Word: ko
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
Sponge Cleaner. A cellulose sponge impregnated with an all-purpose foam cleaner for rugs and upholstery, as well as woodwork and windows, was put on sale by My-Ko Chemical Corp., Milwaukee. Price...
...this point, Russian calculations were upset by a 26-year-old cipher clerk in the Russian embassy in Ottawa. Igor Gouzen-ko had been in Canada only two years, but he had learned to love the free Western way of life. Entrusted with the coding of Zabotin's dispatches, he became alarmed at the magnitude of the conspiracy and the added power the possession of an atomic bomb would give Dictator Stalin. One evening Gouzenko ran out of the embassy with his shirt stuffed with Moscow telegrams, including some mentioning Alek...
Tasaki gets the old and new Japans squared off against each other by rigging up two brother & sister teams of near-vaudeville quality. Ko-ume, the gorgeous and traditional geisha, can't hope to land Minoru, the weakling son of a count. The girl who successfully bucks Ko-ume is rich, intelligent, beautiful, and a nobleman's daughter besides. Ko-ume naturally does the natural thing: she hops off a cliff. Ko-ume's brother Takeo is something else, a young peasant back from the infantry whose earthiness envelops the count's liberal daughter before...
Businessman Tasaki says little to the point about the new Japan, and he says it in prose so lugubrious that it can be read for laughs. Sample: ". . . For [Ko-ume] thought if she recognized her love for Minoru, she would present her all to him before she knew whether he would be faithful or not, and with the possibility that she would advance to her ultimate destruction at the hands-of some sinister infidelity on his part." Novelist Tasaki obviously wishes to show that Japan is headed toward a new and more wholesome social point of view. What...
...most marked change from the traditional Mikado--besides the increased importance of the onstage chorus--is the rather unusual interpretation of two of the principals, Ko-Ko and Pooh-Bah. Ko-Ko is, and always has been, a shy, introverted fellow, but Allan Miller a bit overdoes his meekness, with the result that we miss the slight hamming which ordinarily characterizes the Lord High Executioner. Barry Pennington's Pooh-Bah, however, is also a dead-pan job, but is so superbly done that it at times steals the stage from Ko-Ko...