Word: sweets
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...than those of sunlight or moonlight), the lush mortuary blue of the shadows, the buzzing glitter of the whites. Light is trapped in the dense paint, and Thiebaud extracts a lavish, slightly mocking sensuality from the pun between the depicted work of the cake icer--smearing those layers of sweet goo, drawing arabesques with the forcing bag--and the literal work of the painter's brush. A very conscious part of his style is the way he rings his forms (plain geometrical ones, as a rule: rectangles, cones, cylinders) with zips of relieving color, orange, yellow or vermilion. When these...
Additionally, a dirty and dusty playing surface and spectator stands which couldn't roll out must have made the Crimson wonder how sweet this home-sweet-home really...
...required its science students to buy their own PCs, and in 1983 Clarkson and Dallas Baptist extended the idea to include all incoming freshmen. Now computers are required or strongly recommended at more than a dozen schools, including Carnegie-Mellon, Colby, Dartmouth, Drew, Franklin and Marshall, Lehigh, LeTourneau and Sweet Briar. But none of these schools has integrated the machines into its curriculum as thoroughly as Drexel has. And none has been as dramatically transformed by computers as the Philadelphia school...
...told. Vonnegut's retrograde evolution is a cute idea but a literary dead end. Leon allows only a misty glimpse of the sweet by-and-by. The future is not dramatized because the elements of drama no longer exist. Instead, the narrator tells us about 1986, the year humanity took its first step down the evolutionary ladder. The tale is a burlesque that mixes natural history, sitcom humor and the Old Testament. For the Flood there is conflict, economic disaster and pollution; the part of Noah's Ark is played by the Bahia de Darwin, a cruise ship that shuttles...
...shot the Negroes" and "we are not ashamed of it," Farrakhan is harmless, at least for the present. He uses the basic demagogue's tools of swinging illogically from one emotional touchstone to another, of performing little body shivers that tickle his listeners, of sounding threatening one moment, sweet-talking the next and--essential device--of saying "love" as frequently as possible. But he lacks the timing and the verbal gifts of a virtuoso hatemonger. If Monday night's audience had not already been with him when they entered, Farrakhan could not have won them to his side...