How did a trilogy of novels about wizards and elves and furry-footed hobbits become a touchstone for right-wing power brokers? How did books that evince nostalgia for a pastoral, preindustrial past win an ardent following among the people who are shaping our digital future? - The New York Times
For more than 40 years (he) wrote with clarity, wit and love about a city in transition from the era of “urban renewal” slum clearance and suburban flight into new ideals of urbanism. - The New York Times
“The Sorrow and the Pity (1969), his documentary on the behaviour of the citizens of the French city of Clermont-Ferrand during the Second World War, and the Oscar-winning Hotel Terminus: The Life and Times of Klaus Barbie (1988) ... made any reference to his father, filmmaker Max Ophüls, an irrelevance.” - The Guardian
“For decades, Mr. Salgado was on hand for many of the world’s major crises. ... He described his mission as seeking to convey a sense of the ordinary people caught, often helpless, in the tumult.” - The Washington Post (MSN)
Grigorovich's productions of the Stone Flower, Ivan the Terrible and Romeo and Juliet redefined Soviet ballet. Praised for revitalising male dance, he created parts for men demanding exceptional strength and artistry. - BBC
Overall, Ron Chernow’s “Mark Twain” is less a literary biography than a deep dive into “the most original character in American history.” - Washington Post
“From 1981 to 1988, the bust sat at Morrison’s burial site at the Pére Lachaise cemetery. … French authorities stumbled on the sculpture when they were conducting a search related to a fraud investigation led by the Paris Public Prosecutor’s Office.” - Artnet
“I wasn’t closeted — I just never declared. And yet the reaction to that New York magazine excerpt was wild. Suddenly I’m ‘coming out.’ At my age! Diane, my wife, and I laughed about it. ... If I was in a closet, it was made of glass and full of light.” - The Hollywood Reporter
He was the most influential figure in postwar Soviet ballet, and it was his choreography that established what is still considered the signature Bolshoi style: bold, virtuosic or even acrobatic, muscular and macho. - The Telegraph (UK) (MSN)
“It’s really not fair for people to think it’s hard to make a movie insofar as you need to know things before going into it. There are technical directors, but, Jesus Christ, you hire a crew. You just have a perspective and trust it.” - Seattle Times (AP)
Trump adores her performance of “Memory” from 1982. She felt “a glimmer of hope that wouldn’t it be great if he could allow us, as theater artists, to share with him that which we know in storytelling to assist him to see things a bit differently.” - The New York Times
“It’s so much more deep than anyone could imagine because it’s about thinking outside the box and resolving things in a nontraditional way. I think that really stimulated me as a child and allowed me to have a dreamlike mentality my entire life.” - The New York Times
His easy stage presence, comic timing and small but perfectly formed voice (combining lightly-sprung agility with a distinctive sweetness of tone), were ideal for what became his signature role, Count Almaviva in The Barber of Seville. He was widely admired as well for his Mozart and bel canto roles. - Presto Music
“A jury found Hadi Matar, 27, guilty of attempted murder and assault in February. … Matar received the maximum 25-year sentence for the (stabbing) of Rushdie and seven years for wounding a man who was on stage with him. The sentences must run concurrently because both victims were injured in the same event.” - AP
“In a career that spanned more than 50 years, (the three-time Tony winner) wrote more than a dozen Broadway musicals, as well as film scores and ‘Those Were the Days,’ the theme song for the sitcom All in the Family,” starring Carroll O’Connor as Archie Bunker. - AP
