Word: weaverization
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There was a bit of the pathetic patchwork monster about Wollstonecraft herself. Born into a graspy family of weaver-merchants who for several generations had been up and down the economic ladder, she had to pick up her education and her righteous indignation wherever she could find them. Appalled by the strictures of marriage, she attempted to support herself as a governess, then as the head of her own small school. But her temperament, says Biographer Tomalin, "was geared to drama, violent emotion and struggle" without nuance, irony or humor. She was a person who had to dominate people...
MIRA was apparently born under some lucky stars. Ordinarily, it would have cost some $150,000 for the telescope alone. Before long, Bruce Weaver, 28, was able to talk Princeton University into providing-on "indefinite loan"-a 36-in. mirror for the reflecting telescope. An astronomer at Lick Observatory near San Jose volunteered to design the instrument free of charge, and a Los Angeles metal fabricator has agreed to build it at cost-about $20,000. In all, well-wishers have donated more than $100,000 in free equipment, including two computers, one of which will control the telescope...
Died. Cliff Arquette, 68, creative comedian whose squashed hat, spectacles and baggy pants identified him to TV viewers as the wisecracking bumpkin, Charley Weaver; of a heart attack; in Burbank, Calif. Arquette began carving the character of Charley during the heyday of radio, when he played the "Old-timer" on the Fibber McGee and Molly show. In 1957, Charley became a regular on the Jack Paar show, where he shared with the world letters written to him by his mother from mythical Mount Idy, Ohio...
Meanwhile in Baltimore, Tommy Davis capped the Birds' three-run rally in the ninth with a two-out, two-run single. Andy Etchebarren had started the rally off loser Mickey Lolich, 16-20, with a single. Curt Motten followed with a walk and Birds' boss Earl Weaver replaced both players with pinch-runners...
...Albers--she a tapestry designer, weaver, printmaker, he a painter, designer of furniture and stained glass and an investigator of color phenomenon--were students and then teachers at the now-legendary Weimar Bauhaus. There they joined a movement that had proclaimed in 1919, "There is no essential difference between the artist and the craftsman." In 1933, when the Albers were invited to teach at North Carolina's Black Mountain College, a progressive artistic community, they brought with them a faith in the artistic potential of the machine and a determination to erase the distinction between the fine and applied arts...