Word: strokes
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...Germans came to England unseen, unknown, and Saturday afternoon beat down every challenge the mammoth Penn varsity threw at them. Penn tried a fast start, a crippling high stroke, and fierce power to try to overtake the Germans. All three methods were about the three-quarters of a length inadequate. The Grand Challenge Cup went back to East Germany, where it has been for four of the past five years...
...Crimson drove off the line powerfully, with a minimum of roughness, and quickly opened up a small lead. By the mile flags, they had a half-length on the Argonauts, but the British crew was raising its stroke to a frantic, punishing 41, gambling the race on its ability to pull even during the final 550 yards...
...sergeant, "but lots of times I couldn't, because some colonel might see me and say 'What the hell is this?' " Pro Golfer Mason Rudolph had a similar reaction when, as an Army private in 1958, he lost the All-Army tournament to Moody by one stroke. Stationed at Fort Hood, Texas, in 1967, Moody trounced three businessmen from nearby Killeen so regularly in high-stakes matches that they decided it might be cheaper to sponsor him on the pro circuit with a first-year guarantee of $20,000 in expenses against 50% of his winnings...
...handed style for putts because "I'm too loosey-goosey doing it the regular way." He was in trouble only once in the final round. On the 12th hole, his tee shot sailed into the pine trees and dropped in a sandy lie. He followed with his best stroke of the tournament, a lofting wedge shot that carried over a gaping bunker and rolled dead 3 ft. from the pin for an easy par. He finished with a 281 total, one stroke ahead of Geiberger, Rosburg and Beman...
...show demonstrates, the major figures were highly individual artists. Perhaps their only unifying characteristic was exuberance-exuberance of size, exuberance of gesture. Instead of the carefully calculated stroke, there was the swirl of Pollock's drip paintings, the splattered brilliance of Willem de Kooning's terrifying women. Franz Kline's huge black-on-white compositions showed no more sophistication than a Chinese ideograph, but they conveyed the energy of the man that made them-and commanded a whole wall rather than a corner of a scroll. The smoldering color clouds of Mark Rothko drew a viewer...