Word: whose
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...Alexander the Great were lefthanded, and so were Babe Ruth, Michelangelo and Charlemagne. The left hand rules Charlie Chaplin, Robert S. McNamara, Sandy Koufax, Kim Novak and Ringo Starr. They are known as southpaws, gallock-handers, chickie paws and scrammies-and on down a whole list of slangy synonyms whose very length testifies to the fact that for centuries left-handers have been looked upon with suspicion, if not with actual mistrust...
...York Times-A proud, almost arrogant newspaper whose daily circulation goes to a special leadership audience around the world. Not everybody likes it, but nobody can ignore it. Although its reputation throughout the world probably exceeds reality, it leads all papers in its widespread collection of news and views. Its thoroughness is its chief distinction, and it is the standard against which other American papers are judged...
...sense, Friedman is like a Paris designer whose haute couture is bought by a select few, but who nonetheless influences almost all popular fashions. Richard Nixon's economists will not accept all of Milton Friedman's money-supply theory. They will, however, pay much more attention to monetary policy -and relatively less to taxes and Government spending. In that way, they hope to ease the economy onto a steadier, less inflationary course...
...money-making star of 1968, reports the Motion Picture Herald in its 37th annual survey of superstars. After Poitier comes Paul Newman; third is Julie Andrews; fourth is John Wayne-appearing among the Top Ten for a record 19th time. In fifth position is a newcomer, Clint Eastwood, whose made-in-Italy "Dollar" westerns were appropriately named. The sixth is Dean Martin; seventh, Steve McQueen; eighth, Jack Lemmon; ninth, Lee Marvin; and tenth, Elizabeth Taylor. There is no room at the top for slippage. Gone from last year's golden ten are Sean Connery, who dropped from fifth...
...show. Instead, it is a two-man performance. The second man is Director John Flynn, who, faced with a prodigious actor and an undeveloped scenario, has fleshed out his film with nuances. The barracks life of monotony and loneliness is depressingly acute; the local pay sans, whose faces are maps of rural France, give an extraordinary sense of locality to a story that badly needed roots. Unfortunately for the film, neither Flynn nor Steiger bears the antidote for the sting of predictability...