Word: newporters
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Dates: during 1960-1969
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...third America's Cup race was over, and Jock Sturrock, helmsman of Australia's Dame Pattie, sat in Newport's Thames Street Armory answering reporters' questions. What, specifically, was the challenger's main problem? Sighed Sturrock: "The hull." Why hadn't Jock tried to backwind the U.S.'s Intrepid at the start? "On the performance of the two boats, I don't think it would have made very much difference." What was his overall impression of Pattie? "Theoretically, she was designed for winds of twelve to 14 knots, but I would...
Thus the Aussie skipper could only say that if there had been practically no wind at all at Newport, R.I., last week, Dame Pattie might have been competition for Bus Mosbacher and the U.S. defender, Intrepid. As it was, the winds ranged from seven to 22 knots, and Pattie lost three straight races by wide margins. On not one single point of sailing did the Australian 12-meter yacht prove superior...
...WIDE WORLD OF SPORTS (ABC, 2:30-4 p.m.). The America's Cup Races, live from Newport, R.I., along with live coverage (via satellite) of the Karl Mildenberger-Oscar Bonavena heavyweight bout from Frankfurt...
...Alen's VASSS (for Van Alen Simplified Scoring System), in which zero is zero, a point is a point, one game of 31 points decides a match, and both spectators and players are spared such dreary marathons as one of the doubles contests at last month's Newport Hall of Fame Invitational. The match lasted 6 hrs. 10 min., and the final score was 3-6, 49-41, 22-20. With that ever-present possibility, it is no wonder that the West Side Tennis Club's 14,000-seat stadium in Forest Hills, N.Y., was one-third...
...tried all sorts of categories. After arriving in London, he worked with twelve-tone Composer Elisabeth Lutyens, but soon found that discipline "stiff and disagreeable." Now his manner is basically tonal, which, he feels, actually affords the composer a wider horizon of dissonance. In another Williamson work produced at Newport, a nonet for five players and four dancers, long sequences of butter-would-melt tunefulness suddenly gave way to a perky hell-for-leather style reminiscent of Stravinsky's acidulous neoclassicism...