Word: miceli
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Dates: during 1970-1979
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...consistent but consistently funnier and better humored (since Gilbert generally mistook seriousness for irritability) than it would be otherwise. And it lets almost everything in the Agassiz production work well, from Peter Kellogg's direction of the presumably mousy chorus of professional bridesmaids as though they were so many mice to a somewhat shabby-looking first-act set whose slightly bedraggled ocean seems cheerfully appropriate to everything else...
...antigens (surface proteins that enable the body to distinguish its own cells from foreign material), Summerlin moved to the University of Minnesota to continue his work under Immunologist Robert Good (TIME cover, March 19, 1973). In 1972 he reported that he had succeeded in grafting white skin onto black mice and black skin onto white animals. Last year he told the American Society for Clinical Investigation that he had crossed species barriers and grafted skin from humans, guinea pigs and pigs onto mice...
...grafting -tried but were unable to duplicate Summerlin's results. Apparently Sum-merlin himself could not repeat his earlier experiments; in a paper now awaiting publication in the scientific journal Transplantation, Good, Summerlin and Dr. John Ninnemann report that although they tried five different transplantation techniques on 500 mice, they were unable to get the new tissue to take...
Pressure to Produce. Because of this report, researchers at S.K.I, became suspicious last month when Summerlin showed Good some mice he claimed had been recently and successfully grafted. They charged that Summerlin had dyed the animals' skins to make it appear that new tissue had been accepted. Reacting quickly, Good temporarily suspended his protege and asked a committee of S.K.I, scientists to report promptly on the accusation...
When pop was at its height in the early '60s, it seemed that nearly every young painter in America was churning out his or her cigarette packets, car grilles, Mickey Mice and talking Coke bottles. The result was a babel to surpass the ceaseless yammer of neons in Times Square. The problem of how to survive in this battering surplus of gratuitous images became acute for the serious artist, especially when the public became surfeited by having its quotidian environment rammed back down its throat, lubricated by an arty sauce...