Word: lebow
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Dates: during 1980-1989
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...YORK--Women's long-distance runners earned another victory yesterday, when Fred Lebow, director of the New York City Marathon, announced that the top three woman finishers in Sunday's 26-mi., 385-yd, race would receive the same prize money...
...Alberto Salazar allowed as how, given a choice, he prefers his cash "under the table" rather than by way of one of the new trust-fund arrangements the International Amateur Athletic Federation has approved as a slender hedge against hypocrisy. Also on behalf of under-the-table money, Fred Lebow, the New York Marathon's candid proprietor, points out that it "is legal as far as the governments are concerned as long as the athletes pay their taxes. It's acceptable to the media-they've known about it for decades. The public knows about...
...legitimate $2 billion specialty. The total bill by year's end: more than $30 billion. The surest indicator of the current dominance of fitness was the flood of applicants for the twelfth New York City Marathon last Sunday. New York Road Runner's Club President Fred Lebow spent $1,000 out of his own pocket a decade ago, when 233 marathoners entered the event. This year 25,000 runners applied for 16,000 places. Replete with controversy over mismanagement and under-the-table payments to top amateurs, the race garnered the ultimate American status symbol of sport...
...SUPPORTING CAST, on the other hand, is almost uniformly excellent. Eric Elice is very funny, and letter-perfect, as the affected fashion photographer Carbone; he prances through his part like a Middle European cockatoo. Kenneth Ryan excels himself as Alan B. Lebow, a hip filmmaker; Jeremy Geidt is startling as Pittsburgh, the Black saxophonist cum hustler--he uses a gurgling accent that sounds like the rapid pour of a bottle of bourbon. Thomas Derrah takes off brilliantly with a comic interpolation of Richard III--it is this sort of magical appearance of the impossible that makes Lulu so consistently interesting...
...face (her lips, her eyes, all very eerie at 20 feet tall), and in more ingenious ways as well: as a huge contact sheet when Carbone is taking his pictures of Lulu; for a photo-montage providing a dimension of memory to a sex scene between Lulu and Louis Lebow; as a scrim behind which silhouettes meet in confrontation; finally, for the stunning reappearance of the eyeball, the motif of the play, serving at this point as an exclamation point for Lulu's murder...