Word: good
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Dates: during 1980-1989
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...with some of my fellow scientists who have done things too much in a hurry." Charles C. Baker, director of fusion research at Argonne National Laboratory, was blunter: "Calling press conferences and making claims of results without having a well-prepared technical report is not the way for a good, professional scientist to function...
When the tranquilizer Valium became the most frequently prescribed drug of the stressed-out 1970s, F. Hoffmann-La Roche reached the peak of good health. Thanks largely to Valium and its sister sedative, Librium, the Swiss-based Hoffmann-La Roche became the No. 1 maker of prescription pharmaceuticals and one of the most profitable companies on earth. But lulled by the success of Valium, whose U.S. patent expired four years ago, the company failed to keep pace in the '80s with such aggressive rivals as U.S.-based Merck and Swiss neighbors Sandoz and Ciba-Geigy. Symbolic of Hoffmann-La Roche...
...crowd may string him up yet again. "People think too much about the market," he tells his audience, comfortable in the subtle distinction that what he thinks about roughly 14 hours a day is companies, not market fluctuations. He espouses the solid, old-fashioned idea of buying good companies cheap and sticking with them long-term, with the added fillip of using borrowed money to maximize returns. Right now he is margined up to his Adam's apple, being just about the only person in the house who still thinks the market's heading up. People regard him with...
...think with him. What he thinks about are the elaborate, hand-drawn charts that fill his filing cabinets and cover every wall of his office. Weinstein runs his hands over these charts like a sorcerer, working most nights till dawn. As a technical analyst, he does not care about good companies or bad. When a reader advocates Apple Computer, he replies, "You're right, it's a great company. You're right, it has good earnings. You know what? Sell it." For Weinstein, price patterns tell...
...nature of his triumph, though, is elusive and peculiar. Larkin and his contemporaries inherited the scorched earth of modernism -- the towering shadow cast by Yeats, the multilingual complexities introduced by Eliot and Pound, the daunting technical virtuosity of Auden. Starting out, Larkin had the good taste to imitate all these (except Pound), with some Dylan Thomas thrown in for good measure. He got out from under his predecessors only when he learned to lower his voice, to submerge complexities of thought and feeling beneath a serene, limpid surface...