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| CHRISTIAN DIOR An embroidered coat with a high collar over a Directoire-style dress. January 25, 2005 Galliano, Connecting the Periods By CATHY HORYN PARIS, Jan. 24 - "It's definitely something in the air," the director Sofia Coppola said before the start of the Dior show on Monday, referring to the unfolding French history lesson at the spring haute couture shows and the timing of her movie "Marie-Antoinette," which begins filming in March. The designer John Galliano, clicking on a reference from Bob Dylan, made a leap from the bobble head of Edie Sedgwick to the bobble head of the Empress Josephine. And on Tuesday, when Karl Lagerfeld presents his Chanel collection, there will be rosy cheeks, plumed hair and a nod to the French Enlightenment. Fashion is having a period moment, or rather many periods compressed into a single moment. There is no time for a costume change. Seated next to Ms. Coppola on a brown leather chair meant to recall the atmosphere of Andy Warhol's Factory was Marianne Faithfull, who will play Marie Antoinette's mother. On the sound system was "As Tears Go By," the song that Mick Jagger and Keith Richards wrote for her in 1964, when she was the fantasy of every teenage boy. So the spinning wheel keeps turning. Now Edie, now Marianne. What's up, Josephine? Mr. Galliano can pull connections out of the air, and somehow they are the right ones. "It all started with Bob Dylan's line 'Andy Warhol is Napoleon in rags,' " he said backstage. "Of course, that's like waving a red flag in front of a bull: me." Mr. Galliano has long been fascinated with the French Revolution and the early 19th century; he based some of his best collections on those calamitous decades. This was not his best collection, but it was a genuinely thoughtful departure from what he has been doing in recent seasons, when too many drag-queen effects suggested a woman-hating element in his clothes. There is a pretty logical connection between the Empire-waist styles of the 1960's, which Mr. Galliano finessed with high-collar jackets and coats in pink and green wool with high, wide belts, and the Directoire dresses, with their childish bodices, that you associate with Napoleon's reign. But Mr. Galliano's peculiar genius is to obey no rules and no logic. So there was a loose-back minidress in black-and-white matte sequined stripes worn with black fishnets and flat crocodile boots. The 60's slid into a vaguely Rembrandt era, with coats and humpback dresses in portrait shades of red and orange velvet that had been burned in spots and beaded. Then came the lovely petal-shape Josephine dresses in white chiffon with blue and gold flower embroideries, followed by Napoleon himself: Mr. Galliano in an admiralty hat cocked over his freshly tinted orange-red hair. Or to turn the conceit on him: Dynamite Napoleon. Before the show, Bernard Arnault, the chairman of LVMH Moët Hennessy Louis Vuitton, dismissed rumors that LVMH is looking for buyers for three of its houses: Givenchy, Celine and Donna Karan. "Not only are we not selling them, there has been no discussion," he said. Nonetheless, with the announcement today that Helmut Lang will no longer be involved with his own brand, the fashion world seems to be going through one of its periodic crises, and just as many of the luxury companies are reporting strong 2004 sales. The weakness of the dollar is partly to blame for the conspicuous absence of big spenders. Indeed, one of couture's most dedicated enthusiasts, Suzanne Saperstein, admits that she now attends the shows mostly to watch. "In the 10 years since I first started coming to couture the prices have gone up about 60 percent," said Mrs. Saperstein, who was at the Dior show in jeans and a seven-year-old Dior jacket. "And probably in today's political climate, with people suffering in Asia because of the tsunami, it also seems a little ridiculous to spend that much money for clothes." Giorgio Armani has chosen an interesting moment, then, to mount a couture collection in Paris. "I've done this as a present for my 70th birthday, and I want to give women beautiful dresses," Mr. Armani explained. The clothes he showed on Monday, from his new Privé line, were certainly very tempered in their taste and imagination. There were no day clothes, unless your day begins with a martini, and the slim silhouette seemed red-carpet approved. Bodices and sleeves were tiny, often glazed in crystals and jet beads, and the many silk satin skirts opened to mermaid hems with stiff petticoats rustling underneath. The workmanship was impeccable, and here and there were glints of pale jewel tones against the mostly white, black and ecru palette. But there was a formality to the clothes, a seriousness, that didn't suggest the adventure that brought Mr. Armani to Paris. On Sunday he gave a party at his Emporio Armani store on the Left Bank. Apparently, wherever the king of Italian fashion goes, he has labor on his mind. But in haute couture it helps to be a little light in your head. Copyright 2005 The New York Times Company | Home | Privacy Policy | Search | Corrections | RSS | Help | Back to Top | ||
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Month: January 2005
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Wednesday, January 26, 2005
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Sips don't lie: In a blind tasting of 21 vodkas, Smirnoff was favored over newer brands.
January 26, 2005
SPIRITS OF THE TIMES
A Humble Old Label Ices Its Rivals
By ERIC ASIMOV
IT was not exactly a victory for the underdog, but chalk it up as a triumph of the unexpected.
The idea for the Dining section's tasting panel was to sample a range of the new high-end unflavored vodkas that have come on the market in the last few years in their beautifully designed bottles and to compare them with a selection of established super-premium brands. To broaden the comparison, or possibly as a bit of mischief, our tasting coordinator, Bernard Kirsch, added to our blind tasting a bottle of Smirnoff, the single best-selling unflavored vodka in the United States, but a definite step down in status, marketing and bottle design.
After the 21 vodkas were sipped and the results compiled, the Smirnoff was our hands-down favorite.
Shocking? Perhaps. Delving into the world of vodka reveals a spirit unlike almost any other, with standards that make judging it substantially different from evaluating wine, beer, whiskey or even root beer. A malt whiskey should be distinctive, singular. The same goes for a Burgundy or a Belgian ale. But vodka? Vodka is measured by its purity, by an almost Platonic neutrality that makes tasting it more akin to tasting bottled waters, or snowflakes.
