Word: vocalisms
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APRIL 4, 2006 The Faculty approved the first legislation to come out of the curricular review, implementing secondary fields. But before the vote was held debate became bogged down in procedural matters, and Summers took a vocal role. “May I make a suggestion to you all?” he interjected at one point...
...initial response, across the board, has been prudently optimistic. "The last three months, he's said the right things," said presidential rival and vocal critic Charles Henri Baker. "If there's meat behind it, it could be great." Added one Western diplomatic, "He has reached out across the political divide, at home and abroad. He's building a new political tradition...
...Mercer's gift was for insinuating slang and Southern patois into his songs; his writing voice, like his vocal style, was that of a hip yokel. The songs performed at the Y by a quartet of soloists (Christine Ebersole, Jason Graae, Lewis Cleale and Amber Edwards) and, at the end, host Charles Osgood, displayed Mercer's ability to be sho'-nuff without showing off. "Have You Got Any Castles, Baby?" gets rhymes out of "mountains I clum ? oceans I swum." Another Oscar winner, "In the Cool, Cool, Cool of the Evening," swings easy with "In the shank of the night...
...name Wii not wii-thstanding, Nintendo has grasped two important notions that have eluded its competitors. The first is, Don't listen to your customers. The hard-core gaming community is extremely vocal--they blog a lot--but if Nintendo kept listening to them, hard-core gamers would be the only audience it ever had. "[Wii] was unimaginable for them," Iwata says. "And because it was unimaginable, they could not say that they wanted it. If you are simply listening to requests from the customer, you can satisfy their needs, but you can never surprise them. Sony and Microsoft make...
...worthy lyrics she was required to recite, but “Maude and Harold” was nothing if not a comedy of incongruities. Mitnick’s exceedingly hummable score swelled beneath the show-stopping musical numbers, but never overwhelmed the actors’ riotous vocal performances. Mitnick’s score alluded extensively to the wholesome showtunes of yesteryear’s Rogers and Hammerstein productions—which was all the more ironic considering the songs’ risqué content. Pope had her hands full orchestrating frequent set changes. The stage underwent several transformations during...