Word: vocals
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Dates: during 1990-1999
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...farmer from Srebrenica. When Bosnian Serbs overran the town last July, he was taken to a basketball gym a few miles away, where at least 2,000 men were being held. Eventually, he was blindfolded, given some water--which he said had something in it that affected his vocal cords so that he could only whisper--and taken away by van with 15 or so other prisoners. "We had to get out, and the soldiers lined us up. We got scared and tore the blindfolds down. We were in a big field covered with dead bodies. Instantly, the soldiers opened...
...lack of vocal opposition cannot justify any religious decorations now installed in the houses and dormitories. It is not enough to claim that no residents of a house find a given holiday decoration objectionable. No one should have to object--it is everyone's right to be free of such things...
...outcome remains uncertain. In the Senate, the support of majority leader Bob Dole will probably win the backing that Bill Clinton desires, and Dole's courage should not be minimized. With the exception of Senator Richard Lugar, all the other G.O.P. presidential candidates oppose Clinton on Bosnia--the most vocal being Phil Gramm, who, in declaring his position even before the President made his case, showed again that he seems never to have encountered a principle he won't rise above in the service of ambition. Dole knows what is coming ("I'll take some hits for this," he says...
...choice compilation Spirit of '73 (with Rosanne Cash and others), the MTV-sponsored Ain't Nothin' but a She Thing (with Annie Lennox and Melissa Etheridge) and the Christmas album Mother and Child (with Amy Grant and Martina McBride). "I wanted this to be an album of women with vocal distinction," says Houston, "that you could say their first name but you don't have to say their last." For Babyface, the key first name was Houston's. "When Whitney does a project," he says, "it sets a tone for the record in general, and it becomes her record...
...WILD PERFORMS, the Golden Age of the keyboard suddenly reappears. Like the great romantic showmen who flourished before World War II, Wild revels in the sensuality and sheer kineticism of the piano, reminding his listeners that it is the only instrument capable of emulating both the tender nuances of vocal music and the thunderous range of the orchestra. When Wild plays, the pallid noodling that often passes for pianism these days vanishes: one hears the grand echoes of Paderewski, Rachmaninoff and Josef Hofmann...