Yet in just a few decades vodka has become the most popular spirit in the country. It is now the default liquor in cocktails once made with gin, and with its glossy merchandising it has set a marketing standard for high-end spirits that the other liquors are all struggling to emulate. It's quite an achievement for something that the government defines as "neutral spirits, so distilled, or so treated after distillation with charcoal or other materials, as to be without distinctive character, aroma, taste or color."
A lack of distinctiveness is a separate matter from a lack of distinction. The vodkas we tasted had character and their own flavors and aromas, even though the differences among them were often subtle and difficult to articulate.
"I'm looking for interest," said Eben Klemm, a cocktail expert who joined me for the tasting, along with my colleagues Florence Fabricant and William L. Hamilton, who writes the Shaken and Stirred column for the Sunday Styles section. "Some were so unique that they stood out," he added, "while others were pure, simple and austere."
Mr. Klemm, whose heady title is director of cocktail development for B. R. Guest, a restaurant group that includes Dos Caminos, Fiamma and Vento in New York, found himself torn in two directions in assessing the vodkas. Because we tasted them straight, he judged them as solo beverages yet could not help extrapolating how they would taste in cocktails, which are overwhelmingly the vehicle for consuming vodka.
Mr. Hamilton, too, wondered whether his perceptions might change. "When deployed in mixed drinks, these slight flavor profiles that I enjoyed might cause trouble," he said.
Ms. Fabricant, on the other hand, dismissed such existential issues. "Go with the flow," she suggested, adding that the qualities she sought in the vodkas included elegance, neutrality and balance. "As a vodka drinker who likes vodka on the rocks, I picked out what I would want to drink," she said.
I'm not much of a vodka drinker myself, although I do like a good bloody mary. I prefer gin in classic gin drinks like martinis and gimlets that have largely evolved into vodka cocktails. But I appreciate the purity and depth of a fine vodka. Those I liked best were all smooth rather than harsh, and balanced and harmonious rather than burdened by alcoholic heat. They had a presence in the mouth that we sometimes referred to as texture or substance.
That being said, at the end of our tasting it was Smirnoff at the top of our list, ahead of many other names that are no doubt of higher status in stylish bars and lounges. Some of those names did not even make our Top 10. Grey Goose from France, one of the most popular vodkas, was felt to lack balance and seemed to have more than a touch of sweetness. Ketel One from the Netherlands, another top name, was felt to be routine and sharp, although Mr. Klemm did describe it as "a good mixer."
More than 300 vodkas are on the market now, and of course we could not taste them all. Notable brands that we omitted included Chopin, Finlandia, Rain and Tanqueray Sterling. But our tasting included 5 of the 10 best-selling unflavored vodkas in the United States and the 5 best-selling imported vodkas.
What set Smirnoff apart, we agreed, was its aromas and flavors, which we described as classic. Smirnoff of course has a long history. The company was founded in Russia in the 19th century, and after the Russian Revolution the family, then spelling its name Smirnov, left the country and eventually ended up in France. The brand, now owned by Diageo, was introduced in the United States in 1934 and eventually became the best-selling brand with the slogan "It will leave you breathless."
Perhaps our description of Smirnoff as classic was nostalgic, possibly a result of the imprinting of its flavors and aromas on our brains in some early quest through our parents' liquor cabinets. But its smooth neutrality and pleasing texture also won it points, and its success illustrates a vital truth about vodka.
Unlike most other spirits and certainly unlike beer and wine, vodka does not necessarily benefit from artisanal manufacturing. The bearded bumpkin who minds the barrels in the ad campaigns for bourbon has no place in the production of vodka. In fact most so-called vodka producers do not even distill their own spirits.
In the United States almost all vodka producers buy neutral spirits that have already been distilled from grain by one of several big Midwestern companies like Archer Daniels Midland. The neutral spirits, which are 95 percent alcohol or more, are trucked to the producers, where they are filtered, diluted and bottled. In our tasting only one brand, Teton Glacier Potato vodka, was distilled by the producer. Another producer, Hangar 1, distills a portion of its spirits and buys the rest.
What sets vodkas apart from one another are essentially the base ingredients used in the distillation and the water. Most spirits can be made only from certain prescribed ingredients, but vodka can be distilled from just about anything that can be fermented into alcohol: grains, vegetables, even fruits.
Our tasting included vodkas made from wheat, rye and potatoes, even a couple that used grapes. Hangar 1 is distilled partly from wheat and partly from viognier grapes, which perhaps lend the slight sweetness the panel detected. Possibly the combination results in a complexity, which we all liked. Another vodka, Cîroc Snap Frost from France, is distilled entirely from grapes, but we sensed a disjointedness in it that kept it off our list.
Like gin, vodka can be produced just about anywhere, and our tasting included four from the United States; four from Poland; three each from Russia, France and the Netherlands; and one apiece from Switzerland, Estonia, New Zealand and Sweden. Russia and Poland both claim to be the originators of vodka. None of the Russians made our list, but two of our Top 3 were from Poland. The Wyborowa, which comes in a striking bottle designed by the architect Frank Gehry, was elegant and mysterious and seemed to keep drawing us in. The Belvedere was exceptionally pure and smooth.
All four entries from the United States made the list. In addition to Smirnoff and Hangar 1 they were Skyy, which Ms. Fabricant suggested would be superb ice cold, and Teton Glacier Potato vodka, which seemed to conform to the government definition of tasteless and odorless.
While we chose to focus on unflavored vodkas those blended in the factory with flavorings like lemon, black pepper and even chocolate may be the fastest-growing category of all. Given the government definition of vodka, the success of such flavored vodkas may raise the philosophical question one day of exactly what constitutes a vodka.
The prices of these vodkas ranged from a low of $13 for the Smirnoff to a high of $34 for Potocki, a Polish vodka that did not make our cut. The Belvedere also cost $34, but that was for a liter rather than the usual 750 milliliter bottle. Imported vodkas tend to cost more, partly because of taxes levied by various governments, currency exchange rates and, not least, marketing concerns: as has been proved in many industries, wine not least of all, raising the price of a product increases its status among consumers.
