Word: perfectable
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Dates: during 1960-1969
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...that no amount of hemming and hauling could help them hide those inches above the knee. Sometimes it does not seem they are even trying. Recently imported from Paris, the short, short skirt has been gleefully adopted by the avant-garde among U.S. teen-agers and coeds as the perfect complement to patterned stockings and leather boots-usually white. From San Francisco coffeehouses to Manhattan discothèques, girls are beginning to reveal more thigh than they have stocking to cover, and American males are scrambling for the best vantage point...
...used to in the old Brooklyn days. Leftfielder Tommy Davis, whose batting average plummeted to .275 last year, was hitting like Babe Ruth in the Grapefruit League. Maury Wills was stealing every base in sight, tied down or not. And how about Sandy Koufax? "My arm feels perfect," proclaimed Lefthander Koufax, who celebrated by pitching two complete games and striking out 15. Bookmakers installed the Dodgers as 2-1 favorites to win the National League pennant...
...probably the best fighter, pound for pound, in the world-the perfect picture of destruction with his 42-in. chest, 26-in. waist, and smoothly lethal muscles. He can hit as hard as a drop hammer, and his hands are quick enough to pluck a fly in midair. But Welterweight Emile Griffith, 26, is a reluctant champion...
Charlie's chief tormentor, Lucy van Pelt, is a tiny, black-haired termagant, a caricature of the modern aggressive female. "Here's a perfect parody of what American life is supposed to be," says Pogo's creator Walt Kelly: "The ineffectual male and the domineering female." "Blockhead!" Lucy shouts at Charlie, and the insult throws him into a somersault. When she has outwitted him, she purrs: "I admire your boundless faith in human nature." Bellows this girl who aspires to go to military school: "I don't want any downs-I just want...
...Same Goal. The mating of artist and academe may never be perfect. Cornell recently celebrated its centennial with a four-day exploration of "The Universities and the Arts" at Lincoln Center in which Cornell President James A. Perkins warned that the artist on campus must shake off his tendency to dismiss the faculty and student amateurs as "part of an offensive mass culture." He must also face the fact that the university's reliance "on the written word and the verbal tradition" is not always compatible with his own work "in the nonverbal media of sound, color, shape, movement...