Word: whose
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Dates: during 1980-1989
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...When the pressure's off, it's always a little easier to play better," said Derek Mills, whose goal at 21:30 of the first half increased Harvard's lead to 2-0. "We wanted to end in a victory, especially against Princeton, to whom we've never lost in my four years at Harvard...
...aptly named Johnson Controls, Inc. does not pretend to try to protect their full-grown employees, male or female, from hazardous materials. Instead, women workers are assumed to be unable to make smart choices about their reproductive futures, and men, whose own reproductive systems remain at risk to lead exposure, are left alone. Non-existent, spiritual fetuses are the justification for a company's right to: a) deprive potential mothers of high-paying work and b) deprive potential mothers of potential motherhood. An ostensibly "pro-life" policy becomes a policy of sex discrimination and forced sterilization...
...conductor of great range, equally at home, as Karajan was, in opera and symphonic music. His repertoire, however, is wider than Karajan's largely meat-and-potatoes Central European diet. "Musical history does not end with Puccini," Abbado declared after his election by the self-governing orchestra. Salonen, whose photogenic, blond good looks are sure to be an asset in image-conscious Los Angeles, is even more adventurous. "The Salonen appointment in Los Angeles indicates an orchestra possibly trying to change the image of what an orchestra might be about," says Leonard Slatkin, 45, the innovative conductor...
...Karajan, Karl Bohm, Carlo Maria Giulini, Sir Georg Solti and the other gerontocrats who dominated the musical scene after World War II were able to last so long was that there was simply no seasoned competition: the conflict killed off a whole generation of Europeans and some Americans, from whose ranks their successors might ordinarily have emerged. Partly as a result, the repertoire stagnated as Karajan and his contemporaries grew increasingly out of touch...
...tone of the title -- both grandiose and self-mocking -- accurately reflects the contents. Julian Barnes, whose third novel, Flaubert's Parrot (1985), earned an army of readers outside his native Britain, has here gathered a collection of prose pieces, nominally fiction, that cohere chiefly by virtue of being bound together in one book. The affair kicks off with a termite's view of the adventures of Noah and his ark. (Noah, it turns out, was not a particularly nice fellow, and his epic voyage was less than heroic in its details.) Matters then proceed through a number of other diverting...