Possibly with that in mind Stolichnaya has just introduced a new vodka, Elit, for $60 a bottle. Because Elit was not available in New York at our tasting, the panel did not sample it. Its marketers say it is "carefully crafted using a centuries-old Russian recipe and a revolutionary 'freeze filtration process.' " The bottle is certainly sleek. What's inside may be another matter.
Tasting Report: In the Best-Selling Category, a Best Seller Stands Out
BEST VALUE
Smirnoff United States Grain
80 proof
$13
***
Pure, clean and ultrasmooth, with pleasing texture and classic vodka aroma.
Wyborowa Poland Single Estate Rye
80 proof 1 liter
$30
***
Elegant and intriguing, with mild flavors and great persistence.
Belvedere Poland Rye
80 proof 1 liter
$34
***
Great smoothness and purity, with good texture and body.
Absolut Sweden Level Grain
80 proof
$24
** 1/2
Smooth and substantial, with flavors of flowers, lemon grass or nuts.
Hangar 1 United States Straight Wheat and Grain
80 proof
$30
** 1/2
Pleasing, with complex flavors and a suggestion of sweetness.
Vox Netherlands Wheat
80 proof
$23
** 1/2
Smooth and neutral, with savory flavors and a touch of alcoholic heat.
Olifant Netherlands Grain
80 proof 1 liter
$17
**
Subtle, yet rich and complex.
42 Below New Zealand Wheat
84 proof
$24
**
Straightforward, pure and smooth.
Skyy United States Grain
80 proof 1 liter
$16
**
Unusual flavors of mint and lime
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Brian Allen, Reporter
FBI, Metro Disagree Over Las Vegas Terror Alert


Sheriff Bill Young

Click here to contact Reporter Brian Allen
(Jan. 21) -- There is disagreement Friday night between the FBI and Metro Police concerning Thursday's terror warning for Las Vegas when the city was put on alert. But not everyone knew, including some of the highest officials in the state's homeland security department.
The Las Vegas FBI learned Wednesday at 6 p.m. about information linking possible terrorist activity to Las Vegas. Nevada Homeland Security Commissioner Dennis Nolan didn't know until Thursday night when he heard about it for the first time on the news.
Nolan said, "All of us who are members of the Homeland Security Commission have a vested interest in issues like we see unfold yesterday."
The Nevada Homeland Security Commission draws up terrorism response plans, but it is not responsible for carrying out those plans. Nolan believes that's why the commission wasn't let it on the FBI information. He wants that procedure reviewed, "If there is some type of action the commission needs to take or forward to the legislature we can do that."
Eyewitness News investigated why the information was only released to a few agencies, who knew about the FBI terror warning, and who thinks they should have known about it? And why didn't Metro or the FBI alert the public about Thursday's terrorism warning?
Both agencies say the information was vague and they say without specifics, there was no need to tell you. Sheriff Bill Young worried about triggering what he called "mass pandemonium."
"There's a certain after-effect that takes place. Peoples' nerves can become frayed, business stops, kids don't go to school, people are upset," Sheriff Young stated.
This statement in spite of previous publicly announced terror warnings for New York, New Jersey, Washington, D.C. and Boston, where mass pandemonium did not occur.
Young says even if he wanted to tell the public, he couldn't. "This came from the FBI. They said I could not disclose it."
The FBI says that's not true. Agent Dave Schrom tells Eyewitness News quote: "We did not prohibit him from disclosing the information".
On Las Vegas One, public relations expert Billy Vassiliadis told Jon Ralston that Sheriff Young has to balance public safety with public information. "But at some point he also feels the pressure of responding to his public," said Vassiliadis.
Young says he consulted Las Vegas city manager Doug Selby, Clark County manager Thom Reilly and Las Vegas Mayor Oscar Goodman who all urged him not to say anything publicly about the warning.
The Mayor is also defending his own decision not to disclose the information. "You don't want to get people upset when they can't do something about it."
There's also some confusion about which law enforcement agencies were let in on the terror warning. Thursday, both Henderson and North Las Vegas police denied knowing about the terror warning.
Friday, Henderson Police confirm to Eyewitness News they were told about the warning on Wednesday night. North Las Vegas Police has not returned our calls.
Again, the FBI, Metro Police, casino security forces, taxi and limo operators all knew about a warning that could have impacted your safety. But no public announcement was made.
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Wednesday, January 26, 2005
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January 26, 2005
Philip Johnson, Elder Statesman of U.S. Architecture, Dies at 98
By PAUL GOLDBERGER
Philip Johnson, at once the elder statesman and the enfant terrible of American architecture, died yesterday at the Glass House, the celebrated estate he built for himself in New Canaan, Conn., said David Whitney, his companion of 45 years. He was 98 years old.
Often considered the dean of American architects, Mr. Johnson was known less for his individual buildings than for the sheer force of his presence on the architectural scene, which he served as a combination godfather, gadfly, scholar, patron, critic, curator and cheerleader. His 90th birthday, in July 1996, was marked by symposiums, lectures, an outpouring of essays in his honor and back-to-back dinners at two venerable New York institutions he had played a major role in creating: the Museum of Modern Art, whose department of architecture and design he joined in 1930, and the Four Seasons Restaurant, which he designed as part of the Seagram Building in 1958.
Mr. Johnson was the first winner of the Pritzker Prize, the $100,000 award established in 1979 by the Pritzker family of Chicago to honor an architect of international stature. In 1978, he won the Gold Medal of the American Institute of Architects, the highest award the American architectural profession bestows on any of its members.
His long career was a study in contradictions. For all his honors, Mr. Johnson was in some ways always an outsider in his profession. His own architecture received mixed reviews, and frequently startled both the public and his fellow architects. The style of his work changed frequently, and he was often accused of pandering to fashion and designing buildings that were facile and shallow.
Yet he created several buildings, including the Glass House, the sculpture garden of the Museum of Modern Art, and the Museum of Pre-Columbian Art at Dumbarton Oaks in Washington, that are widely considered among the architectural masterworks of the 20th century, and for his entire career he maintained an involvement with architectural theory and ideas as deep as that of any scholar.
