Word: 30s
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...went off the cliff and pinwheeled onto the rocks below, a world economic crash that seemed a retribution for too much heedlessness and gin. By the time the '30s, W.H. Auden's "low, dishonest decade," gave out, the Nazis were spreading out all over Western civilization. And so on. The '40s--the first half of them given over to world war, the second half hardening into cold war and nuclear anxiety--did not make anyone want to linger...
...like crazy for two years now. Everyone works 60 hours a week and goes home with a briefcase as big as a garment bag. You have languished at your present salary, in the mid five digits, for quite some time, and the new management team, guys in their mid-30s, who came here from pasta, and are trying to bring pasta-type glamour and growth to the humble potato so that Amalgamated can turn a humongous profit and be sold and make top management dizzyingly rich, is cutting costs by decimating the drones, and now it's your turn...
...lovers in fiction are to be divided into givers and takers, then Blue Monahan is one of its greatest philanthropists. In his 30s, he has arrived late to the world of relationships, but he has developed a heart the size of the Ford Foundation. He offers all--affection, unflinching honesty, gifts of fine silverware--to the men he falls for, but his charity is almost always misguided. Blue's lovers are a cold, selfish lot who rebuff his devotion with parting lines like, "Weakness isn't sexy...
...didn't last long. Mustering the relentless drive that made him a Wall Street billionaire in his 30s, Milken declared a personal war on prostate cancer, vowing not only to fight his own illness but to help finance the larger scientific battle against the disease. "I decided that I had to change the course of history," he says. And he may just do that, for himself and for the millions of other men who have or will develop prostate cancer...
Briefly, in the early '30s, gays were familiar screen types: "pansies" (often played by Franklin Pangborn) for comic relief and, more heroically, bisexual heroines (incarnated by Garbo and Dietrich) who looked thrillingly glamorous in their tuxedos and bachelor togs. That was old Hollywood's highest compliment to a woman--that she acted and thought like a man--just as new Hollywood accepts films with transvestites, men who act and think like women. In the '50s, gayness could be viewed as a social disease (in Tea and Sympathy) or with oblique rapture (in the torrid gaze of Stephen Boyd's Messala...