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...interview with The Crimson early this morning, she said of the e-mail, “It was an inappropriate use of Eric Hysen’s and my name, and it should be completely disregarded...
...nearly impossible to in any way use the software to alter the results of the election,” Sarafa said. “I’m sure that the candidates know that campaigning is a more efficient way of using their time than trying to manipulate the results of the elections...
...Giving a tour amidst the calm energy of Tercentenary Theatre in September, I was asked if Harvard was competitive. I said it was not. I remembered overhearing on one college visit that students would rip out the pages of library coursepacks so that other students couldn’t use them before exams. I’d never experienced anything like that at Harvard. On the contrary, a certain sympathy saturates the drudgery of Lamont during reading period...
Still, when she more carefully considers the effect of synthetic chords on her generally soft melodies, Jones puts the electric guitar to better use. The leadoff track, “Chasing Pirates,” uses a repeated electric tag and a harsher drumbeat to emphasize the claustrophobic redundancy of circular thoughts and dreams. “And I try not to dream but them possible schemes swim around / wanna drown me in synch,” she sings. Somehow, too, “Back to Manhattan” sounds like pure jazz—like Jones at her best...
Moverman underscores the perpetual untimeliness of death in day-to-day life. The brief and rare use of music is entirely diegetic, stemming only from sources within the scenes, such as a barroom jukebox or a beaten-up car stereo. Montgomery’s first somber exchange with Stone, for example, is set to a cheery Beach Boys tune. The movie also resists the impulse to tailor the style of scenes to their emotional underpinnings; in one scene, a woman discovers that her husband has died on the sunniest, most peaceful of early fall days. With a careful hand...