work:

In prostitution , to solicit trade (customers).
See Also: afternoon gig, all worked up, alley cat, AMW, appetence, appetency, appetite, ardor veneris, assmosis, bachelor girl, back-door work, bankside lady, bar girl, bat, battle, berdache, black widow, box-house girl, bremelo, brothel, bubble-gummer, buggerantoes, burglar, bust a nut, button, cab-moll, carnal desire, carnal trap, casual contact, chicken rancher, cock-on, collar-and-tie, collect the rent, college fuck, college style, come aloft, company, contrapunctum, coral branch, coronal extender, corral, cunnilinguate, daytimer, dirty work at the crossroads, distaff, do the chores, dragon lady, drive one's hos, earth moved, the, English method, erotica, escort, factotum, fellate, fervent, fervid, fire the question, freelance(r), front door work, gay girl, gay woman, get it together, get the rent, get-down time, Ginger, ginger girl, git-down time, give someone the works, Greek, grisette, hack, hard-on, hawk one's brown, hawk one's fork, hawk one's meat, hawk one's mutton, hawk one's pearly, hawk the fork, head cook and bottle washer, high forehead, high maintenance, hooking, house prostitute, hustle, hypogastrian cranny, in-law, independant, Jack of all trades, job, johnson, K-hole, leggins, levator vaginae, live by the trade, lone wolf, man-below position, man-on-top position, night job, on the job, oracle, outlaw, ownio, panel, panel worker, peddle one's ass, peddle one's butt, peddle one's hips, peddle one's meat, peddle one's wares, peddle pussy, peddle snatch, pimp's corral, pole, poling, pop the question, procurer, receding hairline, red-light districk, renegade, respectable whore, rodger, roger, screw off, sex-chauvinist, sit for company, strap, strapping, street pimp, street trick, street walker, street whore, street worker, trick suit, trod the boards, trod the planks, trolling, turn one out, turn out, turn someone out, undercover man, unemployed, the, walk the pavement, walk the streets, walking hard-on, walking the street(s), waterworks, weekend ho, weekend warrior, whoring, work a crib, work from the book, work one's ass off, work the cuts, work the dumb oracle, work the hairy oracle, worked up, working girl, working inside, working outside, working the bricks, working the street(s), working woman

Quotes Containing work:
Bruce Rodgers. The Queens'' Vernacular (1972): ''A Greek is somebody who gets a little behind in his work .''
Bill (Emilio Estevez) to Chris (Richard Dreyfuss) in Stakeout (1987): ''I would appreciate that you not act like a walking-hard-on when we work together.''
Corey (Jane Fonda) and Paul (Robert Redford) at the Plaza Hotel in Barefoot in the Park (1967): - Corey: ''Paul, if the honeymoon doesn''t work out let''s not get divorced, let''s kill each other.'' - Paul: ''Let''s have the maid do-it . I hear the service here is wonderful.''
Porno star Holly Body (Melanie Griffith) to a producer in Body Double (1984): ''I do not do animal acts, I do not do S & M or any variations of that particular bent , no water-sports either. I will not shave my pussy , no fistfucking and absolutely no coming in my face . I get $2000 a day and I do not work without a contract.''
''As for you, baby , I''ve known dozen''s like you. Sappy kids with a heart like a curd dog that answers all the whistles and figures their having a good-time .'' Con artist Bill O''Brien (Douglas Fairbanks, Jr.) to out of work dancer Nina Barona (Rita Hayworth) in Angels Over Broadway (1940).
''As for you, baby , I''ve known dozen''s like you. Sappy kids with a heart like a curd dog that answers all the whistles and figures their having a good-time .'' Con artist Bill O''Brien (Douglas Fairbanks, Jr.) to out of work dancer Nina Barona (Rita Hayworth) in Angels Over Broadway (1940).
Holly Body (Melanie Griffith) to porno-movie producer in Body Double (1984): ''I do not do animal acts. I do not do S & M or any variations on that particular bent . No watersports either. I will not shave my pussy . No fist-fucking and absolutely no coming in my face . I get $2000 a day and I do not work without a contract.''
Holly Body (Melanie Griffith) to porno-movie producer in Body Double (1984): ''I do not do animal acts. I do not do S & M or any variations on that particular bent . No watersports either. I will not shave my pussy . No fist-fucking and absolutely no coming in my face . I get $2000 a day and I do not work without a contract.''
Porno star Holly Body (Melanie Griffith) to a producer in Body Double (1984): ''I do not do animal acts, I do not do S & M or any variations of that particular bent , no water-sports either. I will not shave my pussy , no fistfucking and absolutely no coming in my face . I get $2000 a day and I do not work without a contract.''
Porno star Holly Body (Melanie Griffith) to a producer in Body Double (1984): ''I do not do animal acts, I do not do S & M or any variations of that particular bent , no water-sports either. I will not shave my pussy , no fistfucking and absolutely no coming in my face . I get $2000 a day and I do not work without a contract.''
