Word: objections
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Dates: during 1970-1979
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BIRMINGHAM! THE FOOTBALL CAPITAL OF THE SOUTH' ... The mangled bodies of little girls in a bombed-out church. Martin Luther King Jr. and Theophilus Eugene ("Bull") Connor-the irresistible black force meeting the immovable white object-confronting each other amid the flames...
...court order took shape. Over 400 were prosecuted. And, as Commissioner DiGrazia so unproudly points out, none received sentences from mostly neighborhood courts. This show of laxness and reactionary unity in the city's neighborhoods, along with the angry words and deeds that it compounded, turned Boston into an object of fascination and irony as media and communities, both North and South, watched Boston sacrifice its civic-minded, Yankee reputation to racial hatred, or so it seemed, and over the practical answer of a mild-mannered judge to a 14-word mandate...
...court order took shape. Over 400 were prosecuted. And, as Commissioner DiGrazia so unproudly points out, none received sentences from mostly neighborhood courts. This show of laxness and reactionary unity in the city's neighborhoods, along with the angry words and deeds that it compounded, turned Boston into an object of fascination and irony as media and communities, both North and South, watched Boston sacrifice its civic-minded, Yankee reputation to racial hatred, or so it seemed, and over the practical answer of a mild-mannered judge to a 14-word mandate...
...Julia), a Pennsylvania housewife (Susan Flannery), a crazed motorcyclist (Harvey Jason), even a mechanic and his obstreperous girl friend (nicely played by Lazaro Perez and Tricia O'Neil) who yell and argue from the Hudson River to the Pacific. The course is the superhighway system of America. The object is to get from Manhattan to the dock of the Queen Mary in Long Beach, Calif., preferably without being busted by a perennially thwarted cop named Roscoe (Normann Burton). The best time for the race is a shade over 34 hours. There are no rules...
...Alphonse Mucha was a sculptor too, and nothing in this show epitomizes the art nouveau vision (or fantasy) of woman better than a bust he designed around 1899 for a Parisian jeweler. This astonishing object, whose form shifts like water in the twining reflections of silver flesh and gold hair, is perversely liturgical-a parody (done, one should recall, for a public whose cultural background was still Catholic) of medieval head reliquaries. The image, however, is not a saint or a magdalen but that sibylline bitch of the fin-de-siècle imagination, the Fatal Woman, La Belle Dame...