Word: profitted
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Dates: during 1970-1979
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...more discreet abroad, unsure what the new limits are on their quest for profit. United Fruit's decline opens new options for Central American nationalists. Expropriation is no longer heresy, regulation is almost taken for granted, and even some control seems feasible...
...been building houses and factories grouped into developments that are remarkably successful examples of comprehensive urban planning. It must be put up for sale, however, because the James Irvine Foundation owns the controlling interest. Under federal tax law, the foundation cannot control an enterprise that aims at making a profit-and Irvine Co. not only tries to turn a profit but clears a rather tidy one. Mobil Oil Corp. offered $200 million in May, setting off a frantic bidding war. Since then, counteroffers have come from Cadillac Fairview, a Canadian land developer, and SMBH & Z, a Detroit investment firm. Mobil...
Brisk Business. "It took us a while to get known," he says. But business is now brisk; whereas Rare Earth had to sell 20 properties in 1975 to gross $700,000, just three of the ten properties it has sold this year brought in the same amount. Still, profit margins are thin because overhead runs about $5,000 a month. That includes base salaries for Van Haefton and his wife (six other employees work on straight commission), heavy advertising expenses and a lot of travel...
...Voice. Morgan says he will retain Editor Blair Clark, 59, to write the paper's editorials. He intends to raise freelance rates, attract more big-name political writers, and try to give The Nation something it has lacked for all but a handful of its 111 years: a profit. "My goal is to run it in the black," says Morgan. "It has always been an independent journal of ideas, and it will continue to be. I have been thinking about this for 25 years...
...make movies, the pushcart buccaneering of the studio heads who subsidize them. Monroe Stahr (Robert De Niro) belongs to both worlds. If movies are dreams for him, they are yard goods for his studio colleagues. Stahr insists on making a big-budget quality movie that may never turn a profit. He does it over the protests of the corporate lawyer, Fleishacker (Ray Milland), and Studio Chief Pat Brady (Robert Mitchum), who has described his production chief as a "goddam Vine Street Jesus." As much as his uncertain health and assaults of melancholy, it is good taste that ultimately undoes Stahr...