Word: arizona
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Dates: during 1970-1979
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Lukens was brief, and then it was time to introduce Barry. Bob Moffat, a member of the National YAF board and Arizona chairman, a man with a brief, tight-lipped smile that never quite conceals the suspicious glances he shoots around him, delivered the introduction for the former presidential candidate with complete earnestness: "... He was only defeated by the vulgar, vile, and, yes, effeminate weapons of slander and semantical distortion...
...homing ability of some migrating animals is uncanny. A bat living in Arizona's Colossal Cave was removed 28 miles and freed; it found its way home in less than four hours. A coho salmon raised in a California hatchery was shifted to a different stream when it was a year old. At spawning time the next year, the fish appeared back in its old tank. From the sea, it had found and ascended its home stream, crossed under U.S. Highway 101 by culvert, swum through a storm sewer and up to a flume, finally wriggled through a right...
...fizzing and the cliches are hushed. In a brilliant restaging, Japanese planes cut through the cloud cover. There, gliding beneath them, is a civilian biplane, looking like a goldfish among sharks. It is the film's last laugh. Trapped in that jug-necked harbor, the men of the Arizona, the regulars on easy duty in Schofield Barracks, are pathetically vulnerable targets. An airplane desperately taxis down its runway, straining for liftoff. A bomb scores a direct hit. The pilot becomes a gout of smoke, the propeller detaches crazily, scudding across the earth. Men are flooded in holds, set afire...
...French horn), a girl in evening dress (violin), and a child perched in a potted shrub, tapping on a drum. A scattering of vacant chairs inhabiting an empty, silent landscape marks the spot where a party died. Philip C. Curtis, 63, is possibly the only Surrealist now living in Arizona. But Surrealism is a term he uses "quietly, incidentally, to express my ideas. Most Surrealists are on the brutal side. I always have a note of tenderness...
...Curtis is more elegant than challenging. His objects do not confront one another in shock, like Lautréamont's famous sewing machine and umbrella on a dissecting table-they nod, as it were, with mild and civil assent, a little surprised to find each other surviving in Arizona. Survival, in fact, is the keynote of such art. In the end, even the nostalgia of Philip Curtis' vision serves its purpose, which is to beguile the viewer into meditating on time and its erosions...