Word: corneres
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
Conditions outside the cells in the courthouses were almost as grim. From criminal court in Brooklyn, TIME'S Paul Witteman reported: "The smell of vomit permeated the lobby. There were puddles of urine on the floor. In one corner, a Hispanic woman shrieked uncontrollably. Court officers administered oxygen to two women who had been felled by the heat and the strain of not knowing what had happened to relatives locked up in the cells. Police broke up a group of people being interviewed by a radio reporter. In the midst of the shouting and shoving, one man was arrested...
...then down. Gas. Clutch. Shift. Now gas, clutch, gas again. Downshift. You are learning how to double-clutch. You are learning to control a car. You cease to hear the swallows. Your universe becomes an asphalt strip. It will be afternoon before Couture regards you as competent to corner in a Formula Ford...
...specific technique for attacking, say, a 90° right turn. Approach down the extreme left. Brake and downshift from fourth to third. Brake and downshift third to second. Steady throttle. Now turn at an angle that touches the inside shoulder at the very center-the apex-of the corner. Accelerate out. Unwind the wheel. Breathe...
...angry crowds frequently fired on them and increased their anger. But in New York, large numbers of calm, well-disciplined officers avoided adding to the violence. In Bedford-Stuyvesant, for example, the situation gradually came under control as enough police arrived to station four or five cops on every corner of the most troubled area, while other cops prowled in marked and unmarked cars. One worn-out sergeant told me: 'My ass is numb and my shoulders are scrunched from riding with five other men in a Pontiac Tempest." But it worked. As tensions eased, the police avoided making arrests...
...once round the corner of 1950, the exhibition nosedives into farce. All trace of method evaporates. Its level of historical understanding is so low as to be, in a sense, beyond criticism. There is, for example, no doubt that the main change in modern sculpture-the shift from solid (cast, carved or modeled) to open, constructed form-was largely worked out between Europe and America by the way in which the metal constructions of Gonzalez and Picasso, in the 1930s, provoked David Smith's welded sculptures in the U.S. after World War II. The consequences of the change were...