Word: trios
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Harvard coach Norm Shepard has nominated sophomore hurler Bob Lincoln to face M.I.T. The Engineers have a trio of .300 hitters in Jeff Altman, Rich Young, and Mike Ryba, but Lincoln should be able to overpower them along with the rest of the lineup...
Brecht's story is simple. A trio of God's in search of good people are introduced by a water seller (Steve Kaplan) to Shen Te (Trish Archer) a prostitute who is a good people. The Gods pay her for their night's lodging with enough money to start a small tobacco shop. Screaming freeloaders move in; she falls in love with a worthless unemployed flyer; her every good deed brings ruin. To save herself, she invents a businesslike, ruthless alter ego, Shui Ta, who is successful and dastardly. How to reconcile goodness and survival? Shen Te can't manage...
...very often, if at all, on WHRB, says Randy Webb '67, head of News, Sports, and Public Affairs at the station. The station doesn't want to give time to what he calls "little white boys playing Negro music." Following the image also means that commercials "with the Kingston Trio singing jingles," are taboo. Even in classical music, familiarity can bar a acceptable work from the WHRB list--something like Beethoven's Fifth is never heard on a regular show...
Nazarene & Catholic. The London headquarters gives an added boost to the efforts of local groups by choosing three particularly deserving individuals as "Prisoners of the Month." One of the March trio is Miligojae Phillipovic, a 21-year-old Yugoslav serving a ten-year term on the penal island of Goli Otok in the Adriatic; as a member of the Nazarene sect he refuses to report for military service and handle objects intended for killing. There is also a "Prisoner of the Year." The 1966 selection is Koumandian Keita, a Guinean headmaster sentenced to ten years for criticizing President Sekou Toure...
...cannot deny the quality of Hippolyte's inspired, innovative sections: the Trio for the Fates in the Hades scene, "Quelle soudaine horreur," with its macabre, Gesualdo-like modulations (superbly sung in the production); Phedre's pathetic scena, "Cruella mere des amours": the Act IV Hippolyte-Aricie duet, "Ah! fautil e un jour," with its revealing major-minor key shifts, and Aricie's closing "Nightingale Aria," one of the first soprano vs. flute bel canto trials...