Word: modernities
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
...scarred and swarming tenements along Harlem's East 108th Street have changed little since Gambler Frank Costello was a boy. The towers of the Triborough Bridge now float in the sky just beyond their chimneys, and a snare-drum roll of traffic drifts up from the modern East River Drive. Negroes and Puerto Ricans choke the slums to west and north. But the old neighborhood is still Italian. Its sidewalk garbage cans (each with its cover chained to prevent theft), its great, voracious rats, its smells, its endless noise, are the same...
...ambassador has contrived such varied aids to modern life as self-winding watches, shock absorbers and mine-detecting devices; but his greatest love is the theater. Leaning back behind his cluttered desk in Manhattan this week, he spoke enthusiastically of his longtime friendship with impresarios Morris Gest and David Belasco...
...strong man and orderkeeper for every Panama administration since 1946, was in effect chief of staff of the nation's only armed force, the highly trained 2,000-man police corps. He and a staff of fanatically loyal aides had absolute control of the modern police headquarters, a combination fortress, arsenal, barracks, radio communications center and model jail (known locally as the Hotel Remón). By contrast, the only force directly at the President's disposal was his ceRemónial bodyguard...
Wreckage at Zero. The effect would be strongest at "zero": directly under the burst. The AEC's own building, a solid modern structure with four thick concrete floors, would be completely wrecked, and 80% of the people in the building would be immediate blast casualties; others would die later from radiation. Windows and partitions would be hurled about as missiles. More fragile buildings like the White House would be crushed like cardboard...
Aaron Copland's "An Outdoor Overture," while written expressly for amateur groups, still presents many of the complexities of meter and attack inherent in modern music. By all counts it was the most difficult piece on the program, the one in which the Orchestra ought most surely to have fallen down. Yet it emerged on top. All entrances were accurate and confident. The strings were together, really together, biting out their passages with a precision reminiscent of some Koussevitzky performances I have heard. The woodwinds were in tune with each other, and the brass was prominent but never blatant...