As an architect, he made his mark arguing the importance of the esthetic side of architecture, and claimed that he had no interest in buildings except as works of art. Yet he was so eager to build that he willingly took commissions from real-estate developers who refused to meet his own esthetic standards, and liked to refer to himself, with only partial irony, as a whore. And in the 1930's, this man who believed that art ranked above all else took a bizarre and, he later conceded, deeply mistaken detour into right-wing politics, suspending his career to work on behalf of Huey Long and later Father Charles Coughlin, and expressing more than passing admiration for Adolf Hitler.
Mr. Johnson's foray into Fascism was over by the time the United States entered World War II, and two decades later he sought to make public atonement to Jews by designing a synagogue in Port Chester, N.Y., for no fee. But to the end of his life the contradictions continued. With his dignified bearing and elegant, tailored suits, he looked every bit the part of a distinguished, genteel aristocrat, but he played the celebrity culture of the 1980's and 90's as successfully as a rock star. He was far and away the best-known living architect to the public, and his crisply outlined, round face, marked by heavy, round black spectacles of his own design, was a common sight on television programs and magazine covers.
With the exception of his brief involvement in right-wing politics, all of Philip Johnson's careers - historian, museum director and designer - revolved around architecture. He began his professional life as a writer, historian and curator and did not enter architecture school until he was 35. Even when he became one of the nation's most eminent practicing architects, he continued to be a major patron of institutions and of younger architects, whose work he followed with avid interest.
He began his career as an ardent champion of Modernism, but unlike many of the movement's early proselytizers, he changed with the times, and his own work showed a major movement away from beginnings that were heavily influenced by the architect Mies van der Rohe. In the late 1950's, just after he had collaborated with Mies on the design of the Seagram Building on Park Avenue, he introduced elements of classical architecture into his buildings, beginning a long quest to find ways of connecting contemporary architecture to historical form. It was a quest that would begin with highly abstracted versions of classicism in the 1960's and culminate in a much more literal use of the architectural forms of the past in his revivalist skyscrapers of the 1980's.
That phase of Mr. Johnson's career included such well-known monuments as the classically detailed pink granite AT& T Building (now the Sony Building) on Madison Avenue, which he completed in 1983 with John Burgee, then his partner; the Republic Bank Tower (now NCNB Center) in Houston, which used elements of Flemish Renaissance architecture; the Transco Tower in Houston, which recapitulated the setback forms of a romantic 1920's tower in glass, perhaps his finest skyscraper; and the PPG Center in Pittsburgh, a reflective glass tower whose Gothic form copied the shape of the tower of the Houses of Parliament in London.
Institutional clients also got their share of Mr. Johnson's fixation with historical form: he designed a Romanesque structure in brick for the Cleveland Play House and a classical building based on the designs of the French visionary architect Étienne-Louis Boullée for the architecture school of the University of Houston.
In the late 1980's Mr. Johnson's restless mind, having played a major role in shifting American architecture toward Postmodernism, with its re-use of traditional elements, moved on yet again. Fascinated by the intense, highly abstract work of a group of younger Modernist architects who were to become known as the Deconstructivists, Mr. Johnson began to incorporate elements of their architecture into his own work.
He was particularly entranced with the buildings of the Los Angeles architect Frank Gehry, whose complex, seemingly irrational forms would appear to be the antithesis of the cool, rational, ordered architectural world of Mr. Johnson's first mentor, Mies, and much of his late work reflected Mr. Gehry's influence.
Mr. Johnson, an urbane, elegant figure, was perhaps the best-known New York architect since Stanford White. Born to wealth, he and Mr. Whitney, a curator and art dealer, lived well - for many years in a town house on East 52nd Street that Mr. Johnson had originally designed as a guest house for John D. Rockefeller 3d, then in an elaborately decorated apartment in Museum Tower above the Museum of Modern Art - and always on weekends in the famous Glass House compound.Mr. Johnson had lunch daily amid other prominent and powerful New Yorkers at a special table in the corner of the Grill Room of the Four Seasons restaurant. His guest was as likely to be a young architect in whose work he had taken an interest, and for years his table functioned as a kind of miniature architectural salon.
In the evenings, he was frequently seen at exclusive social events - for years by himself, and in the last decade, as he felt greater ease in making his relationship with Mr. Whitney public, with his companion. He was among the few architects whose comings and goings were considered worthy of notice in the gossip columns.
He had been an active art collector since the days when, as a student traveling in Germany, he purchased a pair of Paul Klees directly from the artist. Eventually he came to be a busy collector of contemporary art: advised by Mr. Whitney, he filled his walls with paintings by Roy Lichtenstein, Andy Warhol and Jasper Johns when these artists were just gaining public attention, and he amassed one of the most complete collections of paintings by Frank Stella in private hands.
Mr. Johnson not only lived and ate in places of his own design, he worked in them as well. Until 1986 his office was in the Seagram Building, the great skyscraper he designed with Mies, who was its principal architect. Mr. Johnson practiced alone there for some years, then collaborated with Richard Foster of Greenwich, Conn., for a time, and in 1967 formed a partnership with John Burgee.
It was this partnership that transformed Mr. Johnson from a scholar-architect designing small to medium-size institutional buildings for well-to-do clients to a major force in American commercial architecture. Mr. Burgee's arrival coincided with the firm's movement toward a number of major and widely acclaimed skyscraper projects, including the I.D.S. Center in Minneapolis and Pennzoil Place in Houston. Mr. Johnson's own leanings were always toward the esthetic issues involved in design, and in Mr. Burgee he found a partner who could serve not only as a colleague in design but also as an executive overseeing the kind of large architectural office required to produce major skyscrapers.
As if to mark Mr. Burgee's role, the Johnson-Burgee firm moved in 1986 into the elliptical skyscraper at 885 Third Avenue, between 53rd and 54th Streets, popularly known as the Lipstick Building, which the partners had designed together. But the partnership was not to last long beyond the move: Mr. Burgee, eager to occupy center stage, negotiated a more limited role for Mr. Johnson, and in 1991 exercised the prerogative he had as chief executive of the firm and eased Mr. Johnson out altogether.
