Word: whoring
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Dates: during 1990-1999
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...Doris Sepulveda, who watched the Lopezes trying to sell a child's tricycle outside their building. Another neighbor, Eric Latorre, recalls seeing the whole family out at 2 a.m. as Awilda sought crack. Awilda had reportedly come to believe that Elisa, whom she called a mongoloid and filthy little whore, had been put under a spell by her father--a spell that had to be beaten out of the child. Neighbors, some of whom say they called the authorities, later told the press of muffled moaning and Elisa's voice pleading, "Mommy, Mommy, please stop! No more! No more...
...about her older brother, who behaves very differently towards her since he started listening to rap music and watching R-rated movies. "He changed," she said. "Just from listening to rap, he is starting to use bad words. He calls me bad names all the time like 'ho' and `whore.' He never swore like that before...
...unemployed except for Marie, 65, who assembles door parts in a factory. Isidor Ramos, 40, a black 19-year veteran of the Chicago police department, says the Krafts called him a "nigger" and his wife, a Puerto Rican, a "spic." Daughter Mindy, 20, has been called a "spic whore"; Ivan, 12, a "little nigger"; and Mychall, 9, a "little spic...
Dean was not, as Alexander posits, the first movie star to project androgyny. (See the early films of Gary Cooper and Cary Grant.) It's true that in East of Eden a whore calls out to Dean, "Hello, pretty boy." And yes, he was pretty: slight and muscular, his body compact, his face beautiful, seraphic, smudged, sleepy-eyed and quite American. Yet his appeal was not the girlish winsomeness of a catamite. It was the lost soul of the postwar teen, glamourized for the movies. In '50s film, that looked revolutionary. Today it just looks brilliant. Dean was important...
Anna Christie has just that simmer and boil. A waterfront fable about a Swedish whore with a heart of gold, this 1921 sea wheeze contains a corrosive third-act face-off that helped O'Neill win the second of his four Pulitzer Prizes. Yet the play was criticized so widely for its optimistic ending -- unthinkable in high drama, where everyone must suffer, especially the audience -- that O'Neill felt obliged to declare he was misunderstood. In fact, he had been found out: without the scaffolding of tragedy, his stagecraft was exposed as ramshackle, his creatures as puppets. Though producers drag...