Word: eye
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Dates: during 1970-1979
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...Graham showed an eye for opportunity and a taste for big-city journalism at the Harvard Crimson in 1966; when the Boston dailies were struck that year, Graham and his colleagues rushed out the Boston Crimson, a four-page paper that focused on local news and had a circulation of 30,000. After graduation and a tour as a specialist 5 Army information officer in the Viet Nam bush, Graham decided to learn about Washington by spending 18 months as a beat cop in a tough southeast neighborhood. At the Post, he has worked as reporter, salesman, night production manager...
...recounts an alpine rescue mission that involved 44 French troops, six mountain policemen, eight Chamonix guides, ten volunteers, 70 helicopter flights and a mile of climbing rope, and cost more than $10,000, plus the life of one of the volunteer climbers. He shows a seasoned traveler's eye as he follows the circuitous route of Alexander the Great through Asia Minor into Pakistan...
...Washington, the ceremony mirroring the activities in Peking took place in China's liaison office on Connecticut Avenue. One eye popper for the 500 guests was an American flag that the Chinese had tacked on the wall-but backward, its stripes pointed to the left. Unruffled by this bizarre display, Vice President Walter Mondale rejoiced over "the dawn of a new and bountiful era" and hailed China as "a key force for global peace." In response, Ch'ai Tse-min, head of the Chinese mission, declared that the new Sino-American ties would serve to "combat the expansion...
...understanding of a friend who's been with them since they were "barnstorming around the northern country in a busted-up Volkswagen," as he recalls it, Matson has put Pilobolus on paper as no words can. Though Matson describes himself as "a farmer and a writer," he has the eye of a cinematographer--and like his subjects, evidently, the energy of an athlete. "When I'm photographing Pilobolus, I'm down on the floor or flipping, too--it's almost like a sport," he says...
...first kind in which the members of the audience do not immediately refer to their own bodies in reacting to the movement on stage. Here, a single dancer's body is only one unit in a larger structure; the ambiguity of the final form frees the onlooker's eye from the insistent logic of ordinary anatomy...