Word: tin
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Dates: during 2000-2009
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...response from many Canadians was dismay. One writer, in The Toronto Sun, accused Sir Bob of appearing, “as heavy-handed and self-righteous as the tin-pot dictators against whom he’s fighting.” Another, in a letter to The Toronto Star, bemoaned the pushy knight’s interference: “Let’s have our foreign-aid policy and programs determined by our elected representatives, not wealthy non-Canadian musicians.” And just this week, a columnist for The Vancouver Sun described Geldof...
...headquarters of the Shan State Army (S.S.A.) and the refuge for hundreds of families fleeing the Burmese army's long-running campaign of terror against ethnic minorities such as the Shan. They include more than 200 orphans: Nang Nang, a shyly smiling girl in a grubby tracksuit, shares a tin-roofed dormitory with dozens of other girls who sleep on a wooden platform over a mud floor. For many, this has been home for five years, but not for much longer. The dormitory lies in Thai territory, insists the Thai army, which on June 1 ordered the orphanage and more...
Sometimes the stars should have remained as silent as Rin-Tin-Tin. Raft, reminding Jack that he had been promised nothing but big pictures, demanded release from a thriller set in San Francisco: "I strongly feel that The Maltese Falcon, which you want me to do, is not an important picture." That role was also recast, and The Maltese Falcon made a big star of Humphrey Bogart...
Gloria Swanson, for example, pays homage to "Mr. Edison . . . and all the people who had any thing to do with an invention. It made it possible to put us all in tin cans, like sardines. We could have been bad actors, it didn't matter. It was the fact of volume . . . you were just shipped everywhere." Louise Brooks, the '20s star who first retired from films in 1931 at the age of 25, recalls everything and glamourizes nothing: "They keep talking now about deterioration and how the films are lost. They always forget that the big way they were lost...
...number of competent sculptors, even a few first-rate ones, but perhaps only two that brought authentic greatness to their own genres: David Smith and Augustus Saint-Gaudens. Smith's work was the climax of a tradition of open, sheet-metal sculpture that began in 1912 with Picasso's tin guitar; Saint-Gaudens, at the end of the 19th century, epitomized the academic tradition of public speech through bronze casting, whose roots wound back to Donatello and Verrocchio...