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White-Collar Crime. At first the Senate bill contained several measures making companies and executives more vulnerable to criminal law. For example, one provision was that officials could be tried for "reckless endangerment" if, say, their firm dumped harmful chemicals into a river feeding a municipal water supply. But business lobbyists persuaded the drafters to remove the most stringent measures. The Department of Justice managed to get some of the provisions restored, but only in diluted form. Even so, the Senate bill is tougher than the House version, which, according to Justice, now contains fewer sanctions involving white-collar crime...

Author: /time Magazine | Title: Law: Making the Crimes Fit the Times | 4/28/1980 | See Source »

...Interior, vocals, "Poison" Ivy Rorschach, guitar, Bryan Gregory, guitar, and Nick Knox, drums compose the Cramps, a most unusual foursome. The absence of bass gives the music that trash quality inherent in surf music and early rockabilly. The sound outperforms all contenders in establishing that certain reckless abandon which lay at the heart of the earliest rock and roll. Yet everything is updated for the 1980's, starting with increased speed and ending with atonal, buzzsaw guitar work and demented lyrical concerns...

Author: By Scott J. Michaelsen, | Title: The True Trash Aesthetic | 4/26/1980 | See Source »

...wanting to run, McLeod was determined to make it this year, and began training as soon as exams ended in January. Shedding 15 lbs. from his 6-ft. 1-in., 175-lb. football frame, McLeod said he found the two sports "somewhat similar in that you have to be reckless in both." However, the senior noted the night before the race that "preparation in football is different because you have to psyche yourself up to be mean, while for a marathon you have to be in the right frame of mind to stand pain, not give it out." This proved...

Author: By Nell Scovell, | Title: Miles and Trials of Crimson Marathoners | 4/23/1980 | See Source »

...episode in which she married a singer whom she had known for three weeks, then abandoned him on their wedding night. In her first eight years in England she had 29 postal addresses, not counting excursions to Europe. She compartmentalized her life, playing different roles to different people: the reckless bohemian, the exalted votary of art, the matey colonial. Paraphrasing Polonius in her journal, she wrote: "True to oneself Which self?" -Christopher Porterfield

Author: /time Magazine | Title: Books: Scraps of Genius | 4/21/1980 | See Source »

Attempting to be both proud and passionate, Bendheim has a difficult task. In her emphasis on the Duchess' youthful audacity, she stumbles over long sentences and leaves us unsure this reckless girl could deceive her cunning brother for even a little while. In the second half of the play, when the Duchess' pride sustains her through her misfortunes, Bendheim occasionally slips into facile arrogance, leaving the Duchess' anguish only hinted at. But these are momentary lapses in what remains a rewarding performance. Bendheim's characterization, while not wholly realized, is subtler and more human than the effective but confined performances...

Author: By Katherine Ashton, | Title: Someone Else's Nightmare | 4/16/1980 | See Source »

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