Word: ignacio
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...typical, recent case was the plea for a Coca-Cola bottling agreement filed by a Brazilian named Paulo Pereira Ignacio, who wanted to open a Coca-Cola plant in the town of Rio Preto (pop. 23,972). First of all, he had to have money to support his bride in the manner to which she was accustomed (i.e., enough capital to withstand any possible competition and to finance any possible expansion). Pereira Ignacio passed on that count-his father and he had already made millions in textiles and concrete. But the suitor must also measure up in character and honor...
Company field men helped Pereira Ignacio pick a desirable site and gave him detailed layout suggestions for the kind of bottling plant he would need. If, for instance, he was figuring on a yearly production of 150,000 cases, he would need to allow 720 sq. ft. for the bottling room, 364 sq. ft. for the conference room, 152 sq. ft. for toilets, stairs, etc. The company also advised him and his staff what machines to buy (including water purification apparatus on which Coca-Cola insists) and how to run them. Typical was the matter of Bums, Crocks and Scuffles...
...page illustrated pamphlet, Pereira Ignacio was told that Bums (bottles so disreputable that they must be discarded), Crocks (bottles chipped on the bottom) and Scuffles (bottles chipped around the trademark) are a hazard to the business and that there are ways of avoiding that hazard through careful tests, proper storage, the use of scuffing inhibitor compounds, etc. Meanwhile, the bottler's advertising department (whose expenses the Coke company shares on a decreasing scale for the first five years) was also getting instruction. Advertising must never be "competitive, offensive, tricky, brash." To be on the safe side, Coke...
First, fans saw one of the old masters in an old work: tall, dark-skinned José Limón in Lament for Ignacio Sanchez Mejias. Last week, they saw him again in a smashing new work by the same choreographer. Unlike her Lament, Choreographer Doris Humphrey's new Invention had no story and no characterization; it was pure dance, but with plenty of invention. By the time Limón & Co. (Betty Jones, Ruth Currier) had gotten through its four brief sections (a bright, gay solo, a duo, a meditative slow movement and a powerful recapitulation) they...
...Ignacio Silone, Fontamara