Word: master
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Dates: during 1930-1939
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...that business since he got himself admitted to the Louisiana Bar at 21. At 25 he was a member of the Railroad Commission of Louisiana. At 27 he got on the State Public Service Commission. At 34 he was Governor. At 38 he was U. S. Senator and political master of Louisiana in a literal sense that non-Louisianians cannot understand. In six years he ran the State debt up from $46,000,000 to $143,000,000 and doubled its annual operating expenses but today no responsible person in Louisiana dares challenge his power. The Governor is his puppet...
...exhibitionist. He is a buffoon by policy but in his own line he is as smart as a steel trap. He has conclusively demonstrated that in Louisiana by finding a hundred ingenious ways to turn the institutions of democracy into the tools of absolute dictatorship. He is a master of writing jokers into laws. In the U. S. Senate he has made himself in three short years a master of parliamentary tricks...
...Fred. With his Share-the-Wealth movement he is now considered a potential rival to Franklin D. Roosevelt in 1936. Certainly he would like to become master of the U. S. as he is master of Louisiana. His hero is Frederick the Great of whom he says: "He was the greatest who ever lived. 'You can't take Vienna, Your Majesty. The world won't stand for it,' his nitwit ambassadors said. 'The hell I can't,' said old Fred, 'my soldiers will take Vienna and my professors at Heidelberg will explain...
...ballets which proved most popular on the road were Les Sylphides, Prince Igor and Petrouchka, all inherited from the old Diaghilev company. Most popular male dancers were handsome young David Lichine and the master Massine, who, at 38, is old to be dancing so fleetly. Most popular ballerinas were dark-skinned Tamara Toumanova, who owns the marmoset, and Irina Baronova who can act as well as spin. Both...
...study which he dedicates "above all to John Livingston Lowes, master and friend," Mr. Calvert attempts an explanation of the "romantic paradox" of Byron through an analysis of his poems. Byron, Mr. Calvert holds, did not at one time depend upon the school of Pope and at another skip blithely to the romantic manner. The critic presents a consistent Byron, a man who contained in himself elements of both classicist and romanticist, at all times sincere; and not spasmodically, but progressively ridding himself of the superficial aspects of each until he reached his height in "Don Juan...