Word: ciddings
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...CID hopes to improve House facilities and keep each House informed of what the others are doing, but will try to avoid "pseudo-professionalism," Miss Moss added...
Under the Omayyad caliphs, Moorish Spain became the strongest, richest nation in Europe. Shortly after the first millennium, the caliphate splintered into tiny Moorish principalities. In the era typified by El Cid, the soldier of fortune who served both Moslems and Christians, chivalry became a warring way of life for Christians. Spanish knights or caballeros, often owning nothing but horse and armor, served to oust the Moors. Monks wore chain mail and were led by bishops wielding battle-axes. The conflict, for Christians, took on the character of a holy crusade, but it was warfare often punctured by periods...
...only decorous thing that Charlton Heston can do now is to retire until Hollywood is ready to film The Lyndon Johnson Story. In two decades in movies and theater, the 41-year-old actor has played just about every other notable, including Moses, John the Baptist, Ben-Hur, El Cid, Macbeth, Michelangelo, Thomas Jefferson and Andrew Jackson, as well as the off-camera voices of Franklin D. Roosevelt and God. Of course, the studios would never let him retire. He is, in the trade term, one of the most "bankable" box-office stars going...
Bouncing Balls. Since his student days in his native Chile, Castro-Cid's art has thrived on unpredictable influences. While he lived in tropical Central America he painted in hot Fauve colors: "Nature made me get out of myself," he says, "it opened my pores." In Mexico City, he wandered into the anthropological museum. "Suddenly I had pre-Columbian memories that, of course, were impossible for me to have." A series of Fauve paintings of Quetzalcoatl, the brightly plumed serpent god, was the result...
From anthropology, Castro-Cid moved on to anatomy. Arriving in Manhattan with his wife, Harper's Bazaar Cover Model Sylvia, he spent hours peering into musty display cases in Manhattan's American Museum of Natural History. Says he: "My paintings grew to be surrealist abstractions with the hint of skeletal joints expressing patterns of growth." To add motion to them, he made toylike, motor-driven robots. They jousted like a 21st century Punch and Judy show, chased tiny balls with spinning hoops in an electronic version of Alexander Calder's 1926 "Circus...