Word: 30s
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...Medians' home life is as fraught with uncertainty as their jobs. Paul and Carol were not so unusual in delaying marriage: today 30% of men and 20% of women are single as they enter their 30s. In 1970 most men were married by 23, most women by 21. Like many members of their generation, Paul and Carol had lived with other people, but those relationships didn't work out. This time they hope to make it last, even while knowing that more than half of all marriages now end in divorce. It is not that people their age are especially...
DIED. LINCOLN KIRSTEIN, 88, author and arts patron; in New York City. If George Balanchine made American dance possible, Kirstein made Balanchine possible, bringing the choreographer to the U.S. in the '30s and co-creating the School of American Ballet and New York City Ballet...
...jukebox played the Eagles' Get Over It, a slam against self-discovery: "Bitch about the present and blame it on the past./ I'd like to find your inner child and kick its little a----." Up at Renaissance, things were running according to form. Despite temperatures in the 30s, many participants dutifully jogged the beach before their 8 a.m. seminar. Two (unacquainted) participants compared the panels to "interactive C-SPAN" and "watching MacNeil/Lehrer from 8 in the morning till 10 at night." And neither remark was meant as an insult...
Bassett does all the heavy emotional lifting in Waiting to Exhale, based on Terry McMillan's best seller. It's the old story--as old as Four Daughters in the '30s or The Best of Everything in the '50s or Now and Then last fall--about a quartet of young females looking for love and identity. Here the setting is Phoenix, Arizona, and the women are black, but everything else is familiar. Bernadine (Bassett) finds that her longtime husband is deserting her; Savannah (Whitney Houston) has a lover who won't leave his wife; Gloria (Loretta Devine...
...fact, the films are often as interesting for what they forecast as what they express. Working in the 30s. Mary Ellen Bute was one of the first to use electronic imagery in film. The spinning, dancing line of her "Mood Contrasts" (1953) seems to embody the music which propels it in a manner reminiscent of the pulsing equalizers which inhabit so many videos. Bute especially wanted to make music visual, to give, as she states in "Rhythm and Light," "a modern artist's impression of what goes on in the mind while listening to music." Bute's witty...