Word: manhattanization
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...UNITED NATIONS TURNED 50 this year, and in a historic gathering, more than 100 heads of state and government will celebrate the occasion next week. But as the potentates confer, socialize and speechify at U.N. headquarters and around Manhattan, some clouds will hang over the proceedings. If the U.N. is ever to solve the world's problems, it had better first solve its own, and it has plenty...
...1950s and '60s. Popularity evidently wasn't high on Joseph Rotblat's list, though. The Polish-born British physicist was helping the U.S. develop the first A-bomb when he concluded that Nazi Germany was never going to build its own. So he quit his job with the Manhattan Project--the only physicist to do so--believing that only the threat of losing World War II could justify creating so terrible a weapon. Then, in 1955, Rotblat joined Albert Einstein, Bertrand Russell and six other scientists in signing a manifesto that led to the founding of the annual Pugwash Conferences...
...when he moved to the U.S. in 1944 to join the American A-bomb effort, his doubts deepened almost at once. When he heard U.S. General Leslie Groves, the Manhattan Project's supervisor, say that the real reason for continuing was to keep the Russians in line after the war, Rotblat was "deeply shocked." When he quit, "I was accused of being a spy, and left only after agreeing not to talk to anybody about my reason for leaving...
Barry Sheck has a keen grasp of legal minutiae but not the traffic code. The O.J. defense lawyer was stopped by cops after making an illegal U-turn in Manhattan and issued summonses for two other minor offenses. "I can't believe this is a story," said Scheck...
...Surrealists--whose work he cordially detested--Mondrian had fled to refuge in New York in 1940 as the Nazi threat to "degenerate artists" such as himself became inescapably plain. The mere arrival of this diffident and somewhat reclusive man symbolized the passing of modernist leadership from Paris to Manhattan. Yet unlike the Surrealists, he had few American followers, and none who became painters of the first rank. Part of the paradox of Mondrian was that although he believed passionately in the "universal" character of his art, it could not be successfully imitated. But it was vulgarized on a million grid...