Word: couchs
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...broken home, had met Corll several years ago when Corll was managing a Houston candy store. Corll would give candy to young boys and offer them rides on his motorcycle. Henley's mother recalls that on occasion Corll would drive over in a white van with a black couch in the back and gather in ten or twelve youths for a ride...
...ignores all this. And in doing so, it obfuscates the radical lesson of the seventies: that the women's problem is rooted in the most profound structures of the social order. The movie appeases the national trauma about women with a sophisticated sleight-of-hand. Not only does it couch its message in 19th century terms, but it refuses even to define Nora in relation to them. It thus disguises the problem and allays it by spreading a veneer of euphoria over it. The ending of the movie is an affirmation of individual female liberation that denies collective liberation...
...that silk curtains down one wall were covers for his bookshelves. Then he parted the curtains to reveal double glass doors leading to a private hideaway that included a TV set, a refrigerator and a medicine cabinet. "This is where I usually eat," he said. "You see this little couch in there? If I get a chance, maybe I can get a nap there." Brezhnev added that he spent "a terrifying amount of time" in his offices-one in the Kremlin, another on the opposite side of Red Square in the Communist Party headquarters building, where the Moscow-Washington...
...party -- different aspects of a party. Parties are one aspect of life here. If you keep that in mind, you might have a chance of understanding this section. People at Harvard and Radcliffe drink, they smoke dope, they dance, they play chess, occasionally they pass out on a couch, and they make love. What is the problem? Put it in a yearbook, and everyone gets upset. Sex is part of life here, and anyone who denies it is being naive. Does it belong in a yearbook? Yes, for the same reason that the football team, Glee Club, and pre-meds...
Filling one corner of the theater, Wayne Mitchell's elaborate set enhances the illusion of dream. Mitchell has included every detail -- the torn green couch, the faded rug, the moldy wallpaper -- as if to say: if you had been stifled in this apartment for so long, you too would remember all its soiled and tattered furnishings. The potential weight of this massive set dissolves under Donnally Miller's lighting. By highlighting or spotlighting the actors, he at once casts most of the state into the dusk of memory and infuses the room with the state of mind the actors...