Word: gayness
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Dates: during 1960-1969
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...moved that he strode down to wring Strauss's hand. After Strauss delivered a big Bavarian majority in the 1953 elections, Adenauer offered him the Ministry for Family and Youth Affairs. "Me, a bachelor, in charge of family affairs?" countered Strauss, who was leading a pretty gay life in the wine-houses of Bonn. He settled for Minister Without Portfolio, a likelier steppingstone to the defense ministry...
...President Joseph Kasavubu's plane touched down at Ndjili airport, dozens of diplomats and 10,000 of the citizenry endured the sweltering heat to welcome the Hero of Manhattan who had won U.N. acceptance as the Congo's leader. When the drenching rain began that evening, the gay crowds had scattered, and Kasavubu was enjoying himself at a homecoming banquet given in his home. Over at Patrice Lumumba's house, the Congolese guards took shelter in a garage; in the downpour, no one noticed the black limousine that slipped into Lumumba's driveway, then raced...
...official Washington society, in what is likely to be Mamie's swan song as White House hostess, met Ellen Moore, 19, and Mamie Eisenhower Moore, 18, daughters of the First Lady's sister, M. (for Mabel) Frances Moore. Reminiscing about her own White House debut and other gay days, retired Bryn Mawr College Dean Helen Taft Manning, 69, relived a Christmastime dance of long ago: "Mother and father were oldfashioned, and along about 3 o'clock they wanted to go to bed themselves. So things came to an end. We didn't dance till dawn-which...
...himself in a contemporary dictionary. Unfortunately for his prediction, a rival named Rossini later wrote his own Barber of Seville and drove the older work from the stage. In this recording, Paisiello's Barber emerges as a smaller-scaled work than Rossini's but with a gay, quicksilvery score, some limpidly graceful airs, and several scenes of truly inspired buffoonery. Soprano Sciutti, fresh-voiced and fanciful, makes Rosina seem one of the most appealing heroines in opera...
...says something subtle and gently ironic about the character of urban youth in modern France. But at the core of his comedy, in scenes that hop, skip and jump like almost nothing since Rene Clair's great comedies (The Million, The Italian Straw Hat), De Broca makes a gay and warm and generous point about life itself: live it while you've got it because you only get it once...