Word: organized
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Dates: during 2000-2009
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...prefers to be like their own. As a sociological phenomenon, Caputo, wonders if the growing power of women in contemporary life and relationships pushes certain men to seek what he calls a "neo-woman," who is hormonally and behaviorally quite feminine and protective, even while possessing the male sex organ. (Read: "How Silvio Berlusconi Uses Women...
...middle-aged man. After nearly four hours of surgery, a single jolt of electricity started it beating. "Christ," Barnard said. "It's going to work." And for a while, it did. The patient survived the operation, but the immunosuppressant drugs used to keep his body from rejecting the new organ weakened him. Eighteen days after the operation, he succumbed to pneumonia. (See Dr. Christiaan Barnard on the Dec. 15, 1967, cover of TIME...
...fleeting success made Barnard an overnight sensation and inspired surgeons around the world to try their hands at working the same miracle. Within two years, more than 60 teams had replaced ailing hearts in some 150 patients. But keeping a patient's immune system from turning on the new organ often required large doses of immunosuppressant drugs that left patients vulnerable to deadly infections. Eighty percent of transplant recipients died within a year. Surgeons grew discouraged; by 1970, the number of transplants had plunged to 18, down from 100 just two years earlier. (See TIME's Wellness blog about health...
...doctors who kept trying was Stanford University's Norman Shumway, on whose surgical techniques Barnard had relied. His team of doctors and scientists developed a technique to determine whether a patient's body was gearing up to reject an organ, allowing them to tailor their prescriptions of immunosuppressants. The results were impressive. From 1968 to 1980, nearly 200 heart transplants were performed at Stanford. About 65% of Shumway's patients survived at least one year, and half hung on for five...
...popular “Piano Concerto No. 2 in G minor.” The solo piano passage that opens the piece—whose lack of a conventional orchestral prologue or a customarily slow second movement deviates significantly from the standard concerto structure—calls a Bach organ fantasy to mind. Sweeping broken arpeggios paired with a vibrant treatment of melody distinguished de la Salle’s delivery, though an enthusiastic orchestral accompaniment sometimes overpowered piano chords that were already slightly lacking in fullness...