News to go further Pakistani TV anchor censored after denouncing violence against journalists June 19, 2007 – Updated on January 20, 2016 Fatwa pronounced against fashion magazine staff RSF_en PakistanAsia – Pacific News Help by sharing this information Pakistani supreme court acquits main suspect in Daniel Pearl murder Follow the news on Pakistan April 21, 2021 Find out more January 28, 2021 Find out more Reporters Without Borders today condemned a fatwa for “blasphemy” issued by a religious leader against Zubair Kasuri, the editor of English-language fashion magazine Octane and several of his staff.“The managers of this magazine deserve to die”, Maulana Abdul Aziz said at Friday prayers on 15 June at the radical Lal Masjid or Red Mosque after the magazine carried a series of photos in its June edition captioned “Adam and Eve, the bone of contention”. The cleric threatened death against the editor, the publisher and other staff on Octane for “blasphemy towards the Hazrat (prophet) Adam”. Police in Islamabad have also laid a “blasphemy” complaint against the magazine. “We are reporting them to higher authorities so that all copies of the magazines can be seized, the magazine closed and the staff convicted,” said Abdul Jabbar, an officer at the police station in Margala. An Islamabad resident, Syed Aftab Ahmed, is also bringing a case for “publishing obscenity” “The headline for the series of photos may not to be everyone’s taste, it is true,” the worldwide press freedom organization said. “But there is no possible justification for such radical steps to express disapproval of certain media practices.”“We urge the Pakistani government to take responsibility for the safety of the staff of the magazine and to put an end to this harassment.”The editor of the magazine said he had not intended in any way to be disrespectful and the photos were in no way contrary to Islam. He said he was prepared to apologise and regretted the turn the case had taken. No copies of the paper are currently available at newsstands. June 2, 2021 Find out more News Pakistani journalist critical of the military wounded by gunfire News PakistanAsia – Pacific Organisation Receive email alerts
Newsx Adverts Pinterest Facebook WhatsApp Almost 10,000 appointments cancelled in Saolta Hospital Group this week Calls for maternity restrictions to be lifted at LUH PSNI renew appeal over Derry Halloween attack Twitter Detectives in Derry are renewing an appeal for information following reports of a serious sexual assault in the city earlier this month.Shortly before 1am on Tuesday the 1st of November, it was reported that a teenage girl was sexually assaulted by an unknown male in the area of Edenmore Street and Northland Road.The male is described as being dressed in black and wearing a scream mask with blood over the face.Halloween celebrations were taking place in Derry on this night and Police would wish to speak with anyone who was wearing a scream costume on the night in question so they can be eliminated from their enquiries.Anyone with any information is asked to contact the PSNI Rape Crime Unit on or, if someone would prefer to provide information without giving their details, they can contact the independent charity Crimestoppers and speak to them anonymously. By News Highland – November 16, 2011 Previous articleDonegal man sent to prison for raping ex-partnerNext articlePCC Principal says there is no asbestos risk at school News Highland Three factors driving Donegal housing market – Robinson Pinterest RELATED ARTICLESMORE FROM AUTHOR WhatsApp NPHET ‘positive’ on easing restrictions – Donnelly Google+ Guidelines for reopening of hospitality sector published Facebook Google+ Twitter LUH system challenged by however, work to reduce risk to patients ongoing – Dr Hamilton
Dielectric experiments have been undertaken at temperatures between −2° and −70° C in the frequency range 10Hz to 100 kHz on 14 firn and ice samples retrieved from the Antarctic Peninsula. This investigation shows that the dielectric behaviour of polar samples from the Antarctic Peninsula is very similar to that of polar firn and ice from Greenland and from elsewhere in Antarctica. In contrast, temperate samples from the Antarctic Peninsula have relaxation times up to ten times shorter for a given temperature between –20° and –70°C, and have higher values of high-frequency conductivity than those of polar samples. Consequently, the thermal regime (temperate or polar) can be distinguished by the dielectric behaviour of the samples. High-frequency conductivities of polycrystalline samples from the Antarctic Peninsula match the trends of published conductivity data for HF- and HCl-doped laboratory ice; higher conductivities are associated with coastal sites where greater concentrations of marine ions occur in snow. Annealing polar firn above −10°C results in elevated conductivities across all frequencies measured and shortened relaxation times. Thus, samples for dielectric analysis should not be warmed to above –10°C for risk of irreversibly altering their dielectric behaviour.
