Word: factly
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Dates: during 1940-1949
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Weeding out applicants by a homemade aptitude test, Miss Efron started with a class of 20, including six practicing newsmen. At first, teacher and class fought in French on philosophical terrain: What is truth? What is objectivity? When Miss Efron tried to explain the difference between opinion and fact, gossip and news, her students replied that she was "stifling the Haitian soul." Later, "Editor" Efron sent her reporters scurrying out on assignments. Says she proudly:"They got kicked out of the best places in town...
This cautious optimism was provoked by the fact that industrial production and employment were again rising swiftly. The Bureau of the Census reported that its Aug. 13 survey showed the sharpest monthly rise in non-farm jobs (1,368,000) in years, more than enough to offset the seasonal drop in farm employment. Total U.S. employment rose to 59,947,000, the highest so far this year, while the number of jobless fell from 4,095,000 to 3,689,000. Secretary of Labor Maurice J. Tobin thought the rise had continued into September's first week, when unemployment...
Lisa Fonssagrives was, in fact, an artfully posed, painstakingly lighted, lavishly printed image which bore about as much resemblance to an ordinary woman as Plato's "forms" to their imperfect earthly copies. Recently, Lisa Fonssagrives asked a photographer friend what he thought of her. "Lisa," he said, "you are just an illusion...
Some products, of course, would always be best advertised by models. This fact is borne out by such stories as the rise of Manhattan's Rheingold beer. It climbed from eighth to first place in Eastern beer sales largely by the use of pretty Miss Rheingolds, about half of them Irish "colleens" duly elected each year by beer drinkers. (Current Miss Rheingold: pert Pat McElroy.) In its battle with Coca-Cola, Pepsi-Cola plans to count heavily on the new television Pepsi-Cola Girl, Louise Hyde, a 24-year-old Chattanooga belle of whom one adman said hopefully...
White Heat (Warner) is in the hurtling tabloid tradition of the gangster movies of the '30s, but its matter-of-fact violence is a new, postwar style. Brilliantly directed by Raoul (Roaring Twenties) Walsh, an old master of cinema hoodlumism, it returns a more subtle James Cagney to the kind of thug role that made him famous...