It proved an unwise decision, since the firm, crippled by an arbitration decision unrelated to Mr. Johnson, soon went into bankruptcy, all but ending Mr. Burgee's career. Mr. Johnson, his ties with his former firm having been severed, had no liability, and he went on to rent a smaller space in the Lipstick Building, gleefully hanging out his shingle and declaring himself in business as a solo practitioner at the age of 86. Before long, he had several commissions, including a cathedral in Dallas, and his career had recharged itself completely.
Philip Cortelyou Johnson was born on July 8, 1906, in Cleveland, the son of Homer H. Johnson, a well-to-do lawyer, and Louise Pope Johnson. Supported by a fortune that consisted largely of Aluminum Company of America stock given him by his father, Mr. Johnson went to Harvard to study Greek, but became excited by architecture and spent the years immediately after his graduation in 1927 touring Europe and looking at the early buildings of the developing Modern architecture movement.
He teamed up with Henry-Russell Hitchcock, at that time the movement's chief academic partisan in the United States, and their travels together resulted in their book "The International Style," published in 1932 and now a classic. "We have an architecture still," is how Mr. Johnson and Mr. Hitchcock concluded the book, which played a major role in introducing Americans to the work of European modernists ranging from Le Corbusier to Mies to Walter Gropius, then barely known here.
In 1930, before "The International Style" was published, Mr. Johnson joined the department of architecture at a new institution in New York, the Museum of Modern Art. He moved the museum quickly to the forefront of the architectural avant-garde, sponsoring exhibitions on contemporary themes and arranging for visits by Gropius, Le Corbusier and Mies, for whom he also negotiated his first American commission.
Mr. Johnson left the museum in 1936 to pursue his political agenda full-time, dividing his time between Berlin, Louisiana and his family's home in Ohio. By the summer of 1940, his infatuation with Fascist politics had faded, although as Franz Schulze, his biographer, wrote in 1994, it was never clear whether he withdrew because he changed his mind or because he had failed to achieve political success. "In politics he proved to be a model of futility," Mr. Schulze wrote.. "He was never much of a political threat to anyone, still less an effective doer of either political good or political evil."
In 1941, at the age of 35, Mr. Johnson turned once and for all to the field that would occupy him for the rest of his life, and enrolled at the Harvard Graduate School of Design to begin the process of becoming an architect.
While at Harvard, Mr. Johnson did what few students, even those of great means, have been able to do - he actually built the project he designed as a thesis. It was a house in the style of Mies, its lot surrounded by a wall that merges into the structure, and it still stands at 9 Ash Street in Cambridge, Mass.
After wartime service in the United States Army - although the Federal Bureau of Investigation had investigated Mr. Johnson for his Fascist leanings, the Government decided he was sufficiently repentant to wear the uniform - he returned in 1946 to the Museum of Modern Art. At the same time he began slowly to build up an architectural practice of his own, combining it with his career as a writer and curator.
He designed a small, boxy house, also highly influenced by Mies, for a client in Sagaponack, L.I., in 1946, but his first significant building, and still perhaps his most famous, was not for an outside client at all but, like the Cambridge house, for his own use: it was the Glass House at New Canaan, completed in 1949 with its counterpoint, a brick guest house.
The serene Glass House, a 56-foot by 32-foot rectangle, is generally considered one of the 20th century's greatest residential structures. Like all of Mr. Johnson's early work, it was inspired by Mies, but its pure symmetry, dark colors and closeness to the earth marked it as a personal statement, calm and ordered rather than sleek and brittle.
Over the years, Mr. Johnson added to the Glass House property, turning it into a compound that became a veritable museum of his architecture, with buildings representing each phase of his career. A small, elegant white-columned pavilion by the lake was built in 1963; an art gallery, an underground building set into a hill, with pictures from Mr. Johnson's extensive collection of contemporary art set on movable panels, in 1965; the sculpture gallery of 1970, a sharply defined, irregular white structure covered with a greenhouse-like glass roof; a library of stucco with a rounded tower that from a distance looks like a miniature castle (1980); a concrete-block tower, as much a piece of sculpture as a building, dedicated to his lifelong friend Lincoln Kirstein, the writer and New York City Ballet founder(1985); a "ghost house" of chain-link fence, honoring Mr. Gehry, who often used this material (1985), and finally, what Mr. Johnson called "the Monsta," an irregularly-shaped building of deep red with sharply curving walls, finished in 1995.
The "Monsta" - Mr. Johnson could not quite bring himself to call one of his buildings a monster, but he felt its shape resembled it - is set at the gate of the estate and was designed to serve as a visitors center once the public was admitted to the property after his death. (Although Mr. Johnson kept an office in New York, working part time there until a year ago, he and Mr. Whitney have spent most of their time at the Glass House in recent years.) The Glass House compound is willed to the National Trust for Historic Preservation, which plans to operate it as a museum.
In addition to Mr. Whitney, Mr. Johnson is survived by a sister, Jeannette Dempsey of Cleveland, now 102.
After the Glass House was completed in 1949, Mr. Johnson received other residential commissions, including a number of houses in New Canaan. His first work at very large scale, however, was the Seagram Building, designed in association with Mies, though Mr. Johnson himself did the elegant Four Seasons restaurant within. The deep bronze Seagram, completed in 1958, is considered by many critics to be the finest postwar skyscraper in New York.
By that time, however, Mr. Johnson was already becoming impatient with the limitations of the strict, austere Miesian design vocabulary. He began to explore a more decorative sort of neo-Classicism, which led to such designs as the Amon Carter Museum in Fort Worth (1961), the New York State Theater at Lincoln Center (1964) and the Elmer Holmes Bobst Library at New York University, designed in 1965 but not completed until 1973.
His work in that period led the architectural historian Vincent Scully to refer to him as "admirably lucid, unsentimental and abstract, with the most ruthlessly aristocratic, highly studied taste of anyone practicing in America today."