May 26, 2020 /Sports News – Local SUU Men’s Basketball Signs Detroit Mercy Transfer Marquis Moore FacebookTwitterLinkedInEmailCEDAR CITY, Utah-Tuesday, Southern Utah University men’s basketball signed Detroit Mercy transfer Marquis Moore, a 6-6 200-pound guard-forward out of Los Angeles.In playing for the Titans the past two seasons, Moore averaged 6.4 points and 4.5 rebounds per game.Last season, Moore posted 8.3 points and 4.8 rebounds per game for the 8-23 Titans.He also shot 35 percent from the 3-point line for Detroit Mercy.Moore will have to sit out the 2020-21 season because of the NCAA’s transfer rule but in 2021-22, he will commence his junior season for Southern Utah and have two seasons of eligibility. Written by Tags: SUU Men’s Basketball Brad James
Home » News » Phil Spencer says he wants to help end gazumping with Gazeal deal previous nextProducts & ServicesPhil Spencer says he wants to help end gazumping with Gazeal dealTV presenter’s MoveIQ property advice and services platform is to offer its customers Gazeal’s reservation agreement service.Nigel Lewis27th June 201901,076 Views Reservation agreements disruptor Gazeal has struck a deal with TV presenter Phil Spencer to distribute its service via his MoveIQ property advice and information platform.Gazeal offers a way for buyers and sellers to sign a reservation agreement for a property which, the company claims, is set to reduce the UK’s fall-through rate and also eliminate gazumping and gazundering.Most agents admit that approximately a third of all offers fall through before getting to completion, which costs buyers and vendors £270 million a year in lost survey and conveyancing outlay.Its service is now available on Spencer’s MoveIQ website, which offers consumer advice from the presenter on buying, selling and renting a home, as well as quotes for mortgages and surveys. It also charges home buyers either £17.99 or £23.99 for a basic or comprehensive ‘property location report’, but not legal or physical information about the property.Gazumping“A legal system that allows buyers or sellers to abandon a sale a day before the exchange has always been a point of contention,” says Spencer.“That’s why Move iQ has teamed up with Gazeal, who offer a legally enforceable contract at the very start of the process.“Allowing sellers and buyers to agree a deal that has legal force right from the start; can spare weeks of uncertainty and prevent frustration and expense – all symptoms of gazumping and gazundering.“Not only that but it’s also good for the traditional estate agent who can often be left with no fee despite committing huge amounts of time and effort on behalf of their client.” Gazeal Phil Spencer MoveIQ June 27, 2019Nigel LewisWhat’s your opinion? Cancel replyYou must be logged in to post a comment.Please note: This is a site for professional discussion. Comments will carry your full name and company.This site uses Akismet to reduce spam. Learn how your comment data is processed.Related articles Letting agent fined £11,500 over unlicenced rent-to-rent HMO3rd May 2021 BREAKING: Evictions paperwork must now include ‘breathing space’ scheme details30th April 2021 City dwellers most satisfied with where they live30th April 2021
As part of its drive to bring value-added solutions to the frozen food sector, Schwan’s (Leyland, Lancashire) is launching a range of frozen quiche under a new Chicago Town Deli sub-brand.The three-strong range will be merchandised in the frozen savoury bakery aisle alongside pies and pastries. Variants include: 3 cheese & roasted red onion, broccoli & bacon and bacon & mushroom.Available as a twinpack, the products can be baked in 25 minutes and are aimed at mums with busy households as a mealtime solution, and are priced at £1.59 per twinpack.
