Word: floor
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Dates: during 1930-1939
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...Representatives has been fair game for press photographers working from the gallery. Commonplace are newspictures and newsreels of joint sessions of Congress in the House Chamber being addressed by U. S. Presidents, of opening and closing sessions of the House by itself, of the full galleries and the empty floor. The Senate, on the other hand, has never permitted itself to be photographed in action. Like a dignified gentlemen's club, it has successfully enforced an unwritten rule against cameras by having hawk-eyed gallery guards confiscate them on sight...
Early last week, as Congress surged toward adjournment, Candid Cameraman Thomas D. McAvoy of Washington made his way quietly into a Senate Gallery, sat down behind two visitors. On the Senate floor below, Louisiana's Long was in the midst of his filibuster which marked the closing hours of the Senate session. Next to him sat Arizona's white-suited Ashurst and just beyond, Oklahoma's blind Gore, his head attentively lifted. In his frontrow aisle seat slouched Senate Leader Robinson, disgusted beyond words at the "Kingfish's" performance. Around the walls of the chamber stood...
...lasted two minutes, 38 seconds. In them, Doyle had time to fetch Baer one resounding whack on the jaw. Baer had time to hit Doyle below the belt and then, because New York Commission rules prevent referees from stopping a fight on a foul, to floor his opponent twice and win by a technical knockout...
...hours the lost pair stumbled over the barren Valley floor, their feet blistered, their lips cracked, their tongues swollen. Often crossing their own footprints, they realized they were circling hopelessly. At last, completely exhausted, they lay down beside a dry mudhole to await their fate. There last week a searching airplane pilot finally spied little Agnes feebly waving a blanket...
...Dancer Astaire obligingly continues to offer cinemaddicts an inventory of the proficiencies which made him a stage star for ten years before civilized dancing reached the cinema. The picture contains a dance on a sanded rug, designed as a lullaby for the lady (Ginger Rogers) who lives on the floor below and who has gone upstairs to complain about the tap-dance that preceded it; an elaborate routine with male chorus, copied from one Astaire did in Smiles in 1930; a pretentious "Piccolino," which may or may not turn out to be the "Continental" of 1935-36. Possibly more ingratiating...