"All that a nervous sensibility, lively intelligence and a stored mind can do, he does,"Mr. Scully said.
Mr. Johnson's active art collecting brought him a nearly continuous stream of commissions to design museums, and his ties to the Museum of Modern Art brought him the request to design the museum's 1951 and 1964 expansions beyond its original 1939 building, including the sculpture garden. He also designed the original Asia House gallery on East 64th Street, now the Russell Sage Foundation, as well as museums in Utica, N.Y., Fort Worth, Lincoln, Neb., and Corpus Christi, Tex.
Despite his record as a museum designer and his long association with the Modern, the museum's board, of which Mr. Johnson was a member, decided in 1978 to hire a different architect to design its new West Wing. The job went to Cesar Pelli, and Mr. Johnson was deeply hurt.
For some time, relations cooled between him and the museum he had supported nearly since its founding, but eventually they resumed, and Mr. Johnson and Mr. Whitney moved into the apartment tower above the museum designed by Mr. Pelli. In 1984, as a tribute to Mr. Johnson as its founding curator, the museum's department of architecture and design named its exhibition space the Philip Johnson Gallery. And the museum marked Mr. Johnson's 90th birthday with a pair of exhibitions: one of notable works of art that the architect had donated to the museum, and another of works given by architects in Mr. Johnson's honor.
The beginnings of Mr. Johnson's late career as a major commercial architect were not in New York, however, but in Minneapolis, through an immense project in 1972 for Investors Diversified Services, a financial conglomerate that has since become part of American Express. A square-block complex containing a 51-story glass tower roughly shaped like an octagon, a hotel and a retail wing placed around a central glass-covered court, the design blended Mr. Johnson's interest in angular forms with a sensitive urbanism. It quickly became a focal point for downtown Minneapolis, and was the first of a generation of what might be called social skyscrapers, towers that did not merely house office workers but contained a myriad of public spaces as well.
Among the many observers who were impressed by the I.D.S. tower was Gerald D. Hines of Houston, a real estate developer who had begun his career as a builder of warehouses but by the early 1970's had sought to make a new mark as the developer of much larger buildings by prominent architects. Mr. Hines hired Mr. Johnson and Mr. Burgee to design Pennzoil Place, a twin-towered complex of glass in downtown Houston that was completed in 1973. One of the most widely known skyscrapers in the country, Pennzoil Place consists of two trapezoidal towers placed so as to leave two triangular areas open on the site. These areas were covered with steel and glass trusses to create greenhouse-like lobbies; as a further formal gesture, each tower was given a slanted roof for the top seven floors.
Pennzoil Place would prove widely influential, but five years later Mr. Johnson and Mr. Burgee moved away from it with the design for one of the most startling skyscrapers of the last generation, the AT& T (now Sony) headquarters in New York, the so-called "Chippendale skyscraper" of granite with a split pediment resembling an antique highboy.
During the 1980's Mr. Johnson and Mr. Burgee also designed major skyscrapers in Atlanta, Boston, Chicago, San Francisco and Dallas, most of which, following the lead of the AT& . Building, were lavishly finished in granite and marble and imitated some aspect of the architecture of the past.
Mr. Johnson also designed the Crystal Cathedral in Garden Grove, Calif., and the Museum of Television and Radio on West 52d Street in New York, and with Mr. Burgee produced plans through the 1980's for office towers for Times Square. Widely criticized, they have yet to be built. On his own, since the dissolution of his partnership with Mr. Burgee, he produced several projects for Donald J. Trump, including the glass tower at 1 Central Park West and projects for the Riverside South residential development; plans for a cathedral for a gay congregation in Dallas; and an office building for Berlin.
Although he gave up formal scholarship when he became an architect, Mr. Johnson continued to write and lecture frequently. He constant theme, unchanged through all his stylistic variations, was his belief in the need to view architecture as an art - something that separated him, in fact, from the socially minded early Modernists whose cause he once championed so ardently.
In a famous lecture in 1954 at Harvard titled "The Seven Crutches of Modern Architecture," he said, "Merely that a building works is not sufficient." Later, in an oft-quoted remark, he said, "I would rather sleep in Chartres Cathedral with the nearest toilet two blocks away than in a Harvard house with back-to-back bathrooms."
Years later, Mr. Johnson told an audience, "We still have a monumental architecture. To me, the drive for monumentality is as inbred as the desire for food and sex, regardless of how we denigrate it."
But he ended by arguing: "Monuments differ in different periods. Each age has its own.
"Maybe, just maybe, we shall at last come to care for the most important, most challenging, surely the most satisfying of all architectural creations: building cities for people to live in."
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Wednesday, January 26, 2005
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This year's best picture nominees are, from left, "The Aviator," "Million Dollar Baby," "Ray," "Sideways" and "Finding Neverland." (Photos: Miramax Films (far left and right) and Warner Brothers.)
January 25, 2005
'The Aviator' Receives 11 Oscar Nominations
By SHARON WAXMAN
The Aviator," Martin Scorsese's sweeping tale of the genius and phobias of Howard Hughes, took a lead in the Oscar race with 11 nominations, including nods for best picture, best director and best actor.
"Finding Neverland," about the man who wrote "The Adventures of Peter Pan," and "Million Dollar Baby," an underdog boxing tale, received seven nominations each, including best picture.
In a year that started with few clear front-runners and many small films vying for honors, voters in the Academy of Motion Picture Arts and Sciences turned back to what they have traditionally embraced - movies with inspiring themes and heartfelt stories. "Ray," about the singer Ray Charles, and "Sideways," about a middle-aged man's life crisis played out in the California wine country, were also nominated for best picture.
Controversial films like "The Passion of the Christ," directed by Mel Gibson, which had three nominations but none in the major categories, and Michael Moore's political documentary "Fahrenheit 9/11," which received no nominations, were largely ignored.
"The Aviator," which won nominations for Mr. Scorsese and the actors Leonardo DiCaprio, Cate Blanchett and Alan Alda, as well as the screenwriter John Logan, was the most ambitious film among the nominees: a three-hour tale of Howard Hughes's personal demons that also reflected Hollywood in the 1940's and the history of commercial aviation.
