Word: houstons
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Dates: during 1980-1989
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...sales: $3.7 billion), Houston-based Texas Air offered about $925 million for the company, which includes $23 in cash and securities for each TWA common share. The investment firm Drexel Burnham Lambert will help Texas Air raise the money by underwriting "junk bonds," a popular takeover tool. Icahn, who stands to make a profit of about $50 million when he sells his TWA shares to Texas Air, will probably go along with the deal...
...1970s, when a group of Houston youths were taught such modern approaches to the Bible at Baptist Baylor University in Waco, Texas, they returned home and reported the information to Paul Pressler, their former Sunday school teacher. Pressler, a state appeals court judge, who is a cum laude Princeton alumnus and former state legislator, subsequently urged fellow conservatives to work toward electing a series of tough S.B.C. presidents. His notion: the conservative presidents would make appointments that would turn around the schools and the huge S.B.C. publishing house. Criswell's associate pastor, Paige Patterson, became Pressler's partner...
...muted in the 1970s, when British avant-garde architects adopted the American and Italian nostalgia for architectural "references" and ornamentation. In a few buildings designed with Partner Michael Wilford, Stirling made halfhearted concessions to historicism. His first completed U.S. commission, Rice University's 1981 School of Architecture in Houston, for example, is a staid, humbly conventional structure -- with an asymmetrically placed porthole punched in an end wall, almost as a defiant postmodernist afterthought...
...grotesque and absurd extent, on painters' ability to excite envy among their rivals, and the sense of common reciprocity that pervaded the art world up to ten years ago is drying out. Where it still exists, it is more to be found west of the Hudson, in Houston or Chicago or San Francisco, than in Manhattan itself. The moral economy of the art world has been so distorted by hype and premature careerism that a serious artist in New York must now face the same unreality and weightlessness as a serious actor in Los Angeles...
...speak to me: Giotto, Duccio, Van Gogh." Doubtless this list will change if he tries a ceiling, but Schnabel has never learned to draw; in graphic terms, his art has barely got beyond the lumpy pastiches of Max Beckmann and Richard Lindner he did as a student in Houston. The dull, uninflected megalomania of his kitsch- expressionist imagery (Sex, Death, God and Me) is rant, a bogus "appropriation" of profundity...