Word: used
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Dates: during 1960-1969
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...Ford Foundation's new Manhattan headquarters, where secretaries work in glass-enclosed offices. Overcome by a sudden sense of modesty, one secretary, perched at a graceful but unprotective typewriter pedestal, recently sewed a minicurtain and draped it in front of her. It evidently never occurred to her to use needle and thread to lower her thigh-high hems...
This is almost certainly going to change. A study by a committee of the Federal Reserve last week outlined new rules aimed at liberalizing lending policy. Under its proposals, member banks would be granted a "basic borrowing privilege" at the Federal Reserve, which they could use with few questions asked. How much this will amount to for each of the banks and how frequently they will be allowed to make use of it remains to be settled...
More liberal use of the federal discount window, even at the rate of more than $2 billion a week desired by the Mitchell study, will mean a shift in the way bank credit is extended. It will not increase the overall money supply, just de-emphasize the Fed's buying and selling of Government securities to regulate the flow of money, which has not always been fully successful when the chips were down. It took several months during the 1966 credit crunch to improve bank lending by such means alone. "If the proposed revisions had been in effect," says...
American decided to outmaneuver its U.S. rival by increasing its own share of Gallaher. Apart from prestige, one good reason for doing this was to take control of the company and use it as an English avenue for some interesting new products. English smokers are as taken by filters as American smokers, and American Tobacco Chairman Barney ("Brand-a-Month-Barney") Walker has plenty of brands for the British market, led by fast-selling Tareyton. In addition, Walker can also introduce through Gallaher such products as Mott's apple sauce, Sunshine Biscuits, and perhaps even Jim Beam bourbon...
...presence of the camera alters reality, affecting the spontaneity of those conscious of being filmed. The greatness of Jean Rouch's Chronicle Of A Summer rests largely in its being a deliberate study of how lives change in the prolonged company of a camera. On another level, editing and use of subjective techniques, from point-of-view shots to the optical changes defined by the variations in different lenses, defeat any attempt at total simulation of reality--even in the best work of the best documentary film-makers, and those early works of Rosselini and Visconti which attempted to subordinate...