minor impressionist paintings he owned, packaged as "Irises and Five Masterpieces," on a tour of Australian museums, finishing at the Art Gallery of Western Australia in Perth. Irises was set in a double-glazed frame that ensured no one could touch or even closely inspect its surface -- which made some skeptical Aussies suspect it was an exact copy commissioned, for security reasons, by Sotheby...
Holtz had even less reason to fear S.M.U., whom his team eventually trounced 59-6, than he did Pitt. But like most coaches he dreads games against "cupcake" opponents because of the danger that his own heavily favored players might lose concentration and intensity, and hence lose in an upset. Before the Pitt game, he assured reporters that Pitt was only slightly less dangerous than Rommel's Panzers. Yet at practice he was telling his players that Pitt was more like the army of Grenada and that he expected the Irish to beat the bejabbers out of them. When this...
...longer offers the protection from local competition it once did. To stand out amid increasingly stiff competition, many local stations are turning to expanded news programs. Journalism is local television's biggest money spinner, typically accounting for at least a third of a station's revenues and an even higher share of profits...
...Threepenny Opera originated as a leftist diatribe, and is even more of one in John Dexter's snarly, airless staging. Michael Feingold's translation claims to reflect more authentically the 1928 Berlin debut than the Marc Blitzstein version popularized in the '50s. It is surely less effective. For example, it freights the naive scrubwoman anger of Pirate Jenny with sophisticated detail that is out of character, and enervatingly transforms the last syllable of the second-act finale from a strident long vowel to a swallowed short one. Jocelyn Herbert's cumbersome set obstructs movement, draining energy. But emotion intensifies after...