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Word: alcatraz (lookup in dictionary) (lookup stats)
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...Mandatory jail time for hitters who take called third strikes. You want to see some pressure-filled at bats? Watch those 1-2 counts turn into foul-ball festivals, as anything near the strike zone gives even guys like Junior Griffey and Robby Alomar images of Leavenworth and Alcatraz...

Author: By Darren Kilfara, | Title: The Scoring Glut | 4/25/1994 | See Source »

...really, it's perfectly normal. They're bored, maybe a little lonely, so they throw a stranger into a fence, kick him a few times, and spit in his face. It's nothing that doesn't happen every day at Alcatraz...

Author: By John C. Ausiello, | Title: Some Morning Thoughts | 10/23/1993 | See Source »

...every tourist knows, this place is very easy on the eyes. It's not just the little cable cars ever climbing and clanging; it's not just the Golden Gate Bridge, the bay and Alcatraz. The walk down the Vulcan Stairway and the view of downtown from the corner of 20th and Connecticut are only two of the thousands of arresting sights beckoning every single day -- when the fog isn't in, that is. I happen to like cool, breezy weather, especially in summer, so | the fog and I have become good friends. I will admit that...

Author: /time Magazine | Title: The War Between the State | 11/18/1991 | See Source »

Since 1979, the Orioles have been the property of Washington Trial Lawyer Edward Bennett Williams, famed counsel to Joe McCarthy, Jimmy Hoffa and the Birdman of Alcatraz. No local buyer could be found when Williams bought the team for $12 million; now it is said to be worth $60 million. Williams' general manager until last October, Hank Peters, insists that "winning and losing are both team efforts" and the blame for the Orioles' decline belongs to "me, the owner, the manager, the players and the farm system." But the emphasis should be on the owner. Like...

Author: /time Magazine | Title: Sport: Hard Times in a Proud Town | 5/2/1988 | See Source »

European filmmakers often view Hollywood as an artistic Alcatraz where slaves to convention are blinkered from the ferment of the outside world. In the '60s, as a prodigy auteur with the smartest, most restless camera style in the business, Bertolucci was a charter member of the first generation of directors who were bred to break the rules of narrative film. Before the Revolution (1964) and The Conformist (1970) swooned with infatuation for radical politics and complex storytelling. With Last Tango in Paris (1972), Bertolucci looked to have conquered Hollywood on his own terms. Its desperate, soft-core...

Author: /time Magazine | Title: Show Business: Love And Respect, Hollywood-Style | 4/25/1988 | See Source »

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