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They oversaw the renovation of the Currier “Fishbowl”—now a luxurious lounge replete with a big screen TV and audiovisual sound system—and the opening of a new reading room. They were a frequent sight in the underground dining hall, and the victorious hosts of a champagne party last year when Currier won the Strauss cup, which is awarded each spring to the house that has garnered the most points in intramural competitions throughout the year...

Author: By Aditi Banga, CRIMSON STAFF WRITER | Title: Currier Masters To Leave | 2/20/2007 | See Source »

...longer able to bear children. Based on P.D. James’ novel, the film opens eighteen years after the last baby has been born, a phenomenon that coincides with—and perhaps contributes to—staunch anti-immigration sentiment, widespread violence, extensive environmental damage, and the frequent advertisement of assisted suicide drugs. Perpetually scruffy and emotionally detached, Theo is left to protect the miraculously pregnant Kee (Claire-Hope Ashitey) after her first defender Julian (Julianne Moore) is killed. The rebel group of which Julian was part, The Fishes, turns out to want the baby for its own political...

Author: By Victoria B. Kabak, CRIMSON STAFF WRITER | Title: A Cautionary Tale in ‘Children of Men’ | 2/15/2007 | See Source »

...most Rev. Peter Akinola of Nigeria was in New York City late in January making one of his increasingly frequent forays into what he once would have considered enemy territory. Only journalists from religious publications were invited to cover the occasion, at Manhattan's swank Metropolitan Club--which probably suited the Archbishop, who has become wary of the mainstream press since a December New York Times story that advisers feel wrongly portrayed him as a homophobe. But a friend of the Nigerian primate's told TIME that Akinola received a standing ovation. The actual guest of honor was a Christian...

Author: /time Magazine | Title: At the Center of a Schism | 2/8/2007 | See Source »

...wanted to give the production some historical depth without making it a period piece, so I set the opera in the late 1950s/early 1960s. It made sense to present the Count and Countess as operatic versions of John F. Kennedy and Jackie Onassis, considering the Count’s frequent infidelities but overwhelming charm, and the Countess’s penchant for forgiveness...

Author: By Emily G.W. Chau, CRIMSON STAFF WRITER | Title: SPOTLIGHT: Caitlin C. Vincent '07 | 2/8/2007 | See Source »

Senior Patrick T. McGrath is a frequent men's basketball contributor...

Author: By The Crimson Staff, CRIMSON STAFF WRITER | Title: IVY FANTASY HOOPS: Ball and the Busters (Patrick McGrath) | 2/7/2007 | See Source »

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