Word: typing
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Dates: during 1960-1969
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...exactly, has the COH done in the last four or five years? It has discussed changing the method of assigning freshmen to Houses, increasing parietals, and student seating on faculty committees -- bird seed compared to questions like coeducation and a more relevant House system. The latter issues are the type which do indeed decide the social make-up of Harvard, and on these the COH has no power whatsoever. It has no control over social policy-setting matters; it merely oversees specific problems that arise. And even for these small problems, the Committee usually bows to the will...
...argue, the Masters live in the Houses and constantly communicate with students. The important question, however, is how do the Masters live in the Houses? To find the answer, ask another question. With what type of student does the Master most often come into contact? And another. What type of student enjoys having tea with the Master and his wife? How many students feel natural and enjoy themselves when the Master sits at their dining table? A growing number of students do not enjoy such activities and, thus, a growing number of students are completely out of touch with...
...brutal about it, a fat slob. As Ustinov plays him, he slobbers, mumbles, stutters and swaggers. He is the kind of man who seems to have dandruff on his teeth. While the plot calls for Pendleton to pose as a computer expert and hitch up with an IBM-type operation to embezzle it out of millions, you know as soon as you see him that he'll be caught in the act. As a result, the fun is not in his attempted theft, but in what he does during his spare time...
...relevant surface patterning is a Mirko specialty. Sometimes the pattern relates to the material, but it is most interesting when it connects with the subject. In one soldier-type piece, Mirko gives the surface a reptilian pattern which suggests armor without duplicating it. Signs also appear on his surfaces--"from the blood, from ancestral things...
...Caligulan glory of the air force to the musically thirsty, seems to have made little musical progress since that Curtis Lemay extravaganza. His To St. Cecilia was an exciting grotesque written in his consummately banal idiom featuring vapid stentorian outbursts for a brass ensemble and Victory at Sea-type arching melodies for the hapless chorus. This clangorous work, sounding like Hollywood with the rough edges knocked of, brilliantly captured a certain Pliestoceme ambience which would have been beyond the grasp of a lesser composer. The character of the performance was captured in the Dryden line "What passion cannot Music raise...