Word: organisms
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Dates: during 1990-1999
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...ominously. Take the mouse-frog technology, apply it to humans, combine it with cloning, and you are become a god: with a single cell taken from, say, your finger, you produce a headless replica of yourself, a mutant twin, arguably lifeless, that becomes your own personal, precisely tissue-matched organ farm...
...affable New Yorker whose Jewish family lived in Harlem, the Bronx and Queens before moving to Florida when he was a teenager, Wildhorn, 39, didn't discover music until he was 15, when he started noodling on the family organ in between football practices. While a student at the University of Southern California, he started writing Jekyll & Hyde with a classmate; an album of songs from the show was released in 1990, and shortly thereafter it was staged at Houston's Alley Theatre. The musical then sat unproduced for several years while its songs worked their way into...
Cohen has an intelligent vision for the council. Throughout his campaign he has steered clear of ideological grandstanding. He does not seek to depoliticize the council nor does he wish to be an incessant organ for social advocacy. He just wishes to serve students' interests, wherever those interests may lie. He has stated that the best way for the council to fulfill its obligation to the student body, specifically with regard to issues that involve the Administration, is to direct its focus toward matters about which the majority of the student body share a similar view...
...oriented "inspirational" songs--a hot genre right now, given LeAnn Rimes' hit collection of similarly themed material. Higher Ground, for its part, is a little too polite. Streisand's at her best on the track On Holy Ground: her voice scales the song, rising above the piano and the organ and the gospel choir, and at the climax hits a decisive, optimistic end note. She would have done well to have left off the song Tell Him, a duet with Dion that appears on both their albums. Streisand's too good to share billing with Dion. Hopefully, Streisand's next...
Though "Bach-Pratt" may never achieve the hyphenated ubiquity of "Bach-Busoni," the pianist's realization of the organ music was good, particularly in the translation of pedal points and high-register fireworks. In the Passacaglia, his loud, turbo righthand octaves were sensational, though there seemed to be some rhythmic slipping and sliding. The first fugal episode was marvelous, and it was interesting to consider just how well the Hall worked as church space. Sometimes the texture of the fugue became too dense or blurred for comprehension, but the forceful, toccata-style ending was astonishingly clear...