Word: version
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Dates: during 1990-1999
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...included a poignant rendition of "Winter" (thankfully minus the band), a fantastic back-to-back duo of "Spark" and "Raspberry Swirl" (two of choirgirl hotel's faster songs) and a much too long improvisation on "Waitress." While Amos unfortunately didn't end the concert with her usual, disarmingly emotional version of "Somewhere Over the Rainbow," she did come back for two encores, though her enthusiasm seemed to be dissipating by the second...
First of all, don't panic. If you're on a Mac, you're safe. If you're using any version of Eudora that precedes 4.0 -- including the free Eudora Light program downloadable from eudora.com -- you're also safe. Furthermore, Qualcomm promises to post a patch on that site as early as Friday afternoon (a far cry from Microsoft and Netscape, who are taking substantially longer to patch up their bugs). If their home page is too busy, or if the Eudora patch (like Microsoft's first attempt) fails to completely debug the problem, you might want to remember what...
...deejay. And it's all perfectly legal. Under FCC rules, such payments are O.K., so long as the station identifies the song as paid for, usually with a brief announcement ("This record was brought to you by...") before or after the song. It's a record-industry version of those infomercials you see on late-night TV. You may think you're hearing a song because a station believes it's going to be a hit, but what you're really getting...
...able to state the case for human rights very clearly in a historic forum, and his message will bear fruit over the next 10 years. China is far from perfect, but we should not look down on its human-rights record without recalling the U.S.'s own version of Tiananmen Square: Kent State, where the National Guard shot at students protesting the Vietnam War. SUSAN MANN La Jolla, Calif...
...star trio setting with bassist Christian McBride and saxophonist Joshua Redman. The lack of a drummer to knit things together in the usual way, along with Keezer's provocative, concerto-like arrangements (his accompaniment can be even more interesting than his solos), suggests a kind of jazz version of Baroque counterpoint. Three cuts feature a breathy Diana Krall on vocals; two others nibble on the airier edges of fusion with an expanded cast of electronic and acoustic musicians. Miraculously, it mostly all coheres--one more paradox...