Word: keys
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Dates: during 1990-1999
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Cohen has a record of tangible achievement on the council. Last year, he organized the concentration fair and the first-year formal. This semester he has worked on the universal key-card access subcommittee, which has made the most progress on the issue in recent memory, and he arranged both the Harvard-Yale buses and the council's Thanksgiving airport shuttle service. While others on the council talk of their grandiose visions, Cohen rolls up his sleeves and gets the job done. Whether flipping burgers at the Harvard-Yale tailgate or collecting shuttle tickets, Cohen is the sort of down...
Jobe G. Danganan '99, in his second year on the council, boasts work on the council's task forces for shuttle buses and universal key-card access, and also a platform of social advocacy. Currently the president of the Minority Students Alliance, Danganan has the backing of groups such as the Black Men's Forum and RAZA--and also Rawlins' endorsement...
...sensibility that led to making the ordinary, world-running-down feel of a ship maintaining its emergency lighting and water release a key shock point of Alien--this is missing. I don't want to see a bunch of ragtag ruffians conducting a Goonies-like escape through creepy funhouse ship, or to witness the most beautiful and most horrific outer space being being Salad-Shot through a window...
Later came Levinson's brilliant performance of the Mozart Piano Concerto No. 20 (K. 466). This is one of the few Mozart concerti in a minor key. Of it, Levinson says, "I chose it because, of all the Mozart concerti I have played, it is the most challenging for me...I can't understand it in any other way than as a piece for orchestra and piano." Nevertheless, from the moment he touched the piano keys after the orchestra's brooding introduction, the audience was captivated by the beauty and sensitivity of his style. The orchestra's tone initially seemed...
...some guy in shipping can cause you to wind up wearing the right arm of a lycanthropic astronaut. Schrab calls this aesthetic "surreal"--indeed, one of the book's slogans is "Surreality just got funky!"--but that doesn't seem quite the right way to describe it. The key to understanding the "logic" of Schrab's universe is to realize that it's not the same sort of causality that we expect from works of prose fiction--or, in fact, from most comic books...