Word: sweets
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Dates: during 1960-1969
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...classification in the California State Employment offices is the "pool sitter," a job for teen-agers who can produce a Red Cross Junior Life Saving Certificate. Earning up to $100 a month for this part-time task, teen-agers are taking to it like ducks to water. One sweet sixteen sends out calling cards to pool-owning parents, advertising: "Have Bikini, Will Babysit...
...Komako, a female swindler with a grisly gimmick: she begs by posing as a Hiroshima maiden, although her scars are really from a childhood encounter with a fireplace. "My white corpuscles decrease daily-sometimes I swoon from anemia," she says with a pitiful passion. But she has to use sweet-potato moonshine, rather than a sob story, to pry loose Junpei's bankroll. Then she absconds, but only after he has fallen in love with...
Candy's sweet success is the handiwork of the Fumagalli brothers-Niso, 55; Enzo, 48; and Peppino, 34-who took over their father's forsaken electrical apparatus factory after the war and made Candy an Italian household word with hard-selling sales and advertising campaigns. The Fumagallis originally intended to make dishwashers, but Enzo had been impressed by the popularity of washing machines in the U.S. while a prisoner of war in California. He named the company after a once-popular U.S. song that begins: "Candy, I call my sugar candy." Last year Candy took...
...sense of the limits of life, Camus never advocated an Epicurean withdrawal. He believed that all of life should be savored, the bitter with the sweet. These early notebooks tell nothing of Camus' heroic service in the Resistance; they say surprisingly little about the war. But Camus does make clear in them his reasons for joining the Resistance: "There is nothing less excusable than war and the appeal to national hatreds. But once war has come, it is both cowardly and useless to try to stand on one side under the pretext that one is not responsible...
...Margaret, the village looney, almost stole the show. It was a joy to watch the diminutive Miss Hertz sprinting purposefully through a forest of knees in the second act patter trio. With a lovely soprano voice and superb comic timing Kathleen Campbell played a village beauty, Rose Maybud-"sweet Rose Maybud," as she often reminds us. Demurely and discreetly, she was a girl on the Victorian make. Her turn came in the second act's "Tight Little Craft" sequence when, with a Maiden At Prayer expression transfixing her lovely visage, Miss Campbell executed a kick step which was far more...