Word: golden
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...assembly line, up to 50 features each year, and never took no for an answer. (The biography of Darryl Zanuck, production chief at Warners and then 20th Century-Fox, was titled Don't Say Yes Until I Finish Talking.) Today's executives must look back on that so-called Golden Age with the lost-Eden ache of an antebellum plantation master or ball club owner from the days before free agency...
...modest, voice may be what bridges the gap between Italy's national languor and a future embrace of the rest of the world. Severgnini has a very specific bridge in mind. "Not the Ponte dei Sospiri [Bridge of Sighs] - it's too expensive. And I'm not talking Golden Gate or Brooklyn, I'm talking one of the little bridges in Venice that goes across a calle. You need that little bridge." It might be strange to label a bridge to the wider world as "little," but in Severgnini's land of contradictions, it seems to make sense...
...been a long career for the polished Wilson, whose first albums appeared in the 1960s, and she faces that truth head-on in such numbers as These Golden Years and I Don't Remember Ever Growing Up. Shorter breathed these days, she can still summon a warm, rich sound and vividly tell a song's story. With a big band behind her in Taking a Chance on Love, she also shows there's plenty of fire in her autumnal mood...
Growing numbers of kids may be discovering that they no longer need Harvard, but according to Wall Street Journal reporter Daniel Golden, the Ivies still feel a need for certain kinds of kids. Golden won a Pulitzer Prize in 2004 for his articles on the admissions advantage élite schools give to the children of alumni (known as legacies) and to the sons and daughters of big donors and celebrities. His book on that practice, The Price of Admission: How America's Ruling Class Buys Its Way into Elite Colleges--and Who Gets Left Outside the Gates, will be published...
...Golden Age of the '30s and '40s, the industry was often accused of escapism. And certainly the films in Hollywood's war effort portrayed the conflict in terms and tones that would comfort as much as enlighten the audience. A neutral eye might see them as propaganda. But there was no neutrality in movie theaters. So the Germans were painted as sadistic dandies, the Japanese as deranged barbarians. And the American GIs, in a platoon of varied ethnicities (all white - this was before the integration of the Army), were steely men of purpose, risking their lives, sometimes dying, to defend...