It was a bonafide reunion of Allman Brothers Band guitarists last night at NYC’s The Beacon Theatre, as guitar slinger Warren Haynes joined Tedeschi Trucks Band for a four-song sit-in during the second set. The TTB is now five nights into their six-night stand, and have welcomed a bevy of guests throughout the run including Jorma Kaukonen, Dave Mason, Eric Krasno, Luther Dickinson and more. However, seeing Haynes and Trucks play together – at the Beacon no less – must have conjured memories of the Allman Brothers days.The two guitarists played together in the Allman Brothers for many years, though that band has not been active since 2014. Haynes appeared during the second set, and, while they didn’t actually play any Allman Brothers songs, the two did treat fans to some blues classics.Haynes would emerge for an extended run at the end of the second set, joining in on Robert Johnson’s “Preachin’ Blues,” Derek & The Dominos’ “Keep On Growing,” the blues standard “It Hurts Me Too,” Blind Faith’s “Had To Cry Today,” and King Curtis’s “Soul Serenade.” Check out videos of the Haynes-Trucks collaboration, streaming below.Preachin’ Blues > Keep On Growing (via Sean Roche)It Hurts Me Too (via Sean Roche)Soul Serenade (via Marc Millman)Had To Cry Today (via Marc Millman)The band ends their run tonight, October 8th, with another two-set performance. Check out the full setlist from last night’s show below!Setlist: Tedeschi Trucks Band at The Beacon Theatre, New York, NY – 10/7/16Set One: Coming Home, Made Up Mind, Don’t Know What > All That I Need, Something, Lovin’ You, The StormSet Two: Midnight In Harlem, Ali > Let Me Get By, Shelter, Bound For Glory, More & More, Preachin’ Blues*, Keep On Growing*, It Hurts Me Too*, Had To Cry Today (with Soul Serenade in the middle)*Encore: It Ain’t Easy, Space Captain* = w/ Warren Haynes[Photo via TTB Instagram]
Head to the band’s website for more information on upcoming shows.[photo by Matt Rea] Earlier this week, Dead & Company were forced to postpone their remaining three shows of Fall Tour due to an emergency appendectomy surgery for John Mayer. While the procedure is common, the surgical removal of the appendix is performed to treat appendicitis, an inflammatory condition of the appendix. With a 1-3 week recovery period, Dead & Company had no choice but to reschedule the remaining shows of 2017. Replacing John Mayer was no option.Today, Dead & Company officially announce the rescheduled dates for 2018. Following their inaugural Playing In The Sand destination event on February 15-18th, Dead & Company will head to New Orleans on February 24th, Ft. Lauderdale on February 26th, and Orlando on February 27th. All previous tickets will be honored at the new dates, though a refund is available at the point of purchase.Read Dead & Company’s full statement below:“The Dead & Company concerts that were postponed due to John Mayer’s emergency appendectomy have been rescheduled for February 24th in New Orleans, February 26th in Ft. Lauderdale, and February 27th in Orlando. Tickets for the original shows will be honored at these newly announced 2018 dates. Should ticketholders choose to seek a refund, they will be available at point of purchase.”John Mayer’s response to the situation is sincere: “Thank you everyone for the well wishes. Had surgery yesterday and woke up to see some amazingly kind and loving tweets. I’m so sorry that we couldn’t finish out the last few dates of the tour. This band and these shows mean the world to me. Love you all dearly.” Later that evening, he took to Twitter again to express his state of mind: “I’m a warm, pilled-out froggy, whizzing my golf cart around the internet, doffing my wool cap to everyone I pass. beep beep hellllloo electric guitars let me get a look at you”
It was a very poetic thing to do, departing Harvard to live in a tent.Robert Lowell — of the aristocratic Boston Lowells, an illustrious family that even included one of Harvard’s past presidents, A. Lawrence Lowell — propped his pup tent on the Tennessee lawn of poet Allen Tate, who would become one of the young writer’s great mentors.Lowell finished his schooling at Kenyon College in 1940, but returned to Harvard for readings and to teach, which he did off and on until his death from a heart attack in 1977. Along the way, he won two Pulitzer Prizes, a National Book Award, and the National Book Critics Circle Award.Poet Nicholas Christopher ’73 remembers Lowell’s 1969 workshop, which Lowell let him into even though he was a freshman. Writing in the publication Critical Mass, Christopher recalled that “unlike any other class I ever took, the auditors who attended each week far outnumbered the students. Lowell was not just the best-known poet in America at that time, but also a celebrity. It was still possible, somehow, for a poet to be a celebrity in 1969 America.”Something about Harvard, despite its being one of the world’s most rigorous universities, also helps poets to blossom. It has a poetic legacy that spans hundreds of years and helped to shape the world’s literary canon.T.S. Eliot began writing his great modernist poem “The Love Song of J. Alfred Prufrock” while a student at Harvard. Poets E.E. Cummings, John Ashbery, and Wallace Stevens are among the University’s most famous alumni, and dozens of others have fashioned the University’s rich poetic inheritance.From 1946 Radcliffe graduate Maxine Kumin to the inimitable John Berryman, who taught from 1941 to 1942, and from the recently deceased activist poet Adrienne Rich, a 1943 Radcliffe alumna, to poet Donald Hall ’51 (the two actually had a date once), poetry in the 20th century belonged especially to Harvard.Poetic beginningsThis year, Jorie Graham, the Boylston Professor of Rhetoric and Oratory, helped to compile a master list of Harvard’s poets, collecting not just alumni, but special students, dropouts, and teachers, such as Lowell and Elizabeth Bishop.