Word: paper
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Dates: during 1990-1999
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...quickly the agreement between Linley and Halliday turns murderous. For the aftermath of Molly Lane's death inexorably destroys an enduring friendship. Halliday is offered photographs that Molly had taken of Foreign Secretary Garmony in transvestite regalia. The editor feels he must publish them, both to keep his failing paper alive and to save Britain from a reactionary politician who may become Prime Minister. Linley disagrees, telling Halliday that publication of Molly's photographs, obviously private and taken in mutual trust, would be a betrayal of all she stood for in life...
...bodyguards to beat up Spin magazine editor Craig Marks? Seems the same move had been tried weeks earlier by a rap producer and three friends who allegedly manhandled a Blaze magazine editor. Let's not even start with the tired old pretending-to-use-the-flag-as-toilet- paper thing he did last week. Can't help wondering where he came up with that name, though...
...life as a cooling system for homes and offices. Nor did it begin life as a system. Carrier's first customer, in 1902, was a business with a production problem: a frustrated printer in Brooklyn whose color reproductions kept messing up because changes in humidity and temperature made his paper expand and contract, causing a lot of ugly color runs...
Although he sold paper cups by day and played the piano for a radio station at night, Kroc's ears were better tuned to the rhythms of commerce. In the course of selling paper cups he encountered Earl Prince, who had invented a five-spindle multimixer and was buying Lily cups by the truckload. Fascinated by the speed and efficiency of the machine, Kroc obtained exclusive marketing rights from Prince. Indefatigable, for the next 17 years he crisscrossed the country peddling the mixer...
...Weimar Cinema class (German 155). The works themselves are usually not beautiful. Karl Hubbuch's drypoint, profile portrait of The Schaefer Sisters shows the ugly sister fastening a necklace around her prettier sister's neck. The sisters are ably sketched, but their averted gaze, their isolation on otherwise white paper, and the blunt utility of Hubbuch's composition combine to give the viewer a queer sense of detachment, which prevents wholehearted admiration while simultaneously intensifying the clarity of appreciation. Like most of the other drawings and photographs exhibited at the Busch, The Schaefer Sisters "clicks" for the viewer just...