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...Gmail is for real. It sorts, searches and spam-filters your e-mail. Just two catches: it won't be widely available for up to six months (test accounts are being offered only to employees' friends and families right now). Also, every message is sponsored, often based on your text. If the e-mail server spots, say, the word camera in your message, it will append tiny text ads for electronics stores. Google promises that doesn't mean anyone human will be reading your e-mail, but privacy hawks may wish the whole thing had been a joke after...

Author: /time Magazine | Title: Tech Watch | 4/19/2004 | See Source »

...this production. Though Mitch is inherently a fumbling misfit, Powell takes him even further and gives him a half-lobotomized air; this is the first Streetcar I’ve seen where Mitch, not Stanley, is the one with the taciturn attitude and the undercurrent of animalism. In the text, Mitch and Blanche mesh well because they can share their personal tragedies (Mitch’s mother is terminally ill, while Blanche drove her gay husband to suicide); when they’re together in this staging, it almost feels like a couple of Marat/Sade lunatics are taking a stab...

Author: By Benjamin J. Soskin, CRIMSON STAFF WRITER | Title: Review: ‘Streetcar’ Scores in Innovation | 4/19/2004 | See Source »

...combination of music performance, poetry read aloud and dancing. This was not a well-chosen work as the finale, for it made me wish that the dancers stick to their own craft and not try to impersonate a band with drums and the works. The text read aloud to the discordant music did not ease the ordeal, and the whole experience overshadowed any quality dancing also featured in the piece...

Author: By Julie S. Greenberg, CRIMSON STAFF WRITER | Title: Review: Original Choreography Fuels ‘Collaborations’ | 4/19/2004 | See Source »

Despite the program-note protestations of director David V. Kimel ’05 that the staging “aims at returning to the original text,” the Eliot interpretation of Streetcar is not entirely orthodox; almost every time that the production strays from convention, however, it’s a good thing. The play’s music, for example—that batch of motifs that Williams fetishized in his stage directions—is nearly nonexistent, but to no great detriment. And the production’s Stanley Kowalski (Simon N. Nicholas...

Author: By Benjamin J. Soskin, CRIMSON STAFF WRITER | Title: Review: ‘Streetcar’ Scores in Innovation | 4/19/2004 | See Source »

...Zohar A mystical Jewish text has a new English translation...

Author: /time Magazine | Title: Table of Contents: Apr. 19, 2004 | 4/19/2004 | See Source »

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