"It wasn't an odds-on favorite to even get made," said the film's producer, Michael Mann, noting that at one point eight films about Hughes were being planned. "We decided on the right story to tell, specifically to try to externalize the internal Howard Hughes. To take his struggles against mental disease on the one hand and his being swept away by his visionary aspect on the other - to tell the promise of the man."
Mr. DiCaprio said: "This is one of those films that deserves to be recognized. It's not the kind of film we get to see every week, or every month or year. It's an epic character study. It's encouraging to me that more people may finance fascinating character studies on this budget scale."
The nominations for "The Aviator" and "Finding Neverland" - plus a best foreign film nomination for "The Chorus" - represented a bittersweet victory for Miramax, the New York-based art house studio whose corporate parent, the Walt Disney Company, is poised to sever ties with Miramax's co-founders, Harvey and Bob Weinstein. Miramax was a co-distributor of "The Aviator," which had a budget of $112 million and received backing from both Warner Brothers and Initial Entertainment Group.
"As I said to Harvey a few week ago, 'If this is the last supper, let's eat,' " said Richard Gladstein, a producer of "Finding Neverland." "And he'll have an Act 2. No one's had an Act 1 like this."
Through a spokesman, Mr. Weinstein said, "We congratulate our nominees and are thankful that the focus is finally where it should be - on the movies."
"Sideways," a droll comedy directed by Alexander Payne, garnered nominations for best picture and best director, as well as supporting acting nods for Virginia Madsen and Thomas Haden Church, and a nomination for its screenplay, written by Mr. Payne and Jim Taylor. A darling of the critics, it had been expected by many to dominate the awards but failed to win a nomination for its lead actor, Paul Giamatti.
Jamie Foxx, who portrayed Ray Charles in "Ray," was nominated for best actor, as was Don Cheadle, who played a real-life hero who saved Tutsis during the 1994 genocide in Rwanda in "Hotel Rwanda." Mr. Foxx was also nominated for his supporting role in "Collateral."
Other nominees in the best actor category were Johnny Depp, as the playwright J. M. Barrie in "Finding Neverland," and Clint Eastwood for his performance in "Million Dollar Baby," which he also directed.
Imelda Staunton was nominated for best actress for her role in "Vera Drake," one of the least-seen films in the race, as a British woman who defies the law and social convention in the 1950's by performing abortions. The other nominees in the category were Annette Bening for "Being Julia," Catalina Sandino Moreno for "Maria Full of Grace," Kate Winslet for "Eternal Sunshine of the Spotless Mind" and Hilary Swank - a previous Oscar winner - for "Million Dollar Baby."
Ms. Winslet was nominated for portraying a kooky American who is erased from her boyfriend's memory. "She was such a difficult part to play," said Ms. Winslet, who is British. "I had to find the right balance of madness and subtlety, which is very, very hard to do, and an American accent, completely changing myself in order to be Clementine."
Morgan Freeman, who was nominated for best supporting actor for playing a wise ex-boxer in "Million Dollar Baby," Mr. Eastwood's boxing drama, said that it was a last-minute addition to the 2004 release schedule and that Warner Brothers had initially declined to finance it. "It was the subject matter, I would think that was the main reason," he said, referring to a surprising plot twist with political undertones that has not generally been discussed in the media so as not to spoil the ending.
The film was ultimately co-financed by the production company Lakeshore Entertainment and Warner.
Taylor Hackford, the director of "Ray," observed that having two African-Americans, Mr. Foxx and Mr. Cheadle, nominated for best actor, along with supporting nominations for Mr. Foxx, Mr. Freeman and the black British actress Sophie Okonedo, might be a sign that racial stigma is becoming a thing of the past in Hollywood. "It's an important time; people don't talk about 'African-American,' " he said. "We shouldn't look at it that way; when there are great performances on film, they should be recognized."
This year's directing nominations represented something of a triumph for Hollywood's old school. Four of the nominees are at least 60: Mr. Hackford, nominated for "Ray"; Mike Leigh, nominated for "Vera Drake"; Mr. Scorsese; and Mr. Eastwood, the oldest of the group at 74. Among the film industry's newer directors, only Mr. Payne, 43, was nominated.
Morgan Spurlock's "Super Size Me," a chronicle of the filmmaker's fate when he went on an all-McDonald's diet, was among the nominees in the documentary category. (Mr. Moore asked that "Fahrenheit 9/11" not be considered in that category.)
A year ago Mr. Spurlock brought "Super Size Me" to the Sundance Film Festival. "We made this little film for $65,000; now it's played in 60 countries," he said. "I don't have one debt in my life now, and that's a beautiful thing." He added that he was making an "educationally enhanced" version of the film to play in schools in the spring.
A documentary in competition at this year's Sundance festival, "Twist of Faith," about a Toledo firefighter's childhood experience of abuse at the hand of a Roman Catholic priest, was also nominated. The film was directed by Kirby Dick.
The 77th Oscar ceremony will take place at the Kodak Theater in Hollywood on Feb. 27.
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Wednesday, January 26, 2005
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Iran says it is building a civilian nuclear energy programme
Iran rejects Mossad nuclear claim
Iran has rejected a warning by Israel's Mossad intelligence agency that it could have a nuclear bomb within three years as "baseless".
Iran's foreign ministry insisted its nuclear regime was peaceful and accused Israel of misleading world opinion.
Meanwhile Israeli Defence Minister Shaul Mofaz said Israel could not accept a nuclear-armed Iran but played down the possibility of air strikes.
He said diplomatic action should be the priority for the US, the UN and Europe.
Iran has always insisted it is building a civilian nuclear energy programme.
However, Israel and the US maintain the Islamic state is using the energy programme as a front for a covert weapons regime.
The unfounded claims were made to deviate world attention from Israel's organised terror activities and efforts to strengthen its nuclear power
Hamid Reza Asefi
Foreign ministry spokesman
Gen Mofaz, speaking in London, echoed a warning by Israel's Mossad spy agency that Iran was "very close to the point of no return" on the nuclear issue.