Bruce Rodgers. The Queens' Vernacular (1972): 'The only way I could work-up a cock-on now is if you were to slam a window down on it .''
Porno star Holly Body (Melanie Griffith) to producer Jake Scully (Craig Wasson) in Body Double (1984): 'I do not do animal acts, I do not do S & M or any variations of that particular bent , no water-sports either. I will not shave my pussy , no fistfucking and absolutely no coming in my face . I get $2000 a day and I do not work without a contract.'
Dave Mullen (Tom Parks) to his salesman Chester Lee (Rodney Dangerfield) in Ladybugs (1992): - Dave: ''Chester, you keep up the good work , this time next year you''ll have ten men under you.'' - Chester: ''Eh, Dave, can you make-it women?''
Philip Marlowe (Humphrey Bogart) and lady taxi-driver (Joy Barlowe) in The Big Sleep (1946: - Lady: 'If you can use me again sometime, call this number.' - Philip: 'Day and night?' - Lady: 'Night's better. I work during the day.'
Ed (George Kennedy) & Frank (Leslie Nielsen) in Naked Gun 2 . The Smell of Fear (1991): - Captain Ed Hocken: ''We have an address. Monique de Carlo, two-ten Belckner Street.'' - Lt. Frank Drebin: ''That''s the redlight district. I wonder why Savage is hanging out down there?'' - Captain Ed Hocken: ''Sex, Frank?'' - Lt. Frenk Drebin: ''No, not right now, Ed. We''ve got work to do .''
Retired actress Carlotta Vance (Marie Dressler) in Dinner at Eight (1933): ''If there''s one thing I know it''s men. I ought to. It''s been my life work .''
Retired actress Carlotta Vance (Marie Dressler) in Dinner at Eight (1933): ''If there''s one thing I know it''s men. I ought to. It''s been my life work .''
Dr. Louis Levy (Martin Bergmann) at the end of Crimes and Misdemeanors (1989): 'Human happiness does not seem to have been included in the design of creation. It is we, with our capacity to love , who give meaning to the indifferent universe. And yet most human beings seem to have the ability to keep trying and even find joy from simple things like their family , their work , and from the hope that future generations might understand more.'
Adam Bonner (Spencer Tracy) to his wife Amanda (Katharine Hepburn) in Adam''s Rib (1949): ''Here we go again, the old juice . Guaranteed heartbreaker . A few female tears. Stronger than any acid. But this time it won''t work .''
Adam Bonner (Spencer Tracy) to his wife Amanda (Katharine Hepburn) in Adam''s Rib (1949): ''Here we go again, the old juice . Guaranteed heartbreaker . A few female tears. Stronger than any acid. But this time it won''t work .''
Adam Bonner (Spencer Tracy) to his wife Amanda (Katharine Hepburn) in Adam''s Rib (1949): ''Here we go again, the old juice . Guaranteed heartbreaker . A few female tears. Stronger than any acid. But this time it won''t work .''
Horace Vandergelder (Paul Ford), at 65, plans to marry again in The Matchmaker (1958): 'I like my house run well, with order, comfort and economy. That's a woman's work . But even a woman can't do-it well if she's merely paid for it . In order to run a house well a woman must have the feeling that she owns it . So, marriage is a bribe to make a housekeeper think she's a householder.'
Paula (Lana Turner) kissing with Jonny (Clark Gable) in Somewhere I''ll Find You (1942): - Paula Lane: ''You oughta have that patented.'' - Jonny Davis: ''I will, after I work out a few improvements.'' - Paula Lane: ''I could suggest a couple .'' - Jonny Davis: ''I''ll learn faster if you show me.?''
Bake(r) (Fred Astaire) and Sherry (Ginger Rogers) in Follow the Fleet (1936): - Baker: ''It''s swell being with you again. Friends?'' - Sherry: ''Friends.'' - Baker: ''Let''s kiss-and-make-up .'' - Sherry: ''No, let''s just make-up . That will give you something to work for.''
Clarence Day (William Powell) having a father-to-son talk about women with Clarence, Jr. (Jimmy Lydon) in Life with Father (1947): - Clarence Sr.: 'All you have to do is be firm.' - Clarence Jr.: 'Yes, but Father, what can you do when they cry?' And later: 'You see Clarence, we men have to run this world and it's not an easy job . It takes work and it takes thinking. A man has to reason things out . Now, you take a woman . A woman thinks... No, I'm wrong right there. A woman doesn't think at all. She get's stirred up .'
