Word: semis
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...from his press photo as if you interrupted his twilight mourn-fest. And so you might guess that Calla’s new album, “Strength In Numbers,” would come across as languidly melancholic, the kind of thing your local high school debate semi-finalist might listen to in order to feel “alternative.” But despite the cheesy poisonous flower name and the fact that the album’s first song, “Sanctify,” rolls in with music that could score one of The Rock?...
...Sudden I Miss Everyone” is a great album to relax to, and transports the listener into a much less complicated world of tranquil musicality. It will also be released in two-disc format, with the latter disc providing remixes of the songs by a number of semi-famous artists, such as Jesu and Paper Chase. Having not heard the remix disc, I can’t say whether it will promote the same sense of psychedelic euphoria when combined with illegal substances. But the un-remixed album will make your toes curl up with delight. Even if you?...
...sure as recalcitrant professors might try to stop the tide from turning, they were treated to the most palatable new vision for undergraduate education to date at last week’s Faculty meeting. Deliberately and thoroughly crafted over the last six months by an elite and semi-secret so-called Task Force on General Education, the proposed new requirements will surely revolutionize the way that oversubscribed, underwhelming Core courses are labelled and described in the course catalogue. I don’t know about you, but I’m excited...
...attempting to have the Romeo and Juliet laws apply retroactively. "By any standard of moral conduct," McDade told TIME, "society cannot accept that kind of behavior and tolerate it. He and the others in the room had sex repeatedly with this 17-year-old girl, who was at best semi conscious. Genarlow Wilson is not a hero, and he is not the martyr that he has been made...
...inclusive term “cinema” is an appropriate one. As the films at the HFA demonstrate, the cultural anxieties of the Cold War did not confine themselves to a single genre. The semi-documentary “Panic in the Streets” (Elia Kazan, 1950), the noir masterpiece “The Third Man” (Carol Reed, 1949), and the low-budget sci-fi romp “Rocketship X-M” (Kurt Neumann, 1950), are equally suffused with dread, uncertainty, and black humor...