Word: stopwatched
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
...flight at Kitty Hawk in 1903, their plane rested on a car which ran on a monorail. After a 35-to 40-ft. run, the plane lifted from the rail, and in Orville Wright's own account "climbed a few feet, stalled, then settled to the ground. My stopwatch showed that the machine had been in the air just 3½ seconds." It was not until nearly a year later, on a cow pasture near Dayton, Ohio, that the Wrights used the derrick (see cut) catapult method which Reader Hatch describes...
Five days later, most of the nation's other top milers, who had never come close enough to Dodds to be exposed, joyfully rushed for the Baxter Mile starting line in Madison Square Garden. In 32 previous races, it had been Dodds against a stopwatch (his recent Wanamaker Mile world's indoor record: 4:05.3). This time the Baxter was more of a contest but less of a race. Penn State's 24-year-old Gerry Karver, who ran last in the Wanamaker, won the Baxter...
...only vaguely aware of the smells and sounds of the race. His stopwatch clicked as Driver Holland whizzed by. After rapidly computing seconds into m.p.h., Moore said:"Give him two more." A black pit-board with Holland's name on it was held up the next time he roared past the pits. Seeing the chalked message -" + 2"-Holland stepped up his speed by two miles an hour. After 50 miles, the other driver, Mauri Rose, bobbed his hand as he whirled past to show he understood his "O.K." message from the pit; his speed was just right. Moore...
...stopwatch has not been brought into use yet, but daily Individual progress is apparent. Whenever things start looking overly bright, however, Coach Ulen, pulls himself up with sobering thoughts of Athletic Director Bop Kiphuth's powerhouse down in New Haven. By a combination of committee rulings on old unofficial records and some fast driving, Al Stack, Paul Girdes, and Heuber of Yale now possess the Olympic championship record in the medley relay...
Rozsa writes his sound-track scores in a soundproof room at home with a cue sheet of the film script, a stopwatch, and his boxer dog Mowgli beside him. Usually by the time the studios get the script to him, he has only about six weeks to do the entire score. Much of his work sounds like a cut-&-paste job on themes and orchestral effects out of Tchaikovsky, Debussy, Ravel, Shostakovich. Some of his scores (for which he gets $15,000 to $20,000 apiece) have scarcely an original theme in them, are made up largely of a succession...