Word: hollowing
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...cutting and selling firewood for $35 a truckload. "Now spring's coming," said Elkins, "and people ain't needing firewood." So he traded in his chain saw for a secondhand trail bike and voted for the contract. Added Burl Holbrook, 35, a miner in nearby Cabin Creek Hollow: "Principles are nice, but you can't buy food with them...
...Streetcar Named Desire obscured the fact that the play was really about Blanche DuBois. Baryshnikov is the Figaro of Spanish barbers. He flirts recklessly, he fumes, he pouts. He does a wonderful bit with two mugs, leaping and drinking out of both at once. He has a hilarious, hollow-eyed mad scene in which he stabs himself- a sort of male Giselle. No choreographer-dancer is more generous to his colleagues than Baryshnikov in Don Q, but his acting makes it Basil's story...
...victim of The Success Story than its hero-prosperous pre-Depression America goes down with him. Stephen Toope's Moorehouse lacks the strength to carry this broad, demanding part. He takes what is essentially a string of stereotyped roles--the various stages of Moorehouse's life--and produces hollow caricatures of the stereotypes. Toope masters the young man's engaging smile and the power-hungry eyes of a rising businessman, but beyond this sort of obvious device brings little depth to the part. If he is credible as the shallow, aging Moorehouse of the second act, it is not because...
...argument, capitalism produced the very forces that one day would destroy it in an Apocalypse of violent revolution. This confident prediction, which for more than a century inspired nearly all socialists with a dual certainty?their cause is just, their triumph inevitable?has been transformed into a new, often hollow orthodoxy. It is now bitterly distrusted among disillusioned socialists themselves and by new, ideologically homeless radicals...
...fire and excitement in her eyes. Her body looks healthy, and strong enough so you could wrestle and roll with her." So says Francesco Scavullo, a Manhattan-based fashion photographer. He is right; the great-blue-heron look of the early '60s has been consigned to outer darkness. Hollow chests have been replaced by noticeable and often visible breasts, and haughtiness by a sometimes even more disconcerting look of warmth and directness. Artificiality is out and naturalism is in: wind machines to fling hair about in a suitably natural manner have become as important as print dryers in the studios...