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...fire. Using the same data (from 4.2 million people charted by 25 insurance companies over two decades), Andres has concluded that people in their 20s should weigh less than Metropolitan Life indicates, 40-year-olds should weigh about the same, but people in their 50s and 60s can afford to be anywhere from 4 to 37 Ibs. heavier. Andres, a gerontologist who has been studying the effect of weight gain on aging for more than five years, feels that after the age of 20, almost any normally lean person can put on about a pound a year...
...that gourmet foods are chic, Ben & Jerry's has tried to create an image of simple, down-home wholesomeness. Instead of being decorated with a map of Scandinavia, Ben & Jerry's cartons show a picture of the two be spectacled, bushy-haired owners, who look like refugees from a '60s commune. Pals since they were in high school in Merrick, N.Y., Cohen and Greenfield decided in 1977 that making ice cream would be more fun than what they were doing. Having failed to get into medical school, Greenfield was then a lab technician in North Carolina, and Cohen...
Sometimes the incarnations compete. In the early film versions, Ian Fleming's James Bond became Sean Connery. Then Bond turned into Roger Moore. Convinced that Bond was Connery, some moviegoers dismissed Moore as an impostor. Charlton Heston, conversely, performed a miracle of dramatic consolidation in the 1950s and '60s. He became Moses, Ben-Hur, Michelangelo, Andrew Jackson and John the Baptist: everyone this side of God. Heston possessed such brooding gravitas that he could plausibly pass for an abstraction, the decalogue with a strong chin...
...Frankfurt school" of such neo-Marxist theorists as Jürgen Habermas and Theodor Adorno. They propose that law is no more than a means by which unjust power relations are dressed in the costume of eternal truths. Some of the C.L.S. adherents, like Kennedy, also flaunt a confrontational '60s style of incivility and antic provocation in relations with their colleagues. But at bottom, he is deadly serious. "The legalization of the rules," Kennedy inveighs, "the presentation of the rules as the consequence of a neutral, legal, analytic process, makes things that are rotten and unjust look inevitable, logical and inherently...
Inevitably, Walter's return to the scenes of old cold war crimes evokes the mood and manner of '60s pop spy epics like, say, The Ipcress File. But Director Penn, whose most successful works in that period were counterculture icons like Bonnie and Clyde and Little Big Man, is not about to be nostalgic about his former competition. Target is a deadpan satire on the old cloak-and-dagger conventions almost to the end, at which point Penn cannot resist staging with self-conscious luridness a scene in which Walter must deal with a particularly sadistic bomb threat...