Word: cliff
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Dates: during 1960-1969
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...expected, the Crimson swept the next five matches, with Doug Walter, captain Roger Wiegand, Terry Robinson, John Thorndike, and Allen Terrell all remaining undefeated. Walter outplayed Yalie Peter Appleton 15-10, 15-10, 9-15, 15-5; Wiegand, also a senior, defeated Cliff Clark...
...Like Ants." On the twelfth day, the three men reached the treacherous "black board"-a 230-ft.-high cliff of solid slate almost impervious to drills and pitons. "They look like ants crawling up a building," reported one pilot. "But they wave and seem all right." Cautiously, the climbers eased their way through the "great cathedral"-a double-faced outcropping of rock. At last, after 16 days of suspended existence, Siegert reported: "We feel solid ground beneath our soles." He was on a ledge, 300 ft. below the summit, that measured just 1 ft. wide...
Monk's Dream (Thelonious Monk Quartet; Columbia) is also a jazz listener's dream. In his first recording in years, Monk sounds better than ever. His new compositions still display the wonders of his imagination, but much of his old cliff-hanging love of anti-melody has disappeared. His quartet is competent, but hardly in his league...
Outside San Juan are hotels for people less likely to panic when out of earshot of a calypso singer or a steel band. El Conquistador, now in its first season, perches atop a cliff on the northeastern tip of the island, uses an aerial tramway to ferry guests to and from the white-sand beach below. Villa Parguera, on the southwest shore, specializes in deep-sea fishing; El Barranquitas in the mountainous interior has a spectacular view and an excellent cuisine. Puerto Rico's finest hotel is the Dorado Beach, 20 miles west of San Juan, built by Laurance...
Gerhard's music is splashed with cliff-hanging melodies that grow out of his insistence that twelve-tone composition need not always be atonal. "There are alarming signs that composition with twelve tones may become a Cause," he wrote while working on his symphony, then proved his freedom from causes by building his music on rhythmic patterns outlawed by the canons of serial technique. The First Symphony opens with a lively burst of serial figures, repeated over and over in headstrong violation of Schoenberg's rules. Rushing excitement then gives way to the eerie calm of the second...