Word: sorting
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Dates: during 1960-1969
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...lawyer would ever try to make a case for the Mafia? Luigi Barzini, for one. The Mafia "gives the Sicilians some sort of order in a country governed by foreign oppressors," said the Italian author-journalist in a discussion with students at Los Angeles' Occidental College. "The Mafia man uses the family and will not do degenerate things-he'll have nothing to do with heroin or prostitution." All of which leads Barzini to believe that Lucky Luciano, deported from the U.S. in 1946 as an undesirable alien who dabbled in dames, was never really a Mafia...
David had his hemispherectomy when he was 14. Mrs. Smith says: "You just wouldn't believe the difference after the operation. He used to look sort of vacant, but his whole face has changed. Only a year and a half after his operations, he's doing seventh-grade work. He still has a bit of trouble with his right hand, but he's learned to drive a tractor and he looks after his own cattle -20 head of steer-and he's learned to do his own bookkeeping...
...well be right as far as the A.I.A. plan, specifically, is concerned. But there is no doubt about the motoring public's desire for some sort of radical overhaul of the existing system. If nothing else, the new A.I.A. plan provides welcome evidence that the auto-insurance industry itself is at last trying to come up with some answers...
...writer's insurrection against contemporary dogma. But in Euripedes the hints are powerful, and the greater danger probably that of underinterpretation. There is no avoiding, for example, his irregular attitude toward the divinity, which seems to have ranged from outright negation to the most grudging and unsettling sort of affirmation. In The Bacchae, the gods are gods indeed, but their order is--besides whimsical--cruel and misguided. And Mayer's willingness to portray Dionysus as an effeminate, self-absorbed individual, worthy of nearly every label the unbelieving Pentheus attaches to him, brings this side of Euripedes out into the open...
...Yolande Bevan, who lifts the chorus to her own extraordinary level, but not much less distinctive are the speaking styles of Edward Finnegan and Donald Marye, as Cadmus and Teiresias. The best performance of the lot, however, has to be that by Patricia Cutts, who bravely circumvents the sort of theatrics to be expected in a woman who has killed her son and partaken of his remains...