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...tall and carries a massive bulk of nearly 300 lbs., and within that girth courses the unharnessed ego of a small child, a craze for attention and reverence. Last week Idi Amin was playing to the hilt the role he loves best: he was standing full-glare in the spotlight, forcing a major power into a state of consternation. He had done it before and in all probability would do it again...

Author: /time Magazine | Title: UGANDA: Amin:The Wild Man of Africa | 3/7/1977 | See Source »

Although elections still command much of the spotlight, the UFW has to focus its very limited resources on getting negotiations underway. For example, at Coachella Growers (citrus), the UFW won the union election, but the company has harassed workers by stopping bus service and cutting back the work week. Workers must now get up at 4 a.m. if they wish to commute; otherwise they must live in the labor camp which is expensive and only accomodates men. Growers have said no to a UFW hiring hall, no to a grievance procedure, and no to UFW medical and pension plans...

Author: By Susan Redlich, | Title: La Lucha Continua | 3/1/1977 | See Source »

Playing in the spotlight at number one as understudy to Mike Desaulniers (who was away at an individual tournament), Kaplan dominated Yale's Larry Gile for most of their match, winning, 15-11, 15-4, 9-15, 15-6. Kaplan moved like a cat throughout the match, leaving Gile virtually no chance to get untracked...

Author: By John Donley, | Title: The Fates Had It: Harvard 9, Yale 0 | 2/28/1977 | See Source »

...WOMEN'S MOVEMENT in recent years has focused on bold firsts for women in every area, from West Point to the Little League to gubernatorial posts. But the spotlight always hits positions that have traditionally been filled by men. In Pink Collar Workers, Louise Kapp Howe points out that the spotlight has missed center stage: most women still hold jobs that have always been considered women's work...

Author: By Marilyn L. Booth, | Title: Raise Not Roses | 2/26/1977 | See Source »

Just as silence and darkness are one for the woman, so too sound and light are one for Krieger. Beckett's original stage directions call for one spotlight hung low in front to swing over the faces. Krieger has moved the spotlight according to her own design. She places it high behind the actors to play on the backs of their heads, on and off like the metronome. Since the stage is otherwise dark, the actors' faces cannot be seen. They appear only in outline, like the images of film negatives; or through their partially transparent urns like...

Author: By Christine Healey, | Title: Suggestive Emptiness | 2/26/1977 | See Source »

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