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Junior BreeAnna Gibson took the weight throw with a throw of 16.34 meters. Classmate Johanna Doyle finished in third place at 15.71 meters. Gibson also took fourth in the shot put (13.54 meters...

Author: By Samita Mannapperuma, CRIMSON STAFF WRITER | Title: W. Track Earns Impressive Third at Heps | 3/3/2003 | See Source »

...music. To rectify this missed-timing, I joined the Leverett House Committee (HoCo) with the express purpose of organizing the Leverett ’80s Dance. Bon Jovi’s dramatic power ballads came when boys still had cooties, and, as a fan of Paula Abdul and Debbie Gibson, a world of ’80s music never reached my ears. The Knack’s hit, though, which I first heard in Reality Bites, reminds me of a time when college seemed far away, interpersonal dramas didn’t extend beyond recess and general contentment pervaded...

Author: By Rebecca M. Milzoff, CRIMSON STAFF WRITER | Title: Diary of a Music Addict | 2/27/2003 | See Source »

Junior BreeAnna Gibson won the shot put with a throw of 13.65 meters and finished second in the weight throw behind classmate Johanna Doyle, who won with a throw of 16.69 meters...

Author: By Samita Mannapperuma, CRIMSON STAFF WRITER | Title: M., W. Track Thrill At Home | 2/18/2003 | See Source »

Barry's book is a satire set in a nightmare future. William Gibson's Pattern Recognition (Putnam; 356 pages) is a serious thriller set in the dystopian present. Gibson, best known for the seminal cyberpunk classic Neuromancer, tells the story of Cayce Pollard, a "coolhunter" who gets paid to spot hot new trends for marketers. In her private life, Cayce is obsessed with a series of short films that have appeared anonymously on the Internet. These are enigmatic, surreal scraps of footage that exude an overwhelming melancholy--kind of like the video in The Ring, but sad, not scary. Trouble...

Author: /time Magazine | Title: Firm Warfare | 2/10/2003 | See Source »

That's how Gibson, without departing from the conventions of a glossy, well-paced international thriller, gets at something more ominous: what he views as the subtle treason of the marketer, whereby something decent and good (like a painting or a rock song) gets trivialized into an object of commerce. Good faith, through no fault of its own, becomes bad faith. None of which means Orwell was wrong, but there were dangers, real ones, that even he didn't foresee. After all, the age of thought-crime and Newspeak is still a few years off, but 1984 has already been...

Author: /time Magazine | Title: Firm Warfare | 2/10/2003 | See Source »

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