Word: socialized
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Dates: during 1970-1979
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...finite and risky value of military power is clear proof that the U.S. must not see it as a substitute for sophisticated and imaginative attention to political, social and economic problems hi the area. Not that economic aid is a surefire remedy either. Besides, Levy observed: "I believe our country isn't rich enough to marshal a Marshall Plan for the area...
...single approach is going to be sufficient. U.S. policy must combine economic and technical aid with some military flag showing and perhaps even covert operations, offering friendship to some governments that are not now especially receptive, trying to induce cooperative regimes to be more concerned about and responsive to social unrest. That will be an exquisitely difficult policy to carry out. As several panelists noted, the U.S., under the best of circumstances, may suffer some further losses. But given enough will, patience and ingenuity, the U.S. has the strength to safeguard its vital interests in the crescent of crisis...
...form of novel for television that broke the traditional time barrier, things you can't do in theater or in motion pictures. QB VII was the first major novel. It ran seven or eight hours. It's interesting to watch how we have moved into areas of social significance. There is a television movie coming up called The Cracker Factory; it is a story about a person who goes through a breakdown. And one called Child Stealing, which is about couples getting divorced and stealing the children from their mates...
...encourage people to sit down and watch with their kids and have a dialogue. Happy Days and Laverne & Shirley really reinforce certain things within a family as they watch together. One of the most pleasing things is that not only is Mork & Mindy an enormous success, but that the social comment and the moral point made at the end of that show every week are just overwhelming. It is a message about our society. The last time I happened to watch it, it was about Mork's own emotions coming out and how he felt freed...
Previous productions broke off after Lulu, imprisoned for murdering Schon, escapes and takes up a fugitive life with Schon's son and other admirers. The third act reveals that Berg rounded off the story with telling symmetry. Lulu descends through a succession of men and social strata that mirror those she rose through in the first two acts. Accordingly, Berg's music for her decline is shot through with echoes, correspondences and recapitulations of earlier moments. When Lulu is reduced to streetwalking in London, Berg called for her three clients to be played by the same singers...