Clarence Day (William Powell) having a father-to-son talk about women with Clarence, Jr. (Jimmy Lydon) in Life with Father (1947): - Clarence Sr.: ''All you have to do is be firm.'' - Clarence Jr.: ''Yes, but Father, what can you do when they cry?'' And later: ''You see Clarence, we men have to run this world and it''s not an easy job . It takes work and it takes thinking. A man has to reason things out . Now, you take a woman . A woman thinks... No, I''m wrong right there. A woman doesn''t think at all. She get''s stirred up .''
Clarence Day (William Powell) having a father-to-son talk about women with Clarence, Jr. (Jimmy Lydon) in Life with Father (1947): - Clarence Sr.: 'All you have to do is be firm.' - Clarence Jr.: 'Yes, but Father, what can you do when they cry?' And later: 'You see Clarence, we men have to run this world and it's not an easy job . It takes work and it takes thinking. A man has to reason things out . Now, you take a woman . A woman thinks... No, I'm wrong right there. A woman doesn't think at all. She get's stirred up .'
Lawrence Paros. The Erotic Tongue (1984): ''The bra , or something like it , has been in use for over 6,000 years but really didn''t come into its own until the turn of the century. The first formal application for a patent on the garment was filed on February 12, 1914 by Mary Phelps Jacob, also known as Caresse Crosby, who fashioned a prototype using some ribbons, thread , and two handkerchiefs. After World War I, the donning of the bra became synonymous with the chucking of the corset , long considered the restrainer of the female and the mainstay of her oppression. The bra allowed women to both liberate their bodies and assume a host of activities, both work and play, previously open only to men.''
Lawrence Paros. The Erotic Tongue (1984): ''The bra , or something like it , has been in use for over 6,000 years but really didn''t come into its own until the turn of the century. The first formal application for a patent on the garment was filed on February 12, 1914 by Mary Phelps Jacob, also known as Caresse Crosby, who fashioned a prototype using some ribbons, thread , and two handkerchiefs. After World War I, the donning of the bra became synonymous with the chucking of the corset , long considered the restrainer of the female and the mainstay of her oppression. The bra allowed women to both liberate their bodies and assume a host of activities, both work and play, previously open only to men.''
Lawrence Paros. The Erotic Tongue (1984): ''The bra , or something like it , has been in use for over 6,000 years but really didn''t come into its own until the turn of the century. The first formal application for a patent on the garment was filed on February 12, 1914 by Mary Phelps Jacob, also known as Caresse Crosby, who fashioned a prototype using some ribbons, thread , and two handkerchiefs. After World War I, the donning of the bra became synonymous with the chucking of the corset , long considered the restrainer of the female and the mainstay of her oppression. The bra allowed women to both liberate their bodies and assume a host of activities, both work and play, previously open only to men.''
Lawrence Paros. The Erotic Tongue (1984): ''The bra , or something like it , has been in use for over 6,000 years but really didn''t come into its own until the turn of the century. The first formal application for a patent on the garment was filed on February 12, 1914 by Mary Phelps Jacob, also known as Caresse Crosby, who fashioned a prototype using some ribbons, thread , and two handkerchiefs. After World War I, the donning of the bra became synonymous with the chucking of the corset , long considered the restrainer of the female and the mainstay of her oppression. The bra allowed women to both liberate their bodies and assume a host of activities, both work and play, previously open only to men.''
Charles Panati. Sexy Origins and Intimate Things (1998): ''The most popular explanation for the link between fashion and eroticism, and rapid changes in styles, is the sex-appeal theory, also known as the theory of shifting erogenous-zones . Proponents of the theory argue that the primary purpose of all womens fashion is the desire to continually reattract the opposite-sex . The driving force behind seasonal changes in styles is to arouse men sated by last seasons "look" to turn-on to a new "look." In todays sexually liberated and sex-saturated times, fashion is driven by the seduction principle. With so much sexual imagery in the media, men get sated quickly, and women must work hard to reseduce them with styles that continually shift the erogenous zone from breasts to bellies to backs to legs to hair to lips . Men, for their part, positively yearn to be reseduced, over and over again. All of this seduction, says the theory, is to fulfill the biological imperative to continue the species, even if the sexes thwart conception at every chance they get .''
Charles Panati. Sexy Origins and Intimate Things (1998): ''The most popular explanation for the link between fashion and eroticism, and rapid changes in styles, is the sex-appeal theory, also known as the theory of shifting erogenous-zones . Proponents of the theory argue that the primary purpose of all womens fashion is the desire to continually reattract the opposite-sex . The driving force behind seasonal changes in styles is to arouse men sated by last seasons "look" to turn-on to a new "look." In todays sexually liberated and sex-saturated times, fashion is driven by the seduction principle. With so much sexual imagery in the media, men get sated quickly, and women must work hard to reseduce them with styles that continually shift the erogenous zone from breasts to bellies to backs to legs to hair to lips . Men, for their part, positively yearn to be reseduced, over and over again. All of this seduction, says the theory, is to fulfill the biological imperative to continue the species, even if the sexes thwart conception at every chance they get .''

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