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Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot. The work reflects the creators' observations of the hippie counterculture and sexual revolution of the late 1960s, and several of its songs became anthems of the anti-Vietnam War movement .
The hair on the sides and back of the head is usually tapered short, semi-short or medium. Curtained hair: Curtained hair is the term given to the hairstyle featuring a long fringe divided in either a middle parting or a side parting. The hairstyle was popular on adolescents and men from the late 1980s until the mid-1990s.
Doilies are traditionally used to bind the stems in these arrangements. Alternatively, "posy holders", available in a variety of shapes and materials (although often silver), enable the wearing of these arrangements "at the waist, in the hair, or secured with a brooch".
Read no further until you really want some clues or you've completely given up and want the answers ASAP. Get ready for all of the NYT 'Connections’ hints and answers for #258 on Saturday ...
The development of hair-styling products, particularly setting sprays, hair-oil and hair-cream, influenced the way hair was styled and the way people around the world wore their hair day to day. Women's hairstyles of the 1950s were in general less ornate and more informal than those of the 1940s, with a "natural" look being favoured, even if it ...
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arrangement of locks of hair on the forehead (US: bangs) the outer area of something a decorative border e.g. on clothing holding an extreme political position ("lunatic fringe") (rare vulgar; chiefly 1980s) vulva ("He's gonna get some fringe.") q.v., US: trim: frock (or smock-frock) outer garment formerly common in rural Europe, see also overall
Associated British had an arrangement with Warner Bros; Jack Warner liked the story and agreed to a co production starring Hepburn and Wilde. [4] The play had been very successful in the provinces, so Watkyn wanted £10,000 for the film rights; neither Clark nor Warner would pay this, so Watkyn refused to sell until the play opened in London.