Word: de
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Dates: during 1990-1999
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Once Legare and De Vries spoke up, however, administrators responded. Legare persuaded 34 of Cabot High's 100 students to sign his petition, which led to faculty meetings and his discussion with Governor Dean in a gathering with other gay youths. Since school started, Legare says, he has heard "faggot" just once. Similarly, even at the Catholic school De Vries used to attend, several teachers applauded her for fighting antigay attitudes. She's now enrolled at a private school where everyone knows she's a lesbian...
Today Grier throws back her dark avalanche of curls and laughs when she tells that story. On Christmas Day Tarantino's highly anticipated crime drama, Jackie Brown, will open--and Grier is indeed in the title role, alongside A-listers Samuel L. Jackson and Robert De Niro...
...Jackson, De Niro...Grier? If you watch Grier's blaxploitation flicks, you can see what Tarantino may have seen in her (MGM is re-releasing both Coffy and Foxy Brown on video, rechristening them "Soul Cinema"). In her most popular films, Grier played a strong woman out for revenge. "This is the end of your rotten life, you motherf___ing dope pusher," she cries in Coffy before blowing a dealer's head off. Grier was a woman of action well before Thelma met Louise, or Ripley encountered aliens. In 1975 Ms. magazine put her on its cover. She was also...
...Diebenkorn enrolled at the California School of Fine Arts. Over the next several years, he moved between the East and West coasts. His work from the late '40s to the early '50s was essentially abstract, though with strong overtones of landscape space and color. A considerable influence of Willem de Kooning bore on it. De Kooning, Diebenkorn felt, "had it all, could outpaint anybody, at least until the mid-'60s, when he began to lose it." But Diebenkorn's friendship with the Bay Area painter David Park, who bravely refused to accept the reigning dictum in the American avant-garde...
Edward Hopper was one of Diebenkorn's inner jury of admired masters--no other American painter except de Kooning influenced him as much. What he liked in Hopper, Diebenkorn once laconically said, was "the diagonals." Not the mood: you can't extract a Hopperish melancholy from Woman in a Window, 1957, though her face is averted. What she might be thinking doesn't count; she's a model, not a narrative. What does count is the confluence of vectors--the square window with its two planes of blue sea and sky, the tabletop rushing away to the right...