Word: loved
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Dates: during 1960-1969
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...liberal intellectualism that is anathema to Agnew. Yet, even he shares an Agnewesque distaste for "professional intellectuals. They tempt me to agree with Eric Hoffer, who said that intellectuals must never be given power because they want people to get down on their knees and learn to love what they really hate and hate what they really love...
...real, says the Italian beauty. The fortunate fellow is George S. Kaufman, a wealthy Manhattan real estate executive who met Gina in New York two months ago. No kin to the late playwright, he likes to toss off lines like "My first and greatest present to Gina is my love." In Rome, where they announced plans to marry, the pair was mobbed by the press. Photographers followed them everywhere-even on the plane from Geneva to Rome, and that proved too much for the lovebirds. Gina grabbed a bottle of champagne, shook it up and squirted...
...there is to fall in love with is sexual racists." But most of the sexual segregationists have sterner reasons. Their chastity is not so much a Lysistrata tactic, it seems, as a self-disciplinary measure. "Love between a man and a woman is debilitating and counter-revolutionary," argues Abby Aldrich Rockefeller, daughter of David of the Chase Manhattan Bank and a member of Women's Liberation hard-core Cell 16 in Boston. Declares Boston's Roxanne...
...Futz loves his pig. That isn't graffiti; it's a plot. Futz is an Appalachian farmer whose great pleasure in life is making love to a porker named Amanda. Naturally, his narrow-minded neighbors are upset. The village slut plots revenge on Farmer Futz after he invites Amanda along on a tryst. She persuades a local homicidal maniac to claim that he killed a village girl only after seeing Futz and Amanda in the throes of passion. That's grounds right there for the sheriff to grab Futz and toss him into jail, where the indignant...
...themselves the La Mama Repertory Troupe,* Futz is merely a piece of fraudulent and fearsomely noisy theater of outrage. O'Horgan ceaselessly has his actresses jumping up and entwining their legs around any available male waist; and his notion of "new cinema" is to photograph scenes of idyllic love in slow motion and scenes of bestial passion through a red filter. Such effects make Futz about as avant-garde as a Head & Shoulders commercial...