In the late Sixties,
early Seventies there was a sort of irreverent, pop - like fizz to the scene - all the old Abstract Expressionists, seemed a bit dated.
I don't have to go into all the characteristics of the failure of that particular account; it can most aptly be summed up by the fact that in the late sixties and especially
the early seventies there was a marked and sudden increase in the adolescent suicide rate.
Not exact matches
Back in the
early seventies, at one church I was at,
there was a vigerous debate about increasing the budget for soap for the ladies bathrom from $ 5,000 per year to $ 10,000 per year.
There were a few voices in the late sixties and
early seventies who spoke of the importance of this cardinal principle (Faith Magazine, for example) and the consequences of overturning it but for very many laity and clergy it was the «hard case» argument that won.
So while anyone who has any memory of the
early Seventies will feel like they're back
there again with the establishment / counterculture antagonisms and raging ego trips and spells of mellow sunlight, they will also, like the film's hero, detect another phantom vibe.
And then, from the very back of beyond and close to the fashionable heart of international modernism, for a half dozen years from the mid-Sixties to the
early Seventies,
there was Hungarian filmmaker Miklós Jancsó.
Man, Pride and Vengeance (Blue Underground, Blu - ray, DVD, VOD)--
There were hundreds of spaghetti westerns produced by Italian studios in the sixties and
early seventies.
There's no way the Spielberg of the late
Seventies or
early Eighties could have made such a dark film.
Their heroes, such as they are, end up locked in an ideological opposition that somehow echoes a deeper, more pervasive tension in American life: the parasitic rivalry between Daniel Day - Lewis's monomaniacal capitalist and Paul Dano's maliciously self - denying man of the cloth in the 19th - century California landscape of
There Will Be Blood (07); the uneasy mentorship that Philip Seymour Hoffman's charismatic cult leader develops with Joaquin Phoenix's broken - down vet as they move through the strange, suspended vision of Fifties America in The Master (12); and now, in Anderson's newest film Inherent Vice, the antagonistic buddy romance that emerges between a pothead PI and a shell - shocked, crew - cut detective as each navigates the splintered world of Los Angeles in the
early, paranoid
Seventies.
In fact
there is an autobiographical undercurrent that unmistakably characterize them as a new direction in American Painting that developed in the late sixties and the
early seventies.
After graduation, Gale moved to downtown Pasadena where
there was a vital art scene in the
early seventies, then to New York City in 1980.
«The injustice of that is kind of shocking...
there's a certain anger to it — why are you giving it to me now, when I'm in my late
seventies or
early eighties?»
In the late
seventies,
early eighties
there was a huge graffiti scene in Amsterdam which was rooted in a strange mix of subcultures; punk bands, football hooligans and squatters.
There was no warming in the fifties, sixties, and
early seventies that followed.
In the late
seventies and
early eighties
there were a multitude of antitrust cases in the food processing, oil and gas, pharmaceutical, computer hardware, and raw materials industries in which our principals had an opportunity to be involved.