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Word: matter (lookup in dictionary) (lookup stats)
Dates: during 1940-1949
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Usage:

...obviously true that pensions would cost the steelmen money, the fact finders had agreed among themselves that steel's profits were large enough to absorb the full cost of the pension and welfare plans. Nevertheless, Steelman Fairless was on firm ground when he insisted that this was a matter to be thrashed out at the bargaining table. That was a part of the original agreement...

Author: /time Magazine | Title: LABOR: The War of the Wires | 9/26/1949 | See Source »

Last week, with Brooklyn trying desperately to overhaul the front-running St. Louis Cardinals, Newcombe was wheel horse of the Dodger staff. At 23, instead of pacing himself, he worked as if he were in a hurry to catch a train-motioning impatiently for the ball no matter whether he had just thrown a third strike or had one belted out of the park...

Author: /time Magazine | Title: Sport: He Throws Hard | 9/19/1949 | See Source »

...What do they want?" The speaker, a blimpish Hollywood Britisher in Evelyn Waugh's The Loved One, sucked petulantly on his whisky & soda and stared at his outdated copy of Horizon, Cyril Connolly's British monthly for intellectuals. If he had lived long enough to investigate the matter, he might have wondered how Scottie Wilson, a half-educated furniture dealer turned artist, had ever made his list of the big guns in the 20th Century highbrow arsenal in the first place...

Author: /time Magazine | Title: Art: Scottie's World | 9/19/1949 | See Source »

What did Scottie Wilson want? He gave a simpler answer than any vouchsafed by the Kafkas and Sartres. Burred Scottie: "I don't mind as long as I've got enough money for a few cigarettes and me kippers. Money doesn't matter to me. The only reason I'd like to have any is so that I could make people happy. I'd like to give my pictures away to people who really like them...

Author: /time Magazine | Title: Art: Scottie's World | 9/19/1949 | See Source »

White Heat (Warner) is in the hurtling tabloid tradition of the gangster movies of the '30s, but its matter-of-fact violence is a new, postwar style. Brilliantly directed by Raoul (Roaring Twenties) Walsh, an old master of cinema hoodlumism, it returns a more subtle James Cagney to the kind of thug role that made him famous...

Author: /time Magazine | Title: The New Pictures, Sep. 19, 1949 | 9/19/1949 | See Source »

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