Word: sean
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Dates: during 1950-1959
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Last week Gossage was lolling in a manor house south of Dublin, writing a book on advertising, paying social calls on Prime Minister Sean Lemass, and casting about for new clients for the W. & G. kooky jar. "We never solicit business," straight-faces Joe Weiner from San Francisco, "we wait for business." But he was not laying odds that another large chunk of the Green would not come under the spell of Adopted Leprechaun Gossage...
...charge. "Catch them coming home from Mass." Finally the church bell rang, and a small crowd-oldsters and children mostly, the young adults having sped by on their bicycles-gathered to hear the candidate for the grand, if ornamental, job of President of the Republic of Ireland. Portly General Sean MacEoin, 65, the "Blacksmith of Ballinalee," the man who in the Great Trouble "refused to have an anesthetic while having an English bullet removed from his body for fear that while unconscious he might betray his comrades," had all the proper credentials for Irish politics. But the fact remained...
...visitors to the U.S., on hand and in transit at Eastertide, were a varied company. In age they ranged from Ireland's white-thatched, sprightly President Sean Thomas O'Kelly, 76, to Jordan's young (23), furnace-tested King Hussein. In geography and position they ranged from vest-pocket-sized Denmark's Premier and Foreign Minister, H. C. (for Hans Christian) Hansen, to vast Brazil's powerful, unbending War Minister and possible presidential candidate, Henrique Teixeira Lott. But for all their differences, they had one thing in common: all were friends...
...green himself. Steadfastly refusing to discuss political issues, he was nonetheless proud of his calling: "I have been a politician all my life. There is no nobler profession-except perhaps that of the church." Bussing and blarneying almost every woman in sight ("My, you're a beautiful thing"), Sean O'Kelly was a hit wherever he went...
Juno (book by Joseph Stein, music and lyrics by Marc Blitzstein, dances by Agnes de Mille) is a Pyrrhic victory of Broadway talent over an Irish genius. This musical version of Sean O'Casey's Juno and the Paycock paradoxically mutes O'Casey's inner music with song, fetters his soaring spirit with dance, and deflects the lyric flow of his dialogue into prosy pools of talk...