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Ever since Kirk Kerkorian bought control of Metro-Goldwyn-Mayer Inc., four years ago, the airline pilot-turned-Las Vegas financier has been ordering the liquidation of assets to help make ends meet. Last week Kerkorian lost what the money men would call a highly visible asset: James T. Aubrey Jr., MGM's $208,000-a-year president. Aubrey, 54, will be replaced as president by Frank E. Rosenfelt, 51, a longtime MGM executive, and as chief executive by Kerkorian himself...

Author: /time Magazine | Title: EXECUTIVES: The Lion and the Cobra | 11/12/1973 | See Source »

...paraphrase Shakespeare and Sam Goldwyn, the match was a performance full of tinsel and glamour, signifying nothing-except that the hustle is over...

Author: /time Magazine | Title: Sport: How King Rained on Riggs' Parade | 10/1/1973 | See Source »

...they are major shareholders. The Kuwait Investment Co. is erecting a chain of "Arabian Nights" motels across the U.S. The Sheik of Abu Dhabi has bought a 30% interest in the Columbia Broadcasting System, to add to a communications empire that already includes the Washington Star-News and Metro-Goldwyn-Mayer. The White House issues a statement welcoming the huge investments by "our Arab allies" as a way of stopping the dollar drain ("If they cause us trouble," adds one White House economist, "we can always nationalize them"), but it expresses some concern at reports that Libya and Iraq...

Author: /time Magazine | Title: MIDDLE EAST: The Arab World: Oil, Power, Violence | 4/2/1973 | See Source »

Producer Sam Goldwyn Jr. was finishing up work in Harlem last week on Come Back Charleston Blue. The director, Mark Warren, is black, as are most of the cast and crew. Billed as a sequel to 1970's lucrative Cotton Comes to Harlem, the film is something more than that. It is part of a new Hollywood wave of eminently commercial movies by blacks about the black experience...

Author: /time Magazine | Title: Show Business: Black Market | 4/10/1972 | See Source »

...technicians, who must be highly trained and union members, are predominantly white. This prompted CORE in January to send a list of seven demands for money, jobs and control to all studios planning to film in Harlem. Some of these seemed negotiable; others, like script approval, were unrealistic. Goldwyn, who made peace with CORE and other groups to finish Charleston Blue on location, points out that film makers may simply "start recreating Harlem in Albuquerque. It's cheaper and easier...

Author: /time Magazine | Title: Show Business: Black Market | 4/10/1972 | See Source »

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