Word: veins
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Birmingham, which has worked hard to change its image as a onetime citadel of Southern segregation, does not like the publicity. Notes Mayor Richard Arrington: "A story indicating a shutdown of buses in an area of over 700,000 people cannot be viewed in any vein except a negative one." Montgomery Mayor Emory Folmar seems to be taking note: last week he urged the city council to hike bus fares from...
...other primary vein of imagistic painting in these surveys (particularly the Whitney's) is a vague catch-all for anything reminiscent of punk or other nouveau-wavo aggressions. "Dumb art," it is conveniently called, and some of it is very dumb indeed-but not all. One notable exception is the work of a precocious 25-year-old named Jedd Garet, whose paintings seem to take their stylistic base from, of all things, late De Chirico- not the pre-1918 master of tailor's dummies and spare, aching urban spaces, but the pompous neoclassicist of the '30s. Coarsely...
...letter to Tarnower. "If it's any help, darling," she wrote, "I can find someone who would be thrilled to give the same 24-hour door-to-door services, and take shorthand, too." Chiding him for his "unconstitutional" chauvinism, she wrote, in a more serious vein: "If one of the few women you do admire [listing a group of New York's prominent women] were to adopt the male equivalent of Lynne as lover and richly rewarded boy Friday, you wouldn't ask them back to dinner a second time...
...rake of renown, Plume stirs the love of Silvia (Laurie Kennedy), who disguises herself in male uniform and eventually hooks him. Plume's best friend, Mr. Worthy (Frank Maraden), is led a mad matrimonial chase by a haughty heiress named Melinda, played in an impish comic vein by Laura Esterman. Bumpkins, worldlings, gulls and wits populate the evening. Toward the end of the play, it becomes evident that Plume is not a womanizing gourmand, as he pretends to the world, but a moonstruck child of sentiment who has found in the chaste but frolicsome Silvia his true heart...
...British, and I'm not sure the Brattle St. crowd is any better prepared for this than for Lulu. The best written part of the play, it seems to me, is Sir Flute's second-act monologue (which resembles Tom Stoppard's New-Found Land in a lower comic vein); here Wood seems to be speaking for himself, evoking the romantic America of Paramount and MGM: "You said all that pretentious rights-of-man nonsense, and then you went out and did it." With our hands on our guns and our heads in the sky, one might add. Wood...