Word: semi
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Dates: during 2000-2009
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...sure as recalcitrant professors might try to stop the tide from turning, they were treated to the most palatable new vision for undergraduate education to date at last week’s Faculty meeting. Deliberately and thoroughly crafted over the last six months by an elite and semi-secret so-called Task Force on General Education, the proposed new requirements will surely revolutionize the way that oversubscribed, underwhelming Core courses are labelled and described in the course catalogue. I don’t know about you, but I’m excited...
...Office,” and B.J. Averell ’02, the winner of last year’s “Amazing Race,” on CBS, hosted a show in Sanders Theatre in which they awarded Saget honorary membership to the Harvard Lampoon, a semi-secret Sorrento Square social organization that used to occasionally publish a so-called humor magazine. Of the event, Saget says, “I love Harvard. It was a very special night for me,” but gripes that Harvard (or perhaps, the Lampoon) did not have the money...
During his college years, Franken—who would later become one of the two founding writers for Saturday Night Live—was famously rejected from the Harvard Lampoon, a semi-secret Sorrento Square social organization that used to occasionally publish a so-called humor magazine...
...many ways, Fashion Week and the Harvard undergraduate community have a lot in common. We both exist in bubbles and set the benchmarks for our fields.New York City Fashion Week is a nine-day fashion binge featuring 221 designers, numerous celebrity sightings, and plenty of attitude. The semi-annual event previews designers’ fall lines in a series of giant tents in Bryant Park in midtown Manhattan. For two days, we explored this unfamiliar fashion world. And for the record, we did sit next to Fabio during our first runway show.Feb. 2, 9:15 a.m. We enter the central...
...inclusive term “cinema” is an appropriate one. As the films at the HFA demonstrate, the cultural anxieties of the Cold War did not confine themselves to a single genre. The semi-documentary “Panic in the Streets” (Elia Kazan, 1950), the noir masterpiece “The Third Man” (Carol Reed, 1949), and the low-budget sci-fi romp “Rocketship X-M” (Kurt Neumann, 1950), are equally suffused with dread, uncertainty, and black humor...