Word: fashionability
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Dates: during 1960-1969
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College humor magazines have taken a special delight in kidding TIME. The Harvard Lampoon's effort last year attracted a paperback publisher, who had 150,000 copies printed. Its lead story began, "Dawn came up over the China Sea in the usual fashion last Thursday" and moved on to the punch line: "Viet Nam had disappeared...
...crosses had no meaning. They were merely the latest fad. Fashion, Chikin, fashion-and profit. GUM Buyer Klavdia Mikhailovna picked up the trinkets for 330 each, presumably from a Czech costume-jewelry firm, which has been flooding Eastern Europe with such baubles. Klavdia put them on sale for $3.33, turning a neat 900% profit for the Socialist mother land. In the Soviet Union, where selling Bibles can lead to banishment, Klavdia was just a little too avantgarde. By week's end Chikin could report in a follow-up story that the doublecross to dialectical materialism had been avenged. Klavdia...
...coffee tables were littered with fashion magazines and paperbacks -Vogue, Harper's Bazaar, Truman Capote's Other Voices', Other Rooms, Ruth Willock's The Night Visitor. Another note on a kitchen bulletin board reiterated a standing order: "Attention. Students are not to allow anyone into the townhouse without the house mother being there." An oversize poster on a bedroom wall proclaimed: "Sleep Well Tonight - Your National Guard Is Awake...
...rolling orbs make him look like a cross between a pinball machine and a Rembrandt portrait. Griffith has turned Sunday painting into a world-famous collection of Cezannes, Van Goghs, Renoirs-all part of $100,000 worth of phony masterworks, especially commissioned to help Director William Wyler (The Collector) fashion this meticulous high comedy about ars graftia artis. Among the other experts at hand are Art Dealer Charles Boyer and a frenzied connoisseur (Eli Wallach) who yearns to whisk both Audrey and the nude Cellini back to his Stateside lair...
What greatness there is in Joan Littlewood's World-War-One farrago consists in its showing us in a straightforward way that war is a distinct emotion. One is in love; one is at war. To get that point across a director must give us, infant fashion, a moment-to-moment account of the emotion of everyone on stage, Giggles must end in sucked-in breaths of anguish and operatic voices must descend into fiish market bawl. Everyone on the stage last night seemed to have understood this perfectly, and if they did it is because the director understood...