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...Harvard internet users. Current usage has dwindled to an average of two users a day—a level at which FAS IT “can no longer justify the large expense of maintaining the service,” said spokesman Noah S. Selsby ’94. Almost all of the dial-up users were faculty and staff accessing the modem pool from their homes, Selsby said. Citing departmental policy, Selsby declined to reveal how much breathing room FAS IT would gain from cutting the service, but said the savings were “substantial...
...first to experience the new Harvard Art Museum—if it opens by its scheduled date in 2013. Originally meant to reopen in 2012, the Harvard Art Museum is the renamed, renovated collective of the Fogg and Busch-Reisinger museums. The full renovation has necessitated moving almost the entirety of their 250,000 pieces to an offsite storage facility, a change which continues to affect students and art aficionados looking to appreciate the Harvard collections. “In order to start the renovation process, the entire collection needs to be moved and the space needs to be emptied...
...some founder of the town, some California explorer or pioneer, or for some long-deceased Italian immigrant who founded only the hotel itself. Whoever it commemorated, the hotel was a poor monument, and Bill Tully had no intention of staying on.” It’s almost trite to start at the beginning, but it’s as good a place as any in Leonard Gardener’s debut novel, 1969’s “Fat City.” From its opening moments, “Fat City” vaults the pretense...
...summer filled with justifiable acclaim for “Inglourious Basterds,” another war movie snuck onto the scene and captured audiences with an almost surreal attention to detail rather than with a clever rewrite of history. Written by American journalist Mark Boal, the script for “The Hurt Locker” is based on stories from his time covering a bomb squad in Iraq. Jeremy Renner (“The Assassination of Jesse James by the Coward Robert Ford,” “28 Weeks Later”) leads the film?...
...those of the first generation, and Kempner contextualizes this environment with rich footage from old film reels and television clips. While a movie composed largely of interviews from adoring fans and samples of Berg’s best radio and television work may seem like a rose-colored, almost sappy celebration of her life, Kempner manages to keep the film from drowning in sentiment. True, it never tackles certain contradictions of Berg’s life and career, including how a woman who was in many ways the personification of strong female leadership won her success by embodying the traditional...