Word: snappings
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Dates: during 1980-1989
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...live riffs, spontaneous bits of popish nonsense in the best Squeeze tradition, they might have gone somewhere. Rather, the Fab-Four-that-almost-was (they're actually five now) worked very hard on pulling off a masterpiece in the sterile confines of an airless studio. The result doesn't snap, it rarely crackles, and it never pops...
...those little plastic dishes that sport a mixed concoction of fabulous flavors and chewy, nutty, crunchy bits. Moreover, most of the ice cream stores sport a wide variety of flavors that you won't find in most parts of the nation. For example, flavors ranging from cantalope to ginger snap to Snickers are not unusual. It might sound a bit strange at first, but just about everyone takes to the new flavors instantly. The real problem is not getting someone to try them, but rather to keep yourself from constantly dishing out the $1.15 or so for a small cone...
...immigrants, to say nothing of sentimentalists, left with to enshrine? A Customs desk at Kennedy? A baggage carrousel at Miami? Immigration today, although it may take 18 months or more, is for the eminently acceptable, by and large a sterile affair, cut and dried -- for some, almost a snap. In the busiest of Ellis Island's days, immigration was a deeply traumatic ordeal, the stuff of family history that descendants keep alive...
...does all that make Berri, leader of the Shi'ite Amal militia, the ideal man to negotiate release of the American hostages? Not by a long shot. President Reagan declared last week, with a snap of his fingers, that Berri "could be the solution that quickly." Berri, however, seemed closer to the mark when he told CBS's Dan Rather that he was in "a very delicate situation." He seems, indeed, to be a man riding a tiger, a leader scrambling to talk and act as radically as his followers...
...earlier art there was a repertoire of classical emblems of energy and pathos, starting with the Laocoon, that painters could draw on for this operation. Bacon's starting point is less authoritative: photographs of anonymous, hermetic white bodies in Eadweard Muybridge's The Human Figure in Motion, a snap of a baboon or a footballer in blurred motion, a wicketkeeper whipping the ball across the stumps, the bloodied face of the nursemaid of the Odessa Steps in Eisenstein's Battleship Potemkin, her spectacles awry. These and other images begin as clues, holes in the social fabric, and are then worked...