Word: bearding
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About 7:45 p.m. -- two hours late -- Salameh, in handcuffs, was led by marshals into the jammed Manhattan federal district court of Judge Richard Owen. Salameh was a slight, dark-skinned man about 5 ft. 8 in. tall, with close-cropped dark hair and beard, dressed in sneakers and a light gray sweat suit that billowed around him. Federal authorities in Washington later disclosed some basic information about the suspect. He is 25 years old, an Arab who was born on the West Bank but grew up in Jordan. He entered the U.S. in 1987 with a five-year visa...
Some professors laughed at placards saying, "Reason #73 to diversify the faculty: If there is another sit-in Bob Clark will have to shave his head." Other signs made further reference to Law School Dean Robert C. Clark's newly shaven face. Clark reportedly shaved his beard to soften his image in the eyes of the community...
...year-old addict with a history of irrational behavior. As Gahl approached, Jackson abruptly opened fire with his shotgun. He listened to the wounded officer plead for his life, then pulled the trigger twice more at close range. Fifteen minutes later, the gunman, having disguised his face and beard with silver spray paint, held up a grocery store. When the counterman was a little slow emptying the cash register, Jackson blew him away. One of the most vicious crime sprees of the '80s had begun...
Jeremy Geidt as Captain Shotover provides the best of the performances. He looks--intentionally or otherwise--like Shaw himself, with beetling brows and jutting white beard. Shotover is an 88-year-old man seeking to discover "the seventh level of concentration" through rum and running away from anything that upsets him. As the self-appointed captain of the ship, he is too old and infirm to be able to save it from destruction...
Such a work was his huge self-portrait head with a patriarchal beard, The Servant of Abraham, 1929. Another, majestic in its broken dark-green underwater light, was The Raising of Lazarus, circa 1929, which he worked up from a composite photo of a life-size articulated dummy being delivered to his London studio. For by now, Sickert's interests were shifting decisively to photography -- much to the puzzlement of the London art world. Photos were common speech, immediate, iconic but not "sensitive." They stood the Impressionist cult of the nuance on its head. And turning the black-and-white...