Word: strips
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Dates: during 1960-1969
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Beyond encouraging direct Arab-Israeli negotiations and resisting Russia's attempts to brand Israel the aggressor and strip away all of its gains, U.S. policymakers are looking toward the future-far into the future. Lyndon Johnson characteristically visualizes a TVA-style project for the Jordan River basin. White House Aide Walt Rostow, in a commencement address at Vermont's Middlebury College, proposed a regional economic program. But no long-range plan can work, as Johnson conceded at a weekend fund-raising dinner in Austin, unless each nation in the area accepts "the right of its neighbors to stable...
Fattening the Waistline. Sinai is a worthless desert, Gaza an economic sinkhole. To try to integrate the 1,330,000 Arabs in all the occupied lands would be costly and perhaps dangerous.* What then did Israel want? For simple security, it wanted at least a buffer strip on the rocky heights of Syria and a slice of West Jordan to fatten out its own narrow waistline. It also wanted free passage through Aqaba, perhaps guaranteed by an Israeli garrison at Sharm el Shiekh...
Moving rapidly over a strip of paper on a slowly revolving drum, the stylus traced out distinctive patterns, or voiceprints, that were determined by the frequencies, loudness and duration of each of the phonemes. Finally, after a night in which he painstakingly compared the patterns produced by phonemes from the two tapes, Kersta concluded that they had all been uttered by the same person. He reported to the Telegraph that he was "100% sure" that the voice on the Israeli tape was that of President Nasser...
...Brad darling, this painting is a MASTERPIECE!" exclaims a luscious blonde in one of Roy Lichtenstein's celebrated "comic strip" canvases of 1962. "My, soon you'll have all of New York clamoring for your work." Pure boasting? At the time, yes. Lichtenstein's first pop paintings were derided as belonging to the "King Features school," and a bad joke. Today, it's all the way to the bank. At 43, Lichtenstein is a pop hero: half a dozen museums own his work, his every show is a sellout, and his prices have jumped tenfold...
Ripe for Ribbing. In his early period, Lichtenstein was a latter-day abstract expressionist. When he turned to subject matter, he happened on comic strips, he explains, "because of their anti-artistic image and because they are such a modern subject." He took over the whole cartoon vocabulary, including printers' Benday dots (originally suggested to him by the exaggerated dots on a bubble-gum wrapper), primary Magna colors, heavy, black-outlined forms. "I like taking a discredited subject and putting it into a new unity," Lichtenstein says (currently he is working with 1930s pseudo-Bauhaus modern), "I was serious...