Word: strengthing
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Dates: during 1960-1969
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...that the "bad guys" can always unite in strength, while the "good guys" never can? One of the reasons is our fanatical loyalty to the concept of states' rights, in which both groups associated with law-lawmakers (politicians) and law-enforcement agencies -are willing to pay any price to preserve their precious autonomies. The result is divisiveness and weakness in every area, from the shameful unevennesses in the quality of our various school systems to the failure of law-enforcement agencies to unite effectively. This is only part of the price we are willing to pay. But, fools that...
...better-dead-than-Red line. He still boosts the brass, as in his speech last week to the Veterans of Foreign Wars. Skirting the invidious "militaryindustrial complex," usage, he said: "The military-industrial-labor team is a tremendous asset to our nation and a fundamental source of our national strength." Meanwhile he is actively engaged in putting the "team" on a slenderizing diet and preventing contractors from abusing the bidding process that has inflated military costs in the past...
...drastic step of expulsion, primarily because it would tear the party apart -and perhaps leave Indira as a non-Congress Prime Minister with leftist support. The alternative possibility of bringing down her government with a vote of no-confidence was all but ruled out by her show of strength among the Congress M.P.s. In any case, Indira is not overextending herself to placate the right-wingers. After the election she made a point of saying: "If some vested interests, without understanding the government's policy, oppose it, they invite their doom...
...which was billed by its youthful Manhattan promoters as "An Aquarian Exposition" of music and peace. It was that and more?much more. The festival turned out to be history's largest happening. As the moment when the special culture of U.S. youth of the '60s openly displayed its strength, appeal and power, it may well rank as one of the significant political and sociological events...
Adapted to the screen by Charles Dyer from his play, Staircase is a static, placid film in which the camerawork is subdued. Its strength is in its two key players. Each being determined, perhaps, to do his best acting before a peer, Burton and Harrison give firmly disciplined, finely delineated performances of undeviating honesty. Burton has rarely immersed himself in a part to the extent that one could forget he was Richard Burton, but he does it this time. Harrison has often seemed to be acting before a mirror rather than a camera. In Staircase he is acting before...