Word: primes
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Dates: during 1960-1969
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...DICK CAVETT SHOW (ABC, 10-11 p.m.). A new prime-time talk and variety series that will broadcast on Mondays, Tuesdays and Fridays. Truman Capote, Liza Minelli, James Coburn and Candice Bergen will drop by to help Dick with the premiere...
...presentation, but it decided him on form and timing, "He was going to hold the speech in his pocket for a propitious moment," said one assistant. "When the V.C. came along, that was the propitious moment." Originally contemplating a more casual press conference delivery, Nixon instead arranged for prime TV time. There was a sense of old-time Johnsonian motion as supporting actors winged around the globe: General Creighton Abrams from Saigon to Washington, Secretary of State William Rogers from Washington to confer with South Vietnamese officials in Saigon, Ambassador Lodge from Paris to Washington...
Scrambled Year. The government would establish a "prime age group" of 19-year-olds and draw from its ranks. Birth dates would determine the order of priority, but they would be arranged randomly instead of chronologically. A "Selective Service year" would be constructed annually. It could begin with any date, say Oct. 17, followed by other ad hoc choices: Jan. 4, July 20, April 27 and so on. The 365 dates would probably be drawn from a fishbowl, as were the numbers of the first draftees in World War II. Young men born on the first date in the scrambled...
...proposal would retain undergraduate college deferments, a "wise national investment" in Nixon's view. A student would be draft-proof until he graduated or left school. Then he would go into the prime age group for a year as if he were still...
Ford's label in the great film cosmos is wonderfully ambiguous. The term "classical" is tossed around a lot ("classical" is what you say when you know someone is a great film-maker but can't explain why except in literary terms--Hawks being the prime example of a victim of creeping "classicism"). Strictly speaking there are two classical directors, Griffith and Eisenstein, both of whom continue to exert a major influence over all narrative film-making. In one sense all narrative is "classical" in that cutting dependent on continuity of movement is basic montage (two shots put together...