Word: beating
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Dates: during 1970-1979
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Beneath that obdurate, aluminum exterior beat two 12-volt automobile batteries, 15 electric motors, 35 relays and hundreds of solid-state integrated circuits. Arok has a motorcycle helmet for a skull, a rubber Frankenstein mask for a face, clothes-dryer exhaust hoses for arms, rubber gloves for hands and a firm, manly handshake. He is remote-controlled by FM radio signals (there is a microphone in his control panel and a speaker in his head). Skora, in fact, had to apply for an FCC license to ensure that commands to Arok would not be competing with Led Zeppelin...
...Gould let Sheehy beat him into print with his own ideas? "I thought I would write a book in about three or four more years, after I had thought about the problem more." The product of his pondering is Transformations (Simon & Schuster; $9.95). Though clearly more serious than Sheehy's pop-psych success, the book is unlikely to quell skepticism about research on adult cycles...
...adventurous bit of off-beat casting, the title role is in the hands of the great flamenco dancer Jose Greco, who has never interpreted a speaking character on stage before. Not surprisingly, he moves on stage exceedingly well; also not surprisingly, he is vocally deficient. His diction often lacks conviction, and the combination of Latin and Transylvanian accents and some scanted syllables does not help intelligibility. He brings to the role neither the hypnotic power of Lugosi nor the sensuous elegance of Langella...
...weeks later, the Soviet timber freighter Kliloi hove to, also near the Nordkyn Peninsula. It beat a retreat when another gunboat approached. The same day, the tanker Kochetov steamed into Vardo harbor, claiming there was an injured man aboard. So there was?but, strangely, it would have been easier for the craft to return to Murmansk...
...rock. His E Street Band helps keep things always at the boiling point. They are powerhouse musicians who have raised roadhouse rock to Olympian heights. The driving delicacy of Roy Bittan's piano, Danny Federici's flights of rough-and-tumble fantasy on the organ, and the hang-tough beat of Max Weinberg's drums, Garry Tallent's sinuous, serpentine bass lines and the roistering guitar of Miami Steve Van Zandt form the firm foundation. The wailing, extravagant sax solos by Clarence Clemens cut jolting, joking arabesques around the Boss's lead guitar and vocals, which are the main attraction...