Word: awkwardly
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Dates: during 1970-1979
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...consumer organizations have discovered that millions of Americans want desperately to complain, but have kept silent out of either fear of rebuff or a sense of futility. The organizations have given the citizen the happy feeling that he has found a sympathetic ear and also relieved him of the awkward burden of having to make himself individually conspicuous...
Eventually, though, the rabbit began making tracks. The Blue Angel in New York, Mister Kelly's in Chicago, the hungry i in San Francisco, all booked Allen. Soon the head scratching, the awkward pauses, the double-knit eyebrows and paranoid chatter went public on the talk shows. There were bits and pieces of humor drawn from Allen's wrestling matches with his head candler, but mostly he talked about his old neighborhood, where the kids were so tough they stole hubcaps from moving cars. His parents, Woody said, believed in God and carpeting. As for Harlene, he described...
Businessmen then would likely scream for relief, and Nixon and his advisers would face an awkward dilemma. If they ordered the Price Commission to relent, they would risk angering consumers, but if they let the commission go ahead, businessmen might cut back on expansion plans for fear of being caught in a profit squeeze, thus chilling the economy's recovery...
When Jepsen receives orders from Berlin to stop Max Ludwig Nansen from painting, he feels rather awkward. Nansen is not only a world famous artist, he is also Jepsen's lifelong friend. But the policemen never wavers. Echoing the party line, he informs an incredulous neighbor that their friend Nansen is "a danger to the State and undesirable, simply degenerate, if you see what I mean." Jepsen hesitates in the performance of duty when he finds the wounded body of his traitor son. But the hesitation is momentary. "What has to be done is going to be done," he reassures...
...directing Moliere's "Imaginary Invalid," the first play she has directed which is not twentieth century. In her production of "The Imaginary Invalid," Coe has fused her directorial and authorial talents by integrating three translations to compose the script, "to depart from the stiff, dull and awkward seventeenth century prosaic speech patterns to which the academic translators feel committed. But this departure from the sacred script," she goes on to explain, "is just an extension of the motif we have followed in every aspect of our production: anachronism." As she firmly guides the rehearsal she interjects suggestions that...