Word: quota
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Dates: during 1930-1939
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Momentous to every mistress in France last week was an unexpected decision by the country's highest court, La Cour de Cassation. Its sprightly old men, who would be considered insipid and absurd if they did not keep their own quota of mistresses, found on their calendar in a single day three cases of the same type: a master has died in an accident, and his wife and children and mistress are seeking justice. The mistress produces to the court letters from her late master, rent receipts, paid grocery bills and other evidence establishing that...
...marched modestly into the Hotel McAlpin to tell a gathering of U. S. textile men how an excellent formulation of their problem had led to a solution both surprising and superb. In Osaka on Jan. 24 Dr. Murchison and a deputation of U. S. manufacturers signed a two-year quota agreement with Japanese spinners, ending the Japanese menace just as it began to rumble...
Twice last week the price of U. S. copper had to be hiked to keep it in line with soaring foreign quotations. The last was the seventh boost in two months and left the metal at 15? per lb., more than triple its Depression low. Yet every quota, restriction or curtailment program had been removed from production, and long-closed, high-cost mines were preparing to cash in on the boom. Where was the copper going...
...Moore, as an Australian diva named Louise Fuller, yodels a Jerome Kern-Dorothy Fields song called The Whistling Boy when a crowd of urchins follows her into a rehearsal hall. When her husband (Gary Grant), whom she has acquired as a convenient way of complying with U. S. immigration quota laws, is trying to persuade her to stop regarding their union as a marriage of convenience, it is the cue for her to render something called Our Song in a forest whose birds stop twittering to listen. At her husband's country lodge, complying with the new convention whereby...
Head Over Heels in Love (Gaumont-British) represents a heroic attempt on the part of England's major cinema company to get out a genuine U. S.-type musical comedy without infringing upon strict British cinema-quota laws. For industry and ambition, the effort deserves top marks. The producers not only imported Hollywood Scenarist Dwight Taylor, U. S. Songwriters Mack Gordon & Harry Revel and Manhattan Actress Whitney Bourne, they even used a back stage plot about a cabaret entertainer who becomes a radio singer while her partner (Louis Borell) goes to Hollywood, laid the scene in Paris, dressed...