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From the archive: the state of the modern British marriage, 1968


‘Who’s Who in the Modern British Marriage?’ asked the
Observer Magazine of 29 December 1968. Earlier that year, on the 50th anniversary of votes for women, they had published a questionnaire by the US Maferr Foundation to find out such things as ‘Who makes the decisions? Who works and how do they feel about it? Who sets out for self-improvement and who backs it?’
‘The Forsytes,’ reported Maureen Green, referring to
The Forsyte Saga, a popular TV show of the time, ‘wouldn’t have understood one important finding of our survey: the healthy democratic condition of the average British middle-class marriage. Paternal tyrants – as well as dominating wives – are in the minority in working out who decides what in the marriage.’ ....

United Kingdom , Maureen Green , Us Maferr Foundation , Maferr Foundation , Modern British , Observer Magazine , Forsyte Saga , Lucky Mrs , ஒன்றுபட்டது கிஂக்டம் , மவ்ரீன் பச்சை , நவீன பிரிட்டிஷ் , பார்வையாளர் பத்திரிகை ,

Letters: Diana – the dream and the reality | Diana, Princess of Wales


Letters: Diana – the dream and the reality
Perhaps the ordinariness of her statue befits a princess who shone so brightly that she cast a disproportionate shadow
The statue of Diana, Princess of Wales, at the sunken garden of London’s Kensington Palace. Photograph: Guy Bell/REX/Shutterstock
The statue of Diana, Princess of Wales, at the sunken garden of London’s Kensington Palace. Photograph: Guy Bell/REX/Shutterstock
Sun 11 Jul 2021 01.00 EDT
Consensus in the press finds Diana’s statue “dull”, lacking “vitality” and “frumpy” and it may be true that part of the explanation is that the “energy and purpose have been drained out of the art form” (“Diana, Wollstonecraft, Wilde… why do we keep getting it so wrong with our statues?”, News). There is, however, a more fundamental problem. The idea of Diana, Princess of Wales, was always more significant than the real person. Even in an era of hy ....

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From the archive: a profile of Rudolf Nureyev, July 1972


Alexander Bland profiled Rudolf Nureyev for the
Observer Magazine of 2 July 1972 (‘Nureyev: the Leap that Lasted’) on the eve of the London premiere of the first full-length film about him,
I Am a Dancer. The leap in the headline referred to his defection to the west from Russia in 1961 when he was in a touring troupe in Paris.
Nureyev, then 33, was a global phenomenon, who ‘would make the international headlines if he fell off a bicycle’, wrote Bland. Amazingly there were those who had predicted a ‘quick decline into obscurity’, but he’d been a superstar for 11 years. His ‘softest smile seems to hint at hidden daggers. It was this mixture of gentleness and potential violence that led many writers to compare him to a jungle cat, and it exerts a potent sex-appeal’. ....

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