Word: chromed
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Dates: during 1970-1979
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Star of the oratory, and the subject of much of its religious chrome plating, is the man for whom it was built -a semiliterate French-Canadian orphan named Alfred Bessette, better known as "Brother André, the miracle man of Mount Royal." As a religious brother, Bessette served for 40 years as doorkeeper and handyman of Notre Dame College, a boys' school at the foot of the hill. He was humble, devout and frail, a sufferer from chronic dyspepsia. But he had, it is claimed, miraculous healing powers...
Whether the U.S. would maintain sanctions under pressure from business in uncertain. Evidence to the contrary lies in the fact that the United States ended support for U.N.-imposed sanctions on importation of chrome from Rhodesia. This action, which the U.S. called a "strategic necessity," was a result of massive lobbying by the chrome companies...
...American auto has long enjoyed a not-so-subtle sanctity all its own. The vinyl and chrome interiors have become mobile family chapels for communing with nature and each other; the weekend car wash has become a purification rite, the trade-in for a newer model a form of spiritual renewal and reaffirmation. Now the auto's explicit religious overtones and artifacts have spilled over from the dashboard, where they have long been visual obstructions, to the bumper, where they constitute eyestoppers if not public affronts. The religious bumper sticker has recently become a profitable business. An estimated...
Around them swirls the carnival of the auto show. The 300 cars and 60 motorcycles are roped off from the crush of the public, the starflake paint mirroring the mustache and leather jacket of a hot-rodder bending close to inspect the chrome-plated carburetors, and his little brother in jeans and a Ski-Doo jacket peering in to see how high the speedometer goes. Down the aisle sits "Peaches and Kreme," a 1934 Ford coupe with a 1968 Corvette engine and a body painted "Campus Creme" on top and "Bronze Starflake" below (and a sign: DO NOT TOUCH THIS...
Last week in Germany such a work appeared. The orchestra pit of the Hamburg State Opera was empty, and up on the stage strode the weirdest bunch of non-human heavies since Wagner peopled his Ring cycle with gnomes, mermaids, dragons and bears. Five 21-ft. chrome-and-steel towers reeled in patterns that owed less to choreography than to the movement of armored tank columns. They were directed from backstage by electronic remote control, and were adorned with mirrors (20 to a tower) that caught the sunburst of spots, strobes and color projectors that beamed down upon them...