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...Refuge, tel: (223) 223 3799. It has no street address, so taxi drivers might have trouble finding it. So listen out for the chocolate-smooth, Cuban rumba drifting out from the rutted lanes, a stone's throw from the Rue N'Tomicorobougou. At La Refuge, in a courtyard lit by a lone fluorescent strip, middle-aged couples dance beneath a huge Sahelian moon. Neighborhood goats wander past. And a Malian band, replete with tom-tom, lilting flute and wheelchair-bound keyboardist, will likely be crooning in Portuguese about "Comandante Che Guevara...

Author: /time Magazine | Title: Time Traveler: One Nation Under a Groove | 8/16/2004 | See Source »

...Refuge, tel: (223) 223 3799. It has no street address, so taxi drivers might have trouble finding it. Listen out for the chocolate-smooth Cuban rumba drifting out from the rutted lanes, a stone's throw from the Rue N'Tomicorobougou. At La Refuge, in a courtyard lit by a lone fluorescent strip, middle-aged couples dance beneath a huge Sahelian moon. Neighborhood goats wander past. And a Malian band, replete with tom-tom, lilting flute and wheelchair-using keyboardist, will likely be crooning in Portuguese about "Comandante Che Guevara." "Music is important," says local veteran musician Amadou Bagayoko. "Every...

Author: /time Magazine | Title: One Nation Under a Groove | 8/15/2004 | See Source »

...when ?It?s My Problem? went off the air, Phyllis produced a lit-chat show, ?Author Meets the Critics,? for New York TV station WOR. The following year, she hooked up with Arlene Francis for the daily hour-long show, ?Home.? Arlene was already a TV celebrity as a panelist on ?What?s My Line.? But she had been on Broadway since 1936, when she appeared in the original production of Clare Boothe Luce?s ?The Women?; and in 1945 she starred briefly in the comedy ?The French Touch? - sets designed by George Jenkins...

Author: /time Magazine | Title: Three Reasons to Love New York — Part III | 8/13/2004 | See Source »

...assortment of high-caliber weapons. Doom 3 tells the same story but this time treats it with surprisingly artistic tenderness. Carmack's light engine allows the game's designers to paint the story the way a film director would, with light and shadow, like a noir mystery. Scenes are lit by broken light fixtures, flickering and swinging, or cut up by the shadow of a spinning overhead fan. id's designers have worked wonders, despite the newness of the technology. "It's like making a movie while you're inventing the camera," says Tim Willits, the game's lead designer...

Author: /time Magazine | Title: Video Games: The Age of Doom | 8/9/2004 | See Source »

Then at once the road reappeared. Beep…beep! My phone lit up. It has found a faint signal—just one bar, but enough to call home. As I parked to talk with my mum, I kept the engine running and left the headlights on. I told her about the people I met that day and the glaciers I would visit tomorrow. She asked me all the usual questions, to which I gave all my usual answers. But this time it was different—I carefully considered each question before replying. Through the encompassing darkness...

Author: By Silas Xu, | Title: Just Checking | 8/6/2004 | See Source »

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