“We ended up with this truly surprising list of poets — a list so all-encompassing and extraordinary in its scope, excellence, range, it made us realize that Harvard, sometimes anxious about its role as a leader in American art, truly got it right when it came to poetry. From its early days to the present moment — but most astonishingly throughout the whole 20th century — Harvard has made a truly unequaled contribution to American poetry,” said Graham, herself a Pulitzer Prize-winning poet.The University’s poetic ancestry can be traced back to the 17th century with its first documented poet, a Puritan minister named Michael Wigglesworth. Wigglesworth was a fragile gentleman who at one point even declined the Harvard presidency because, he admitted, he simply lacked the necessary self-confidence.The great Transcendentalist Ralph Waldo Emerson graduated in 1821, returning to Harvard to give speeches that called for a poetically minded America. James Russell Lowell, Class of 1838, Oliver Wendell Holmes Sr., Class of 1829, and Henry Wadsworth Longfellow, a professor at Harvard, have been grouped under the name of “the Fireside Poets,” who remained in the British tradition.George Edward Woodberry, a poet and critic for whom Harvard’s Woodberry Poetry Room is named, graduated in 1877. Wallace Stevens studied at Harvard from 1887 to 1900, prevented by family finances from graduating, but becoming president of the Harvard Advocate in his third year. Robert Frost, ever restless, attended for two years, from 1897 to 1899.The first documented female poet, Josephine Preston Peabody, surfaced at Radcliffe in 1894, when Harvard’s sister school was in its infancy. But it’s that other alumna, Gertrude Stein — a bold writer, art collector, and expat — who personified the experimentalism and change occurring at Harvard and in the country at the turn of the century.Like Everest, it’s thereBut why has Harvard been such a mecca for poetry?“For a long time, a very long time, if you wanted to get a real education, Harvard was the place, the sure place, to go — and poets tend to be people who are voracious, who want to read, know, feel, imagine as much as possible. And what libraries! Also they grow in community, thrive on, and in, relatively unstructured time, and are inspired by piercing knowledge. So, for many decades, where else?” said Graham.“There are, of course, many intangibles that go into this mystery — which we found hiding in plain sight — but as our list of poets unfolded, it became clear a major wellspring of this essential art form, in America, was somehow right here, at Harvard.”Why did literary students flock to Harvard? “Mallory aimed at Everest because it was there; in the same way, Harvard was here,” explained Helen Vendler, the Arthur Kingsley Porter University Professor, and a well-known writer on poetry.A native Bostonian, Vendler remembers making the short leap to Harvard as early as age 15 for lectures and concerts. “I saw everybody: Eliot, Cummings, Frost, Randall Jarrell. … Noticing so many people at poetry readings and lectures, I thought, ‘These must be the people I belong with,’ ” she recalled.Harvard wasn’t just hosting the brightest visiting lecturers and readers, but in the early 20th century, budding writers such as Ogden Nash ’24, Stanley Kunitz ’26, Theodore Roethke, Robert Fitzgerald ’33, Delmore Schwartz, William Burroughs ’36, and Howard Nemerov ’41, passed through the University before embarking on their own successful writing careers.In 1944, a young Robert Creeley and cohorts were arrested for carting away one of Lowell House’s front doors. Creeley, whose grades had dipped below standards, was advised not to return. But the poet did go on to write more than 60 books.“Harvard had the best library in the region, and that draws literary people very strongly,’’ said Vendler. “It also had the Woodberry Poetry Room, which was open to the public, and people could come and listen to all these terrific readings housed there. People are attracted to places that are centers for the arts in general. There’s always been wonderful music at Harvard, wonderful museums. I still find it an immensely congenial environment because there’s a fundamental respect for the arts here.”The grounds for a new wave of American poetry began brewing at Harvard in the mid-20th century. It was Ashbery ’49 who influenced his classmate, Worcester-born musician Frank O’Hara, to explore poetry; both were soon publishing in the Harvard Advocate. Together Ashbery, O’Hara, and Kenneth Koch ’48 would become central figures in the New York school of poetry, an avant-garde movement that rebelled against the confessionalist style of poets, such as Lowell and Sylvia Plath.A poem for the makersNow in the midst of National Poetry Month, Graham, armed with her master list of poets and a cadre of dedicated students, is leading a celebration of Harvard’s lyrical nursery by presenting a communal