Word: lon
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Dates: during 1980-1989
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...many Cambodians, it doesn't matter whether they are living under [opposition co-leader] Lon Nol or Hun Sen; it's all the same," only, "They worry about their children having to fight a war," Dith Pran wrote in a New York Times Magazine piece on his return to Cambodia for the first time since his escape from the Khmer Rouge. While the U.S. may have to swallow its pride by accepting a diplomatic victory for the Vietnamese for the moment, everyone would benefit in the long run. Everyone, that is, except the Khmer Rouge...
...dancing opens with a traditional tap challenge, each man showing his best stuff in turn. Savion Glover, 15, who enacted The Tap Dance Kid on Broadway in 1983, is predictably upstaged by such snowy-haired hoofers as Bunny Briggs, Lon Chaney and Ralph Brown. Glover reappears in a breakneck gymnastic number, hopping up and down stairs, while his elders return in slow, sentimental sequences to demonstrate the traditional tap presumption that less can be more. That is in contrast to the basic notion of Black and Blue, which seems to be that more is more. Yet in the understated moments...
Year Cpl Att Pct Yds Lon g Int TD Soph. 45 102 .441 596 533 5 Jun. 158 321 .492 2134 6412 17 Totals...
...stepped down, the Socialist Program Party, Burma's sole legal political body, chose his protege, Sein Lwin, 64, as its new leader; the next day parliament named him the country's President. A retired army general, Sein Lwin is the longtime head of the dread riot police, the Lon Htein, and one of Burma's most feared men. He lived up to his nickname "the Butcher" when he ruthlessly suppressed student riots earlier this year...
...pace after Starlight Express's romance of the rails? For Andrew Lloyd Webber it was the sweep and dash of pure old-fashioned romance. He found it in French Novelist Gaston Leroux's 1910 thriller Le Fantome de l'Opera, long a standby for stage and screen adaptations (notably Lon Chaney's 1925 silent horror film). The version devised by Lloyd Webber and Librettist Richard Stilgoe dispensed with much of the novel's narrative superstructure to focus on two characters: the gruesomely disfigured genius who haunts the Paris Opera and the young Swedish soprano, Christine Daae, who is the object...