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Word: bitches (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...watch. On the other side of the main highway there was a three-foot ditch and a twenty-foot rock cliff. Somebody asked Elvin what he'd do if he couldn't make the turn and hit the cliff. Elvin said he'd jump that son-of-a-bitch...

Author: By Joseph Dalton, | Title: Please Don't Bury Me | 1/6/1977 | See Source »

...Fire the son of a bitch," Hughes had ordered. Then he added, as he usually did when someone had achieved close access to him, "but keep him on the payroll." By retaining people he had "fired" on his payroll, he kept a rein on them, so they would not disclose any of his secrets to the outside world...

Author: /time Magazine | Title: The Nation: Scenes from the Hidden Years | 12/13/1976 | See Source »

...Real Bitch. Still a devout Catholic. Flicka went to convent schools. At 18 she hired on as a nanny in Paris to learn French, later worked as a salesgirl at Tiffany. In those days, and even when she attended the Mannes College of Music, she was more interested in the theater than in opera. "Give me Broadway any day," she said after her first visit to the Met, and she still appreciates the artistry of Barbra Streisand, Billie Holiday and Peggy...

Author: /time Magazine | Title: Music: Von Stade: Forget the Magic | 12/13/1976 | See Source »

...full potential has yet to be tapped. One of those is veteran Stage Director Frank Corsaro, who worked with her at the Houston première of The Seagull. Corsaro senses a certain turbulence, even aggressiveness inside Flicka. "I would love to see her play a real bitch," he says. The most immediate possibility is the neurotic, highly sexed Fennimore in Delius' Fennimore and Gerda, which Corsaro is discussing for next season with the New York City Opera. Says he: "We have yet to see the darker aspect of Flicka's talent emerge...

Author: /time Magazine | Title: Music: Von Stade: Forget the Magic | 12/13/1976 | See Source »

...stirring musical that also happened to be good was the original 1932 version of Showboat, when Paul Robeson changed the racist, stereotypical lines of "Old Man River" into a song of defiance, causing Oscar Hammerstein, the lyricist, to stomp off the practice stage muttering "Let the son of a bitch write his own goddam song...

Author: By Joseph Dalton, | Title: That's entertainment | 11/12/1976 | See Source »

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