Word: hotel
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Dates: during 1940-1949
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...telephoned his Washington lawyer, ex-Congressman Jim Barnes, of Illinois, to send him all the statistics he could find. Chuck alerted Manhattan's and Chicago's advertising agencies. "Get some ideas." He told the agency men to meet him three days hence in Washington's Carlton Hotel. While copywriters and layout artists worked and slept in their offices and a Chicago photocopy company worked overtime copying posters and exhibits, Luckman retired with reports to bone up on the problem of food. The problem was gigantic but simple. To save Europe, the U.S. had to ship...
Arriving at 11:11 o'clock this morning, the eleven will indulge in a light, pregame workout in the University of Virginia Stadium this afternoon. Tonight they will be quartered in the Monticello Hotel and Pugh House and tomorrow night at 8:40 o'clock will grab a Boston-bound train out of Charlottesville...
Examining some of the hotel dancing facilities of the metropolis, impartially and alphabetically, we unavoidably begin with the Copley-Plaza's greenish Oval Room. Life in the Oval Room may be compared to an existence in an attractive but expensive goldfish bowl. Decorated in the stately manner, the Oval Room offers good Marshard music for a large dance floor and what is usually the best revue in town. While the food is fair, the prices, particularly the $1.50 cover and $2.00 minimum on weekends, do not rest lightly on undergraduate stomachs. Most noticeable of all is the impression inevitably generated...
...some other place, and the answer is, of course, any other Statler. Everything, be it scenery, food, tariffs, $1.00 cover, show, or customer, is adequate. Nothing is outstanding. Unquestionably, the Terrace Room rates high on the "get a lot for your money" list, but the heavy hand of large hotel chain management rests on the back of each chair. It is convenient to the Wellesley bus terminal, though...
...Came Poetry. He and the hotel architect had agreed that his theme should be "Sunday in the Alameda" (the city's finest park, opposite the Prado). But Rivera, like his fellow triumvirs of Mexican art, Siqueiros and Orozco, was no man to waste a big hunk of wall on a merely pastoral theme. He had crammed his picture of the Alameda with the villains and heroes, the blood and dreams, of Mexican history. Said he: "Every one of the 148 figures in this mural I have known personally. I've shaken hands with most of them...