Word: winners
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Dates: during 1960-1969
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...After the meeting Brown appointed a committee to study election procedures. We were disturbed not only that as small a group as 1.25 per cent of the Coop's 60,000 members could conceivably assume control of the company, but also that under the present 'winner-take-all' system over a thousand members had gotten no representation." Brown said...
...switch to spiked shoes, fully aware that adjustment to the shift would probably cost him the set. It did. But in the second set Laver settled into a flawless groove. He broke Roche's spirit by consistently parrying his powerful serve, glided swiftly over the court to fire winner after winner past an opponent whose concentration collapsed into a desperate scramble. In just 113 minutes, Laver won his seventeenth tournament and 30th consecutive match of the season...
...movie is anything like the cast, it ought to be a winner. With Raquel Welch, Mae West and John Huston already in the fold, 20th Century-Fox has just signed smart-set chronicler and film critic Rex Reed for a "starring role" in Myra Breckinridge. Reed wants everyone to know that he is not -repeat not-playing gay young Myron Breckinridge, who goes under the knife to emerge as Raquel Welch. His part now calls for a young writer who is Myra's "alter ego." Rex thinks the experience will help him as a critic and" is not afraid...
Much of what went on at the competition was like the history of the accordion itself-inconclusive and tinged with melancholy. But the serious contestants vindicated the proceedings with disciplined and evocative efforts on behalf of composers ranging from Bach to Hans Brehme. The winner was a Russian, Valeri Petrov. His two runners-up: Fellow Countryman Anatole Senin, who alternately coaxed from his instrument both the organlike richness and wintry delicacy necessary for Bach's organ Concerto in A-Minor, and American Pam Barker, who survived the technical terrors of Khatchaturian's Piano Concerto with impressive calm...
Writer-Director Haskell Wexler, an Oscar winner who has built a reputation for himself as one of Hollywood's best cinematographers (Who's Afraid of Virginia Woolf?, The Loved One), scraped together $600,000 for this low-budget portrait of a country in conflict with itself. He chose Chicago, with its thousands of pent-up blacks and displaced Appalachian whites, as a symbolic seat of the conflict and began shooting last summer in a loose, almost documentary fashion-just as the convention confrontation was reaching a peak of frenzy. The uncomplicated plot turns on the developing love affair...