Word: calling
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Dates: during 1990-1999
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...bother me like it used to. I was getting along pretty good and making friends. I went to a party with a bunch of girls and we stayed out late. I walked one home and kissed her good night. But I've never really had what I'd call a serious kiss with a girl. That was pretty much...
Police officers often respond to 911 calls with loaded weapons. Two of Miami's finest got in trouble last week when they responded with loaded cameras. And who could blame them? They were, after all, following up on a call made by that legendary friend of law enforcement O.J. SIMPSON. Simpson had called police from girlfriend Christie Prody's Miami home seeking help for a friend he said had been on a two-day cocaine binge. When police arrived, they found Simpson alone and, according to their report, learned that he and Prody had been involved in a "verbal dispute...
...Seinfeld.") Certainly much of the biting banter and in-jokes of W&G--"I haven't seen a kiss that uncomfortable since Richard Gere and Jodie Foster in Sommersby"--would be unimaginable in the era of Three's Company's fairy jokes. Some shows even cultivate what you might call a gay sensibility. HBO's heterosexual (and how) sitcom Sex and the City regularly broaches sexual gray areas, taking the perspective, less broadly embraced among straights, that sexuality isn't either-or but a continuum. The Ally McBeal same-sex kiss episode, for all its easy titillation, takes the same...
...audience, serving as a conduit to cred for the majority group, just as racial minorities have in the past. From Norman Mailer's White Negro we've gone to the Gay Hetero. As a side benefit, these characters allow networks to put affluent white boys on the air and call it diversity. (Indeed, the elderly animated pair Wally and Gus on the WB's Mission Hill are notable not so much for making out in the show's premiere as for proving that gay men don't vaporize after age 30.) But Spin City's Carter Heywood is the networks...
Arthur Miller looked positively giddy as 3,500 Chicagoans stood up and yelled at him. No, it wasn't a riot, but the final curtain call at this month's world premiere of A View from the Bridge, William Bolcom's operatic version of Miller's 1955 play about love and death on the Brooklyn waterfront. The Lyric Opera of Chicago bet big on Bolcom, giving his American-style grand opera a production worthy of Aida, and the horse paid off: View packs the theatrical punch of a double boilermaker...