Word: contrasting
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Dates: during 1990-1999
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...cranky imitation--right down to the horn-rimmed glasses--of the snoop he played so memorably in The Conversation almost 25 years ago. And, as their chief nemesis, Jon Voight does another variation on his late-life specialty: the midnight conspirator whose puffy face stands in such curiously menacing contrast to his steely soul...
...just Oklahoma's subsidies that persuaded Seaboard to relocate. The Albert Lea work force was unionized; wages had risen to $19,100 a year--still $3,100 below their level in 1983, but too rich for Seaboard's blood. Guymon, by contrast, promised low-wage, nonunion labor. Also, Seaboard had decided it wanted to raise its own hogs for slaughter, not just buy them from farmers. Minnesota banned corporate hog farms. Oklahoma had had a similar ban but had repealed it before Seaboard came along...
...says Sandra Hofferth, the sociologist who headed the study. A chief reason, she says, is that more mothers are working outside the home. (Nevertheless, children in both dual-income and "male breadwinner" households spent comparable amounts of time interacting with their parents, 19 hours and 22 hours respectively. In contrast, children spent only 9 hours with their single mothers...
...frantic expansion of the market for herbs and other supplements, though, comes at some risk to consumers. These products are not regulated in the U.S. nearly as strictly as over-the-counter drugs or even foods--in sharp contrast to countries like Germany, where the government holds companies to strict standards for ingredients and manufacturing. Experts say that while the top U.S. and European manufacturers pay close attention to the safety, effectiveness and consistency of their products, parts of the industry resemble a Wild West boomtown, where some 800 lightly regulated U.S. companies compete ferociously with fly-by-night hucksters...
...technical nightmare-the disparaterealities of Stine and Stone-is slickly overcomewith juxtapositions, stop-action andinstant-reverse stage-play. At points, the setsand music are manipulated with skill to slip fromone world to another. It is the generalprofessionalism of the production that makes theever-present mic trouble annoying in contrast. Infull, this production demonstrates a very strongconceptual foundation, as evidenced by the sightand light designs of Robert Schlesinger's '00 andDaniel O. Scully's '99, respectively. The actiontakes place all over the stage, at multiplelevels, in numerous layers, against a symbolicallycharged map of L.A. as background. The world ofStine...