Word: arched
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Dates: during 1950-1959
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...silver-grey plastic mats, occupied by ten girls in neat white blouses and neat blue shorts. They were learning "The Art of Relaxation" and "The Correction of Posture Faults." We had missed the relaxing session that opens each class, but we had arrived in time for the metatarsal arch contest...
...their lines. But there is nothing unsure about the acting of Ray Duffy, who plays the leader of the thieves. He makes an altogether likeable yegg. Herb Adams, the second member of the trio, tends to overplay his part of a professional seducer and becomes a bit too arch at moments, though this fault does not damage his portrayal much...
Next fall, announced Washington's Sidwell Friends School, "a limited number of qualified Negro students" will be admitted to the school's kindergarten. Among the students now attending all-white Sidwell: three children of Mississippi's arch-segregationist Senator James O. Eastland, loudest voice of the bias-bawling white Citizens' Council. On hearing the news. Mrs. Elizabeth Eastland gulped: "It comes as a surprise." Affably drawled Jim Eastland: "No comment." The Senator's consolation, if he decides to let his children stay at Sidwell: unless his kiddies flunk several grades, or some of the late...
...them all in a sack, and on a pitch black night took them out under an arch. First I would cough, and then immediately whale the daylights out of the cats. They whined and shrieked like an infernal pipe organ. I would pause for a while and repeat the operation-first a cough, and then a thrashing. I finally noticed that even without beating them, the beasts moaned and yelped like the very devil whenever I coughed. I then let them loose. Thereafter, whenever I had to eat off the floor, I would cast a look around. If an animal...
...Daily Telegraph was concerned, the abstract paintings of Jackson Pollock, Clyfford Still and Robert Motherwell "bombinate in a void. Nothing is communicated beyond an apparently fortuitous anarchy of pigmentation." "An air of impermanence," said the Observer. The arch-conservative London Times conceded that the abstract-expressionist movement is the "one development in American art ... [that] has gained for the United States an influence upon European art which it has never exerted before." But as for the works themselves, the Times declared: "The large, uncompromising canvases . . . have a monumental impermanence, show a defiance of Art and a kind of strange anonymity...