Word: zeus
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Dates: during 1960-1969
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...either offense or defense provokes efforts to restore the balance. Fourteen years ago, the So viets had no offensive-missile force to speak of, though they had the ability to build one. U.S. development started in 1955 and soon led to the first, primitive ABM project, the Nike-Zeus. Testing showed that Zeus could indeed stop an incoming missile under ideal conditions; dummy aggressors launched from California were intercepted by defenders based on Kwajalein...
...Zeus, however, was merely "a bullet that could stop a bullet," whereas the anticipated threat was a shotgun blast of many projectiles aimed at the U.S. With limited range, relatively low speed and me chanically operated radars that could handle only one target at a time, Zeus offered only "terminal defense" ? protection
...Kafatos, Williams said "Fotis is in a group by himself. I've never seen anyone with such a green thumb for identifying the critical phenomenon and devising the necessary experiment." Williams relates how one of his colleagues, after watching Kafatos present his findings, said "God may be dead but Zeus isn't." Williams used to be one of the heads of the developmental biology course Kafatos now teaches with John G. Torrey, professor of Botany. But "Kafatos is such an enchanting and lovable teacher that I soon realized he could do the job as well as I could...
...nothing better than an audience ovation. But, stubborn New England descendant of Mayflower pilgrims that he is, he refuses to bid for easy success with the latest fashions. For that reason, he has had to settle for the high esteem of colleagues and critics, and the reputation of a Zeus on a cloud-cloaked Olympus doing his own thing, virtually daring the multitudes to like...
After two uninterrupted hours of this, some members of the audience may have welcomed the concluding thunderbolt from Zeus that plunged Prometheus into the netherworld; yet most cheered and stomped for 20 minutes when Orff appeared for curtain calls. The reviews were more divided. Hans Stuckenschmidt, Germany's leading music critic, wrote that "the performance counts among the best that one can see and hear today in European theaters." But Der Spiegel scoffed that the opera sounded like "a prehistoric equinoctial celebration of a voodoo ritual...