Word: mcbrides
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...book has a humane, almost joyful candor that might well assist a perplexed parent. But as for critics of sex education, it is a toss-up which will disturb them more, the permissive attitudes expressed in the text or some of Will McBride's black-and-white photos. Among the picture subjects are couples during intercourse, erect penises and ejaculation; there are also less explicit, sometimes charming evocations of conjugal and family love...
...William McBride, 25, a shaggy-haired Los Angeles bachelor, lost his fiancée during the lengthy separation. He thinks that they would have broken up eventually anyway, and that the trial merely hastened matters. In any event, intimate companionship was a problem for him. Spouses stayed overnight with married jurors on weekends. Mrs. John Baer, wife of the 61-year-old electrical technician who was considered the most dutiful juror, called her visits to the Ambassador Hotel a "second honeymoon." But unmarried jurors were not officially allowed any company, and McBride had the authorities peering over his shoulder...
...Bill McBride...
...film to talk about. So: skip the rest of this paragraph if you've never forgiven Fred for telling you that the butler did do it.] The film ends, fades to black, and credits appear: David Holzman is played by L. M. Kit Carson; the filmmaker is Jim McBride. What we thought was documentary was the cruelest of lies, for even here screenplay has been passed off as cinema verite . Suddenly, in a numbing Borgesian inversion, the movie turns around on itself. We had come to a final knowledge-filmed life isn't life- only to have even that ripped...
...step. The incongruities somehow blend into a consistent display of Balanchine's mastery of forms. Who Cares?, in fact, is practically an anthology in action of his knowledge of dance. Male Lead Jacques D'Amboise has separate pas de deux with three different ballerinas (Marnee Morris, Patricia McBride, Karin von Aroldingen). The mood of each dance is bittersweet romantic; yet they are wholly different in shape, tempo and feeling. And Balanchine's leaping, exactingly athletic solo for D'Amboise, in Liza, should forever dispel the snide rumor that he does not choreograph well for male dancers...