Word: european
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Dates: during 1950-1959
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Either way, the European allies were hard put to conceal their current mutual distrust. On one side were what De Gaulle called the "Anglo-Saxons."* Britain's idea of its special relationship with the U.S. was keenly resented by De Gaulle and suspected by West German Chancellor Konrad Adenauer. The British, in turn, saw in the close alliance between Bonn and Paris and in the growing unity of the six Common Market nations a move to isolate Britain from the Continent...
Then De Gaulle, his manner calm and impersonal, moved on to more delicate ground: "No doubt Soviet Russia, in spite of having aided Communism to take root in China, recognizes that nothing can change the fact that Russia is a white European nation . . . face to face with the yellow masses of China, numberless and impoverished, indestructible and ambitious-a people that is building through trial and hardship a power that cannot be measured and that is already eying the open spaces over which it must one day spread...
...Labor parties seem reluctant to leave the safety of the three familiar circles. The old isolation speaks to something basic in British pride. The government's attitude toward Europe still seems to be to procrastinate and to improvise. Britons argue that Franco-German amity is unnatural, that a European movement without Britain is bound to fade once De Gaulle or Adenauer is gone, and that the Common Market structure of the Inner Six may well pass into history under the pressure of events. But despite these complacent prophecies, the evidence indicates that the alliance of the six continental nations...
...three years Soprano Moffo has been riding high on the European opera and concert circuit. To U.S. opera buffs, she is known as the star of several fine recordings, including Madame Butterfly (RCA Victor) and Capriccio (Angel). As Verdi's consumptive heroine, she demonstrated last week that her acting is almost as good as her voice. Strikingly handsome in a hoopskirted, bare-shouldered, pink ball gown, she made the Violetta of Act I into a moving figure of feverishly hectic gaiety. As the opera progressed, the coquettish attitudes gave way gradually, until by the final act Violetta emerged...
Herter's carefully prepared speech fore-shadowed a determined campaign by the Eisenhower administration to persuade prosperous European nations, as well as Japan, Canada, Australia, and New Zealand, to increase substantially their spending in Africa and Asia...