Word: walke
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Dates: during 1960-1969
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...riot area in an unmarked prowl car. Some 200 Negro youths wearing the pink, silver and white badges of the United Community Corp., Newark's antipoverty organization, also patrolled the ghetto-and to better effect. The kids made an impressive contribution to cool; so did a courageous "Walk for Understanding" by 25,000 people, predominantly white suburbanites, who hiked through the city's smoldering Central Ward to show white concern with ghetto conditions. Nonetheless, some 270 fires were set (kerosene tins, shredded mattresses and broken Molotov-cocktail bottles were found in many gutted buildings), and as usual...
...miles from the fighting, the U.S. placed meshes of wire that acted as radar reflectors and electronic beacons that emitted continuous signals. Gauging the distance to their targets from these spots, the B-52s were able to bomb with uncanny accuracy; the big bombers, in fact, were able to walk their sticks of bombs to within 100 yds. of the perimeter of the Marine bastion. Flying the 5,200 mile round trip from their Guam base, they averaged 40 to 50 strikes each day. Hardly an hour passed without a bombload falling on the Communists. In ten weeks, a total...
EVERYBODY knows that "It's a long walk to Dunster House." Dunster is also the smallest and most over-crowded House. Yet, despite these hang-ups, the Dunster Drama Society, the Dunces, the Speakers' Forum, and many special interest tables provide outlets for undergraduate energy in the best Harvard tradition. Thus, the Administration's projected plan to close down the dining hall--the center of most activities--is ironic and perverse...
WALTER WASHINGTON, the short, round Negro mayor of the city, finally appeared on television at 1:25 a.m., told everyone to calm down, said that things were being taken care of. Mayor Washington was locked up all weekend with his aides. He did not walk around the city as John Lindsay did in New York, and his rides through the riot area were for the most part secret...
...triumph, both in terms of film technique and directorial approach, is in the audience's almost immediate acceptance of special effects as reality: after we have seen a stewardess walk up a wall and across the ceiling early in the film, we no longer question similar amazements and accept Kubrick's new world without question. The credibility of the special effects established, we can suspend disbelief, to use a justifiable cliche, and revel in the beauty and imagination of Kubrick/Clarke's space. And turn to the challenging substance of the excellent screenplay...