Word: dooms
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...1930s, when television was hardly in swaddling clothes, White predicted that it would become "the test of the modern world," capable of "radiance," but likely to produce "an unbearable disturbance of the general peace." Two characteristic sketches deal with The Decline of Sport and the Crack of Doom. Though White does his best, neither is funny. Sport ends in 1985 with a flurry of statistics and a pile-up of 1,482 cars, "a record for eastbound parkways," and 3,000 dead. By that time Americans all take portable radios to football games to hear other sports events, while...
Feelings of impending doom, however, are not in evidence inside RCA. A key reason is Bradshaw. Drawing upon a calm management style honed during 17 years as president of the Los Angeles-based Atlantic Richfield oil company, the new boss, 64, has put an end to years of boardroom intrigues at RCA and given the firm a badly needed sense of renewed confidence in its own future. Says he: "What I have been doing is spending a lot of time finding out what kind of a company this is so that we can decide where we are going...
...fossilized faith that is unique in church annals. The poignant tale of the sect begins in 1549, when Jesuit Missionary Francis Xavier brought Roman Catholicism to Japan. The new creed soon gathered 300,000 followers, including most of the inhabitants of Ikitsuki, but its success also spelled its doom. Fearing the Christians' growth and foreign links, the warlord ruler Hideyoshi and later shogun mounted terror campaigns in which tens of thousands perished, often gruesomely. Christianity was all but stamped...
...songs like "Ocean" and "Electric Co." October has some additional instrumentation, but sticks more to the now-established formula. People forgive a lack of innovation in traditional folk music, but the rock world is faster paced, and failure to generate new ideas could spell out a group's doom, a problem in particular for New Wave groups who deal with a more limited range of permissible rhythms...
...classic principle of tension and release. The first section is for the instrumental ensemble only, unaided by electronics. The tension is created by rapid, repeated-note figurations and massed sonorities. The release, such as it is, comes from a series of eerie tremolos and trills reminiscent of the doom-laden flute flutterings in Strauss's opera Salome. The soloists enter with a computer-assisted arpeggio, vibrating and echoing over the six large loudspeakers that are stationed around the hall. Then the soloists and the ensemble interact, responding to each other in the manner of Renaissance polyphony...