Word: tripods
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Dates: during 1960-1969
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...long tradition of tribal government, and by the solid good sense of many African leaders whom the British groomed for self-rule-notably its federal Prime Minister, Sir Abubakar Tafawa Balewa (TIME cover, Dec. 5, 1960). The greatest single assurance of stability has been Nigeria's tripod form of government, designed to prevent any one region from dominating the other two. That system is now in jeopardy, and with it the very future of Nigeria as a democracy and as a nation...
...Kodak Co., a sturdy Nebraska-born lawyer who started off his career with the world's biggest photographic company by refusing autocratic Founder George Eastman's offer to make him an officer of the firm, but subsequently relented and rapidly rose to the top of the Kodak tripod, where he expanded the company's sales 81% in 20 years by adding chemicals and plastics to its output; after a long illness; in Rochester...
...Katanga gunners'main target was the U.N. headquarters. One afternoon, two Belgian whites in civilian clothes, carrying the tube, tripod and shells of a mortar, walked down a street in the center of town, set up their weapon in a used-car lot; then, casually, they began bombarding the U.N. office building five blocks away. The fire of little, informal squads like this one was remarkably accurate-they were getting instructions from the roof of the tallest building in town, the new hospital, which the U.N. later captured...
...hanged 36 hours before. Aboard the gunboat Menderes asked permission to make the namaz (ablutions and prayers), later did not remonstrate when told to put on a white smock by the hangmen, who were paid $13.50 apiece. Menderes climbed on to the chair set on a table beneath a tripod, and allowed the rope to be placed around his neck. While four imams from Istanbul chanted prayers, Menderes said: "God save my children." Then the chair was kicked out from under...
...rallying point for those who wanted to "secede from the notion that photography is only literal representation." Steichen wanted to "push out the realm of the camera." He loved "wet days, yellow, foggy days, twilights," and to catch the mood, he would purposely blur the picture by kicking the tripod or wetting the lens. In developing his famed Steeplechase Day, Paris; After the Races, a carefree scene at the Longchamp track, he kept the background dark, highlighting the figures until they became three dimensional...