Word: soured
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
...representative of the New Dealing New York Post did not want to endorse it either; he took a walk. Mark Ethridge of the Louisville Courier-Journal warned fellow publishers that it would "have a sour effect on the public, on the ground that the press was seeking special privilege...
...wild's contribution to classroom harmony, ("I think the exchange of opinion between men and women fruitful") was endorsed without reservation as 65% of the House decided that the exchange was fruitful, A smaller group felt that it was "not fruitful," and a third, introvert contingent said just plain "sour grapes...
...bartender named Moe Green, hired to mix drinks for the Hunter College lounge, promptly invented a UNO cocktail (vodka, French vermouth, Swedish punch and a dash of orange bitters.) "It's a beauty," said Moe. "It'll make sour tempers sweet, and have 'em all talking the same language-if they can still talk." One Joe Forestieri, proprietor of a Bronx hash-house called the College Luncheonette, prepared to re-name it UNO Joe's. He explained carefully: "You could take it in two ways." Gate crashers schemed to get into UNO meetings with a vigor...
...CRITICS: "There is a constant pull exerted . . . to write a bad review of a play. Critics in New York are made by their dislikes, not by their enthusiasms. Their bons mots, which are quoted and remembered, are always capsule damnations, cutting and sour. Their reputations, and I suppose their pay, depend, then, upon disliking plays . . . In no other art is there anything vaguely resembling this. . . . [Critics] become Shakespeare's peer. "It was better in France. There the critics were perceptive and corrupt. The managers paid them off and bought good reviews and the plays were left to the honest...
...CRITICS: "There is a constant pull exerted . . . to write a bad review of a play. Critics in New York are made by their dislikes, not by their enthusiasms. Their bons mots, which are quoted and remembered, are always capsule damnations, cutting and sour. Their reputations, and I suppose their pay, depend, then, upon disliking plays . . . In no other art is there anything vaguely resembling this. . . . [Critics] become Shakespeare's peer. "It was better in France. There the critics were perceptive and corrupt. The managers paid them off and bought good reviews and the plays were left to the honest...