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Word: verbalizations (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...quite distant future. Go down the checklist of a classic Western's ingredients, and few items will be missing in the Lucas recipe: bounty hunters with no morals; sleazy smugglers who will handle any contraband--including political rebels--and who don't pronounce the final letter of an -ing verbal; a barroom brawl with laser guns instead of fisticuffs; even a posse chase with spacecraft in the place of swift stallions...

Author: By Joe Contreras, | Title: Star Escape | 6/1/1977 | See Source »

...Linda Rabhan's distinctive and varied choreography. Nonetheless, a tango in which Ravenal as Eve dances Richard Bangs's petulant Adam prone and a hammy vaudeville routine involving Adam and the animals are striking set pieces which make their point visually and musically more effectively than much of the verbal exchange...

Author: By Anemona Hartocollis, | Title: Cranapples | 5/17/1977 | See Source »

Sandwiched around the bar and the jugglers is a revue of songs, skits and jokes tied together by the clever verbal slapstick of their humor, the energy and talent of the excellent cast and the fact that many of the lines of the lyrics do not end precisely when the lines of the music...

Author: By Anthony Y. Strike, | Title: Drink And Stay Up All Night | 5/17/1977 | See Source »

...issue." The HRBSA was prepared to concede that stereotypes could be ridiculed successfully especially when the characaturist was a buffon, such as Archie Bunker. When the stereotype came from a supposedly intelligent and literate magazine, however, it was suggested the humor was more properly perceived as a form of verbal aggression directed towards ethnic groups...

Author: By Archie C. Epps iii, | Title: A Small Step Forward | 5/16/1977 | See Source »

Harold Rappoport, as Mona, has the most subtle, trickiest emotional transition of the play to make. And he carries it off convincingly. In the first act he comes across as nothing but a gutless nebbish, passively accepting any manner of verbal humiliation. But in the second act he shows that he has remained vulnerable by his own choice, because there's a degree of sensitivity that he refuses to lose to the prisoners' tough conformity. When he finally refuses to let Smitty become his "old man," declaring with the Shakespeare sonnet that he cares too much for Smitty to play...

Author: By Mark T. Whitaker, | Title: Barbarity Behind Bars | 5/13/1977 | See Source »

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