Word: flashings
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...carry; quarterback Frederic L. Ballard can pass that buck like no one else in the business; fullback Chollie Bevard, in Russin's own words, will always "catch you off guard"; and linemen Robert "Speed" Gordon, Richard "King" Cotton, Raymond "The Sage" Sokolov, Andrew "The Rock" Weil and Lee "Flash" Auspitz are just, well, Some Of The Greats...
...Overall floodlight is repulsive," Watson says. "What I do when I show people my garden is to build the moonlight effect up slowly, then build highlights and subtle shadows. Then suddenly I turn it all off and flash a floodlight on the garden. Everybody always says, 'Oh, no!' and from that moment I know I've got a convert, and the husband knows he's going to have to spend some money. Floodlights are for finding your automobile in the driveway or for carrying the garbage out to the trash can. But not for gardens...
...first hour of a big story, a wire-service reporter's zeal and television's vivid eye often provide the best witnesses of the event. But then come the consequences-not so easy to photograph or to flash as a bulletin. Any confrontation so major as the Cuban crisis leaves behind it an international trail of responses, regrets and reappraisals. Sometimes these become the most lasting effect of the event, as peoples and their leaders take new account of the shifting forces, and respond accordingly...
Calculated Risk, by Joseph Hayes, tells of an old-line New England textile company facing a takeover threat from a corporate raider. At first, the play promises to be a Marquandian confrontation between people who possess character and those who merely flash credentials. It also promises to contrast an older type of businessman who manufactured a product of quality and backed it with his name, and a newer type of paper manipulator who merely juggles figures and jiggles stock with irresponsible anonymity. Unfortunately, these promises are not kept. What evolves is a faint melodramatic paraphrase of Playwright Hayes...
...nothing. It hardly matters that wherever he moves, Philip Kerr (as Leonardo) creates a patch of splendid resilience and vitality so powerful that he draws the Bride (Ann Lilley Kerr) into the circle of his power; she and Leonardo's wife (Pat Fay in an unhappily neutral role) flash and charm in his presence. If anybody has duende Kerr has; he explains better than Lorca can how Leonardo manages to drag the Bride along like "the pull of the sea." Yet out of what, in this production, does he drag her? Certainly not a tight, musky web, an oppressive atmosphere...