Word: familiarizes
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
Belisle describes himself as a "burnt out" case. The condition is familiar to child-abuse workers, whose divorce rate is above the national average. They suffer a notably high proportion of nervous breakdowns. After a few years on the job, many leave the service to earn a living in totally different fields in order to escape the tension and responsibility. Belisle, at least, still works for the protective service. But he does not go out on cases. He sits at the phone in the screening room. Phone work, screening incoming reports on child abuse, is at least one remove from...
...Billy Hayes we first meet is, by any measure, an unlikely hero. His self-image is a familiar and obnoxious one: cocky, fool-hardy American punk bopping around the Mideast with his girl and his stash. Played by Brad Davis in his flashy feature film debut, Billy comes off as a hopeless amateur in the contraband business, the kind of sunglassed shmuck who chews gum and smokes a Winston at the same time while a suspicious customs agent checks his bags. Naturally, Billy does not read the papers; otherwise he would have known about the tight security checks at Istanbul...
John I. Filipczak, her husband, said yesterday, "He is a very intelligent choice for Pope on many levels because he is familiar with the governments of the Eastern bloc and he knows the thought and the political direction there...
...come closest to it at the very beginning. As the light go up, cast members in rags spill out over the stage area and into the audience, assaulting, abusing, fondling, pickpocketing and beating each other. Here is Brecht's London writ small, and the streetsinger (Kermit Norris) croons the familiar "Mack the Knife" over it. But for some reason his costume has no tatters, and his delivery of the ballad is prim and affected. So much for anarchy and dissipation...
...stage favorite. The king of the underworld who's best friends with the chief of police strides through The Threepenny, Opera refusing to be judged. Women, of course, fall all over him, and he's married two (at least). Jonathan Jeremiah Peachum, the "king of the beggars," a less familiar character, acts as Brecht's mouthpiece to deliver the show's straight-forward message: don't condemn how others earn their next meal until you're faced with missing one yourself. Working, begging, taking bribes, stealing--they blur together in Brecht's world. "What's robbing a bank compared...