Word: golds
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Dates: during 1980-1989
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...Crimson with two individual victories apiece. Kaplan snagged the top spot in both the 50- and 100-yd, freestyle races, with sophomore Greg Tull right behind in each to give Harvard 1-2 finishes in both sprint freestyle races. Johnson handled a difficult triple duty with ease, grabbing the gold in both the 1000 and 500 freestyle races and picking up third place in the 200 butterfly...
...mini-warehouses. Though a 1987 federal case against Beebe ended in a mistrial, the Government has contended that he was one of his own biggest customers, using the network of banks and thrifts to finance ventures in which he held hidden interests. "He saw the thrifts as one big gold mine, an endless pit of money," says Joseph Cage, a U.S. Attorney in Louisiana who prosecuted Beebe. Rather than exert his ownership outright, Beebe often held control behind the scenes. One of his tactics was to stake friends like the high-flying financier Don Dixon, who relied on Beebe...
...cafeteria, wearing a cook's white uniform and cap, embellished by purple wraparound sunglasses and a matching purple foulard scarf. He directs the chapel choir, and attendance has doubled since he got there. On Saturdays, his wife Adrienne, a former hair stylist with the television show Solid Gold, brings a dryer and a bag of salon products to primp his curly coiffure...
Yale thought it was going to with-stand the Crimson's frenzied attack when it scored at the 1:10 mark of the second period to narrow the score to 2-1. The Elis' leading scorer Heather Gold, who was camped out in front of the Harvard net, flicked the puck past Harvard goaltender Jen White...
...uneven as it was, lay in an emotional narrative that contradicted its cold, fixed, iconic surface. He unskeined a story in which a horror of the world, verging sometimes on acute dread, mingled with an artificial calm and a desire for transcendence. Try as one may, one cannot imagine Gold Marilyn Monroe, 1962, being painted by anyone but a Roman Catholic homosexual; it is both completely camp in its pseudo-Byzantine extravagance and, in its identification of the star with the Madonna, yearningly devotional. Here, Warhol is Genet in paint. So too with the "disasters" and the electric chairs...