Word: verbal
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Dates: during 1980-1989
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...named Gualianko and a sorrel named Catalina. Reagan used to raise thoroughbreds and sell them off as yearlings. When he was younger, he had his own system of breaking horses, first with a lunge line in the ring, then lying stomach-down across their backs, all the time emphasizing verbal commands. As he was explaining his approach, he burst into a sing-song chant from his cavalry days: "Walk ho-o!" he cried out. He was silent for a moment. Then he let loose again: "Tro hoo!" he yelled, as if he were back in a movie at Fort Bravo...
...provoked some bitter criticism for using his Government contacts to advance his private interests. One charge is that he passed along inside information to a Japanese businessman with the aim of developing lucrative contracts for himself. He received some $60,000 from fugitive Financier Robert Vesco as a "verbal consultant." Allen also introduced Vesco's attorney to William Casey, then Securities and Exchange Commission chairman, at a time when Vesco was under investigation by that agency. Allen claims, not too persuasively, that he was unaware of the probe when he was working for Vesco. Most serious...
...caused an entire small town, Sweethaven, to be constructed on Malta, and it is as jumbled as Segar's Thimble Theatre was clean-lined. Worse, the sound track is constantly amutter with asides, off-screen voices, half-overheards-Altman trademarks at odds with the spare, sharp verbal play that was one of the delights in the comic...
...schools in Washington, D.C., and five states (Maryland, Virginia, West Virginia, Delaware and Pennsylvania). To be eligible the students had to score in the upper 2% to 5% on a standard math test. As part of the study, the students, seventh-and eighth-graders, took both the math and verbal sections of the College Board's Scholastic Aptitude Tests. Boys and girls performed equally well on the verbal, say the authors, but there was "a large sex difference in mathematical ability in favor of boys...
...stage is the performer's space: it belongs to the actor - or the character - who is always "on." He is the metaphor matador, the tale twister, the verbal bully who mesmerizes those onstage and in the audience with his endless conjury of felicitous syllables. He is the theater's grand gabby old man, the shaman, the incantator, who goes back to Aeschylus and forward to O'Neill and Osborne, Stoppard and Shepard. Put a spotlight on him, and the eloquence swells, the spell continues. He simply will not shut...