recitation of poetry titled “Over the Centuries: Poetry at Harvard (A Love Story)” during Arts First weekend. The April 29 event will feature a medley that interweaves historic Woodberry Room recordings with dramatic student recitations of important Harvard voices.The event was triggered by a suggestion from Diana Sorensen, professor of Romance languages and literatures, who wondered if Graham could envisage a performance to honor the University’s 375th anniversary. Graham was encouraged by Office for the Arts Director Jack Megan to stage something magical, akin to her ethereal tribute to Ashbery in 2009, when he received the Harvard Arts Medal. Graham’s students appeared on stage swathed in spotlight, completely still, and recited from his oeuvre, including 1975’s “Self-Portrait in a Convex Mirror.”During the performance, Graham remembers looking over at Ashbery, who appeared to be in tears.She asked Matt Aucoin ’12, “a brilliant composer, conductor, and poet,” said Graham, “if he could ‘see’ the whole of the performance. … After all, he writes operas.”Once Aucoin was on board, he and Graham brought together 14 more poets, both undergraduate and graduate students, and gave them the master list of poets with explicit instructions: Come back with 10 selections apiece, by different poets. “This began as a deep-reading project,” she pointed out.“Once everyone had selections, which we winnowed, we had one initial unforgettable improv session, where Matt and all the others, many of whom are also musicians, called out lines of verse and stanzas rapid-fire across the room. Anthologies were rapidly sped from hand to hand, computers flew open searching for other lines,” recalled Graham. “That session produced an initial ‘score,’ as we called it.”The students spent much of the semester meeting and working on what Graham calls “a poem made of poems.” “We’ve tried to represent many voices, but the need to make a coherent work in its own right, not a sampler, has dictated the process. The 15 young poets — some of the most vividly talented students we have here today — were selected by virtue of their own ‘voices,’ ” she said.“It’s like a small orchestra: You want many kinds of timbre and pitch. Matt being a composer and a conductor was essential to keeping the work balanced. But what amazed us all was how much the inner lives of the whole group came into manifestation in the piece. It is completely collaborative work. These young poets are not only talented, they have critical minds of such power it’s marvelous to watch them come together in this convocation.”The performance seeks to discover and reveal the spirit Harvard has fostered, said Graham. “What is the intangible link over the centuries of voice to voice? Is there something that binds these people whose souls are so open to that knowledge which is poetry? Listening to them listen to each other, transmit to each other, and all the way to us now — where a new generation of very gifted and fierce young poets is at work making its own poems — listening to it speak forth to its forbears … well, it’s very moving. It’s a bit like placing your hands around a flame to ensure it be passed on,” she said.“And, too, we thought of Orpheus, of going to the underworld and bringing up the great dead into the hearts and throats of the living. Wallace Stevens is dead, but his poems are not only alive but completely born anew in the voice of a young man or woman who is writing poems, who wants to be Wallace Stevens, or the new version in a postmodern era. So a poem doesn’t die. Its maker might, but the spirit that animated its maker lives. It’s a great mystery, and the foundational belief of a place such as this — as of course, such intimate transmission is true throughout this University, in every field.”Digitizing poetryOver months, Graham met with Christina Davis, curator of the Woodberry Poetry Room since 2008, to sift through the room’s archives of recordings and readings to be featured in the upcoming event.Davis assumed the task of digitizing the archive from her predecessor, Don Share, who “had the foresight to realize that digital preservation was the next step for the audio archive to take,” she said.The archive begins with a pivotal 1931 recording of Eliot made by Harvard Professor Frederick C. Packard for the Poetry Room. Eliot was that year’s Charles Eliot Norton lecturer in the English Department. “Eliot’s invitation to Harvard was a significant gesture, to my mind,” said Davis. “It suggests that Harvard was officially acknowledging that contemporary (in this case, modernist) poetry was just as significant as poetry of the past.”Along with the digitization effort, Davis has overseen creation of the Woodberry’s first full-scale website, which launched in October, featuring some of its treasured audio, now available for anyone to stream.She also founded a bevy of innovative initiatives and programs such as the Oral History Initiative, “which collects stories about famous poets from New England by bringing together friends, colleagues, and students of pivotal poets from this region,” she said.“It’s really about preserving communities — distinct communities that congregate around poets — and trying to honor and revive the multiple dimensions of a specific human being’s personality. The Oral History Initiative follows in the convivial and chatty footsteps of Harvard alum Frank O’Hara and his notion that each of us is given to live ‘as variously as possible.’ ”March’s oral history focus was on Bishop, and offered recollections by her friends and students Lloyd Schwartz, Frank Bidart, Megan Marshall, Gail Mazur, and Rosanna Warren. The event also included a staged reading of Joelle Biele’s one-act play about Bishop, “These Fine Mornings.”“I’ve really sought to establish a wide range of programs, as playful as they are intellectual, that will have affinities to very different demographics,” Davis said. “Poetry can sometimes be pigeonholed: It’s very important to revive the other dimensions of its wisdom.”The Woodberry hosts established contemporary poets, introduces new and foreign-born poets for readings, and lures back alumni, such as poet Kevin Young ’92, who studied as an undergraduate with former faculty members Lucie Brock-Broido and Nobel Prize-winner Seamus Heaney, and Dorothea Lasky, who earned a degree from the Harvard Graduate School of Education in 2006. The Woodberry’s programs are often supplemented by Harvard’s own poetic faculty — from Vendler, who in February led a presentation on Stevens, to poet, critic, and English Professor Stephen Burt.“There’s a great convergence here,” Davis said. “Poetry is such a force for synthesis; it pleases me that the Poetry Room’s programs have honored the genre’s capacity to congregate radically different ideas, personalities, impulses, modes of inquiry.”‘Poetry is thriving’Poetry remains a force at the University. The Harvard Advocate’s editorial board still debates what to include in the next issue, and has since the Advocate’s founding in 1866. Newer campus publications like Wick, based out of the Harvard Divinity School, the Gamut, and Tuesday Magazine have sprung up too. The esteemed Harvard Review continues to publish the best in contemporary writing, with the poet Major Jackson serving as poetry editor.“Poetry is thriving at Harvard,” said Davis. “I’m struck by the immense diversity of the kinds of poetry that’s being created here. There is no single aesthetic that dominates; and that’s a very rare plurality.”
Thomas J. Hollister, a seasoned business executive with broad expertise in global financial management and banking, has been named Harvard University’s chief financial officer and vice president for finance.“I am thrilled that Tom is joining Harvard. We will benefit from his wealth of experience spanning all areas of finance — from capital markets to banking and real estate,” said Executive Vice President Katherine N. Lapp. “He is smart, strategic, and has likely faced every conceivable financial challenge. His service chairing the boards of Tufts Medical Center and Wheaton College has given him great insight and appreciation of higher education.”Hollister enjoyed a 35-year career in the banking and energy sectors, and has served on numerous nonprofit and corporate boards. Early in his career, he joined Bank of Boston and swiftly rose through the ranks, filling many roles in commercial banking and commercial real estate before becoming executive vice president of consumer and small-business banking.In 1998, Hollister was named president of Citizens Bank of Massachusetts, the second-largest bank in the commonwealth at the time and part of Citizens Financial Group. He oversaw all banking activities, regulatory relations, and public affairs and communications during a period of rapid growth. During his time with Citizens, the bank was the leading lender to small businesses in Massachusetts, earning “outstanding” Community Reinvestment Act ratings.Hollister spent most of the second half of his career as a strategist. As vice chairman of Citizens Financial Group, he moved to Chicago to lead Charter One Bank, a large multi-state enterprise, through the merger with Citizens Financial Group. He then returned to Boston, where he was tapped in 2006 to be the chief operating officer and chief financial officer of Global Partners LP, a Fortune 500 energy-distribution company based in Waltham.Hollister’s nonprofit board service has included chairing the boards of Tufts Medical Center and Wheaton College. He played an important role in maintaining Wheaton’s financial health and strategic vitality during and following the financial crisis of 2008.“This is a tremendously exciting time for Harvard, and I couldn’t be happier that Tom has agreed to come on board,” said University Treasurer Paul Finnegan. “His experience and deep roots in the community will be a significant asset to Harvard.”As a longtime Boston resident, Hollister is the former chair of the Greater Boston Chamber of Commerce and remains on its executive committee. He is a proprietor of the Boston Athenæum, a fellow of the Massachusetts Historical Society, and a member of the Commercial Club.“It is an incredible privilege to join Harvard in this role, and I look forward to working with others across the institution to advance the University’s mission and its success,” said Hollister.Reporting to the executive vice president, Hollister will oversee Harvard’s financial administration and an array of activities encompassing financial planning, financial reporting, capital structures and debt management, cash management, and funding principles and strategies for physical plant assets. His arrival follows a national search for a successor to Dan Shore, who stepped down in October.Hollister takes the reins as Harvard’s new CFO and VP for finance in mid-May.