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Anyway, a word to all the divided out there: Mr. Schwartz might be a little less available to bridge these days. We've heard that he's de-activated resigned his Crimson Key membership. And his attendance at UC meetings this semester has been a bit.....spotty. Spotty enough, as it happens, to merit expulsion according to the UC by-laws: (CLARIFICATION: Schwartz later said he would have contested some of the absences that would have made him eligible for expulsion...
...Italian government, has been unable to effectively combat crime or win allies in the extremely insular Neapolitan society. However, these are minor gripes. The movie’s themes—poverty, drugs, gang violence, immigration, pollution—are endemic in western society. If you do a bit of pre-viewing research into the current condition of Naples, “Gomorrah” rewards you with a cinematic experience that is chilling in its reality. —Staff writer Alec E. Jones can be reached at aejones@fas.harvard.edu...
...primary organizer behind the scenes. “[Vertovez] can be more vocal off the field, and she has a really good sense of the team pulse and how things are going,” Bock says. “I’m a little bit louder on the field. I’m a little bit harsher with the team, as far as yelling or executing things. We work really well together, and what one may lack, the other one makes up for in leadership skills.” But while the two differ in their approaches...
...element of the exhibition is fastidious but not overbearingly so. There is a fine line between being finicky and being cerebral, and the artists tread this divide very carefully. One more spool of yarn or one more stroke on the clock-face, and the additions would have been a bit too deliberate.Though the installation is thoughtfully complex and utilizes its environment effectively, the separate components of the installation are not clearly demarcated. The lack of a traditionally defined area for the art divorces the work from its audience, who very easily could overlook parts of the installation. The ebony clock...
...providing a base for unison melodies on banjo and horns during the instrumental breaks. Singer Jof Owen has the voice for twee, an expressive near-whisper that works particularly well when multitracked into dense harmonies. His timbre reinforces their aesthetic of naïveté, but sounds a bit thin when soloing over acoustic guitar on tracks like “The Worm Forgives The Plow.” Owen’s vulnerable, intimate tone draws attention to his lyrics, which are rich in metaphor and often veer towards intentional self-parody, with lines like...