Word: keys
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Dates: during 1960-1969
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Though Lyndon Baines Johnson himself may be furtive as a desert fox, his works are everywhere in booming Austin. During Johnson's vice-presidency and presidency, the city became a key federal administrative center, adding at least 5,000 jobs to the local payroll. On the University of Texas campus, a $12 million public-affairs school and library is going up, which will house L.BJ.'s 8,000 filing-cabinet drawers of papers...
...taciturn South Boston Irishman who has been driving cars for Ted Kennedy since his 1962 senatorial campaign. Apart from his chauffeur's role, Crimmins' principal contribution has been to relay the advice of some "Southie" voters: "Tell the kid to stop singing Sweet Adeline. He sings off key." Kennedy took the advice...
These Soviet instructors have no operational control, but their key positions provide Moscow with daily intelligence on Egyptian military movements and preparedness-which Russia disastrously miscalculated in 1967. Egyptian officers complain that their Russian advisers are aloof and overbearing, work them too hard, and do not teach enough mobile warfare. According to the official slogan, Egyptian-Soviet friendship is "loftier than the Aswan Dam and more solid than the Pyramids." In fact, the relationship is pragmatic rather than cordial. Even during construction at Aswan where 3,000 Soviet engineers lived and worked shoulder to shoulder with Egyptians, few friendships developed...
...York Bernadette made a point of posing with Mayor John Lindsay, who gave her the key to the city and declared himself a victim of "love at first sight." But she reacted differently to two big-city mayors with less liberal qualifications. Of Chicago's Richard Daley, Bernadette sniffed: "I don't even want a donation from him," and she did not meet Los Angeles' Sam Yorty. Everywhere, she warned against oversimplifying Northern Ireland's problems. "The press feels we're either trying to kick hell out of the British or kick hell...
Adapted to the screen by Charles Dyer from his play, Staircase is a static, placid film in which the camerawork is subdued. Its strength is in its two key players. Each being determined, perhaps, to do his best acting before a peer, Burton and Harrison give firmly disciplined, finely delineated performances of undeviating honesty. Burton has rarely immersed himself in a part to the extent that one could forget he was Richard Burton, but he does it this time. Harrison has often seemed to be acting before a mirror rather than a camera. In Staircase he is acting before...