Word: partnering
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Dates: during 1980-1980
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Most of the chipping away at the taboo is still cautious and limited. Says John Money of Johns Hopkins, one of the best-known sex researchers in the nation: "A childhood sexual experience, such as being the partner of a relative or of an older person, need not necessarily affect the child adversely." Money and Co-Author Gertrude Williams complain in their forthcoming book Traumatic Abuse and Neglect of Children about the public attitude that "no matter how benign, any adult-child interaction that may be construed as even remotely sexual, qualifies, a priori, as traumatic and abusive...
...lobby against the taboo come about? One strain of its philosophy springs from the fringes of the children's rights movement, which insists that small children be granted all the rights of adults. Some have taken that to mean the right to be sexually active with any partner at all. Says Larry Constantine, an assistant clinical professor in psychiatry at Tufts, one such self-styled sexual radical: "Children have the right to express themselves sexually, even with members of their own family...
...white knights on motorcycles, who also fall just short of expectations. Frustrated by the sameness, she, too, walks out--to elope with her latest. Of course, her freedom is as unrealistic as her father's (the motorcyclist turns out to be married); like George, she never even discovers her partner's real name. As the two dreamers return defeated, Persephone--George's wife--greets them with dinner for three. She has been expecting them all along...
Formerly, Costello had a female antagonist worthy of sparring; "Two Little Hitlers" defined relationships as an unending series of one-upmanships and clashes, a dance of death with each power in turn vowing to return. Here, his sometime partner, presumably aging Playboy centerfold and intercontinental pleasure-kitten Bebe Buell, is merely a "B Movie," "a sob-soap story" devoid of all but carnal interest; this is not two Hitlers, but Hitler and Mussolini. The song climaxes as Elvis taunts her for her shallowness: "You can't feel, you can't feel," his voice echoing in her vacuity, while Bruce Thomas...
...first three albums, Elvis didn't let go too much; he was beyond disgust, he claimed, he was only amused, it was safer to sneer than sob. Perhaps sensing his emotional limitations, Elvis recorded "Big Tears" on a single last year, in which he accused his partner of calculated crying, empty tears, while dissolving into sobs himself. It was a pretty good song (though not good enough for inclusion on Armed Forces, undercut by an unexpansive melody and Costello's lack of vocal control). The concept reappears on Get Happy!! in "B Movie," this time with a meaner, more controlled...