Word: modell
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Dates: during 1960-1969
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...Floyd Patterson House, Walt was the youngest of ten children in my group, but by far the toughest and most severely disturbed. Nobody knew quite what to do for Walt. He needed enough to eat, clothes to wear, adults to model himself after, toys to play with, a place to live. He needed and asked for lots of love, support and dependability. He got none of these-and it enraged him. He had learned to suspect everyone, and if he thought he was being crossed or cheated, his anger was uncontrolled. At first, he would kick a door, his eyes...
...Perfection of the first working model of a laser...
...marketing, the key to growth is anticipating, even creating, demand for new products-and some of them surpass yesterday's wildest fantasies. Four-color, full-page advertisements for one such item have been appearing in Mademoiselle, Harper's Bazaar, Cosmopolitan and other publications. An unclothed, deadpan model looks out from under the slyly provocative headline: "Relax. And Enjoy the Revolution." The product is Cupid's Quiver, a $3.50 package of twelve sachets of liquid douche concentrate that is offered in two floral scents (orange blossom and jasmine), as well as two flavor scents (raspberry and champagne...
...Abbie Hoffman or Jerry Rubin when they confronted a House Un-American Activities subcommittee: "They rig themselves up as comic sketches, as grotesques, as caricatures. Some of them wear frightful mustaches; one would suppose that they are going forth to conquer the world." The heroes upon whom the romantics model themselves, and the causes they support, are also meant to shock. In the 19th century, romantics adulated Napoleon for defying all European tradition by his bold exploits. Many of today's young rebels glorify Che Guevara and Chairman Mao. The parallels are not exact, but in both situations...
...nuance is heightened, given immediate meaning for the character involved, as much by its understated acting as by its simple shooting style. Carol Dempster has come far from the frolics she and Lillian Gish gave Griffith's films of the earlier twenties. And Adolphe Menjou, as Satan, is the model of restraint. For him a grimace or devilish leer would be an unspeakable faux pas. But Griffith, far from leaving him a polished gentleman without depth of character, makes his slightest gestures personally significant. Menjou is eating dinner with Ricardo Cortez in the grandest of opulent restaurants. The conversation takes...