Word: panels
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Dates: during 1970-1979
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...could prove especially bothersome in the wee hours of the morning, explained one prominent clubbie, who often has trouble after a night on the town finding Eliot House, much less his keys or plastic card. No one insinuates that students are unable to endure the irritation, yet the bottom panel of the door has already been kicked in once and the installation isn't even complete...
...first issue on The Press and The First Amendment is somewhat of an exception to what will follow. Most of this issue is a transcript of a panel discussion held at the Crimson Centennial with J. Anthony Lukas, Stephen R. Barnett, Hiller B. Zobel, Sanford J. Ungar, Irvin M. Horowitz, and moderator Alan M. Dershowitz. But with the addition of an op-ed page to the daily paper, we have decided to limit furure Dump Trucks to Harvard-Radcliffe undergraduates...
...privileges by R. Michael Kaus '73, a Crimson senior editor. We would like to thank our cartoonist Peter Kaplan whose work has appeared in previous Dump Trucks, for his cover design and his excellent drawings on the inside pages. Finally we offer our thanks to the participants in the panel discussion for sharing their ideas, experiences and perspectives with us. --The Editors
...seemed that a panel discussion of Freedom of the Press would fill a necessary void and perhaps stimulate more discussion about what we perceived then--possibly because of the experience of other college newspapers at odds with administrators--as a serious problem confronting the press. Since November, the flood of opposition to the Nixon Administration's assaults on the press has washed deep into an American scenario. But until these First Amendment questions are resolved, additional discussion can serve to help the public and the press to delineate between the intent of the Constitution and the intent of the current...
When political, the art world resembles a castle populated by Coney Island ghosts. Fluorescent skeletons jiggle their pasteboard bones in each recess; the cellars resound with prerecorded mutters, wails and injunctions to silence; entrepreneurs tap their way down the corridors, prodding each moulding in the hope that a panel will fly open, revealing a lost Titian, an undocumented Goya, or a Japanese gingko-nut tycoon with an open checkbook. Collectors do not want the taxman to know how much they paid for what, and neither do dealers. The availability of a painting may be the occasion for as much conspiratorial...