Word: sams
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Dates: during 1990-1999
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...Reported by Sam Allis/Boston and Jane Van Tassel/New York
...access to the system more than 150 times, hiding his trail through international phone systems in South America, Seattle and New York. The boy used his access to reach systems at NASA's space flight center, defense contractors around the nation and the South Korean atomic energy center. Senator Sam Nunn, ranking Democrat on the committee, said that Internet crime presents a whole new challenge for ensuring national security. "Is the bad actor a 16-year old, a foreign agent, an anarchist or a combination thereof?" he asked. "How do you ascertain the nature of a threat...
...access to the system more than 150 times, hiding his trail through international phone systems in South America, Seattle and New York. The boy used his access to reach systems at NASA's space flight center, defense contractors around the nation and the South Korean atomic energy center. Senator Sam Nunn, ranking Democrat on the committee, said that Internet crime presents a whole new challenge for ensuring national security. "Is the bad actor a 16-year old, a foreign agent, an anarchist or a combination thereof?" he asked. "How do you ascertain the nature of a threat...
...Sam Shepard's dramas of blasted American lives, the terror never stays so politely out of sight--it's usually smacking you in the face. Buried Child, first produced in 1978, opens with a marital conversation conducted across a chasm. Dodge, a foghorn-voiced geezer (a hilarious James Gammon), sits nearly immobile on a couch, exchanging shouts with his wife (Lois Smith), who spends most of the first act offstage. One grown son (Terry Kinney) shuffles in and out with armfuls of corn; another (Leo Burmester) stomps around on a false leg and terrorizes his father by snipping his hair...
Edward Albee and Sam Shepard came of age in an era when playwrights could be stars too. Albee's excoriating family drama Who's Afraid of Virginia Woolf? shook Broadway out of its comfy seats in 1962 and established him as the premier American playwright of the post-Arthur Miller generation. Shepard (though his work has largely been ignored by Broadway until now) was the most acclaimed and charismatic playwright to emerge off-Broadway in the 1960s and '70s (The Tooth of Crime, Curse of the Starving Class). Now both authors are being celebrated with Broadway revivals of Pulitzer-prizewinning...