Word: drabs
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Dates: during 1980-1989
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Howard R. Smith, who runs the Old Sarge Army-Navy store in Atlanta, likes to quote a maxim of his business: "If you can't sell it, spray it olive drab." Indeed, military-green duds have come in and out of fashion vogue with regularity since World War II. Of late, however, the old reliable color scheme has been supplanted by splotches of green, tan and brown. At Smith's store and dozens of others across the country, camouflage wear has become an undisguised rage. In the weeks before Christmas, camouflage outfits for children sold nearly as fast...
...splendid Sunday morning. Sophocles' theme was man's acceptance of the inevitability of death; Adapter-Director Lee Breuer's is the black man's and woman's reconciliation to a hard life in these United States. If Breuer's staging is occasionally drab and tentative, Composer Bob Telson's score displays an inventive fidelity to traditional blues and spirituals...
...early hours of Saturday morning six gunmen, clad in black jumpsuits and woolen ski masks, raced up to the Brinks-mat Depot No. 7 in a drab row of industrial warehouses near Heathrow Airport, 15 miles west of London. Without apparent difficulty, they slipped past the searchlights and highly sophisticated alarm system that guard the building. Once inside, the intruders overpowered seven security men, handcuffing five of them together. The other two were less fortunate: the gunmen pistol-whipped one; they slashed through the other's shirt, tickled his stomach with a knife and then poured gasoline over...
...year-old man named Lee Harvey Oswald crouched in a drab sixth-floor window of the Texas School Book Depository Building as President Kennedy's motorcade passed below...
...blood-drenched flashbacks to the afternoon of the murder, is that you know the ending, and must wait uncomfortably for the violent climax. The acting is uniformly excellent, the camera work unobtrusively effective, and the cinematography by frequent Bergman collaborator Sven Nykvist superb. Sleazy glitter is shown in a drab light that seems to have been filtered through all of the cocktail lounges in Los Angeles. But it is difficult to appreciate technical virtuousity while trying to distance yourself from the film and its imminent ending. Though Fosse wants you to identify with Snider, your situation is really closer...