He said: "The way to stop Iran is by the leadership of the US supported by European countries and taking this to the UN and using the diplomatic channel with sanctions as a tool, plus a very deep inspection regime and full transparency."
Gen Mofaz said decisions on further action would have to be taken at the time if diplomacy did not work.
"This is the main threat to Israel and the free world in the long run," he said. "We know Iran has a high desire to be a nuclear power. It is an extremist regime."
Defuse tensions
But Iran's foreign ministry spokesman Hamid Reza Asefi is quoted by the Iranian news agency Irna as saying Israel's allegations were "unfounded" and designed to distract attention from its own nuclear capabilities.
Israel "brazenly tries to portray Iran's nuclear activities as a threat to the world", Mr Asefi said, while continuing to strengthen its own nuclear power.
Last week US Vice-President Dick Cheney said Iran's nuclear programme put it "top of the list" of global issues. He also warned that Israel might launch a pre-emptive strike on its own to shut down Iran's nuclear programme
Iran agreed in November to halt uranium enrichment under pressure from the US, Europe and the International Atomic Energy Agency - but wants to be allowed to continue.
Gen Mofaz dismissed the agreement negotiated by Britain, France and Germany as a way of Iran "buying time".
The BBC News website's World Affairs correspondent Paul Reynolds says Gen Mofaz was trying to defuse tensions raised by Mr Cheney.
But he was also laying down a warning for the future and indicating that only about a year remained during which this issue could be solved by diplomatic action, our correspondent adds.
Story from BBC NEWS:
http://news.bbc.co.uk/go/pr/fr/-/2/hi/middle_east/4208809.stm
Published: 2005/01/26 14:37:35 GMT
© BBC MMV
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Wednesday, January 26, 2005
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Curtis Sittenfeld at St. Albans School, where she teaches, went to Groton School and wrote a novel about the fictional Ault School.
January 26, 2005
Although She Wrote What She Knew, She Says She Isn't What She Wrote
By FELICIA R. LEE
WASHINGTON - Lee Fiora is an awkward Midwestern scholarship student who is cowed by the academics, the superior blondes and the rich "bank boys" at her elite Massachusetts boarding school, not to mention tormented by a crush. Curtis Sittenfeld is a Midwesterner who attended an elite Massachusetts boarding school and was tormented by a crush. And therein lies a tale.
Ms. Sittenfeld is real, a 29-year-old writer whose debut novel, "Prep," stars the fictional Ms. Fiora. While Ms. Sittenfeld merely followed the time-honored advice to "write what you know," the question nibbling at her amid the novel's sweet reviews and media attention has been: How much of the first-person book is Curtis and how much is Lee?
Not that Ms. Sittenfeld or her publisher, Random House, really mind. The 406-page novel, was officially released on Jan. 18, and Random House has printed 24,000 more books, adding to the 16,000-copy first run. Lee Fiora, according to at least one review, could be the 21st-century Holden Caulfield. While Ms. Sittenfeld used a recent interview here to talk about the novel and all the ways she is not Lee, her publisher's publicity machine is complicit in the tease. "Prep" press material includes Ms. Sittenfeld's Groton School class photograph, a shot of the cute boy who was her high school crush and her senior yearbook quote and list of activities.
"In a way it's flattering that it seems so real," Ms. Sittenfeld said, adding that at Groton she was less an outsider than is Lee at the fictional Ault School, with more friends and more of an identity through writing. "But is it so easy to believe that I have no imagination and I can't invent dialogue or those scenarios?"
Indeed, she spent three years writing what she calls a "very plotted" book, with files and charts to keep track of the scenes and the characters, Ms. Sittenfeld said over salad at the Cafe Deluxe, near St. Albans School, a private boys school here, where she teaches English part-time.
"I do think I was trying to entertain the reader more than I was trying to purge myself," she said, raising her voice at the end of declarative sentences. "I don't see 'Prep' as cathartic. It was hard work to write it. I almost think some people think I went home one night, I had a glass of wine, pulled out my yearbook and got lost in my musings."
Still, there are those reviews. In a recent New York Times Book Review, Elissa Schappell wrote, "Sittenfeld's dialogue is so convincing that one wonders if she didn't wear a wire under her hockey kilt."The reviewer for The New York Observer even had advice for Lee, who he worried had succumbed to the same snobbery she so painfully documents: "Keep the gimlet eye, kiddo, but lose the snobbery. With heart and talent like yours, it's beneath you."
Ms. Sittenfeld said she was surprised by the intensity of interest in the conflation of character and author, despite some similarities. After all, Lee is from South Bend, Ind., and Ms. Sittenfeld is from Cincinnati. They both have unisex names (she is officially the seventh Elizabeth Curtis Sittenfeld). Lee falters academically, and Ms. Sittenfeld struggled with Latin, French, math and science.
But her own father (he is an investment adviser, Lee's is in the mattress business) asked if - like Lee - she ever cheated in high school. And he asked if a scene where Lee's dad slaps her is based on anything real. ("He was asking about his own life!" Ms. Sittenfeld said. )
Her older sister pulled her aside and asked if she went to Groton on scholarship.
No, no and no. Ault is not Groton, and few of the characters are composites or based on real people, she said. And for the record, her own high school crush "was nothing like Lee's relationship."
As for Groton, she said: "I'm sure there are people who are not pleased by the book. But the feedback I get is positive - people say 'we're so pleased for you.' The Groton Quarterly did a review that was incredibly nice."
"It just seemed the subject matter was alive," Ms. Sittenfeld said of her decision to plumb life at an elite boarding school.
"High school is very intense for everyone," she continued. "But at a boarding school, because you're there 24 hours a day, everything gets magnified." "It's a strange, distinct subculture," she said. "My boarding school experience was the only thing I had strong enough feelings to write about for hundreds and hundreds of pages. I can still smell the formaldehyde of the fetal pigs in biology."
"I've been hearing from other boarding school graduates," she continued. "They say: 'I went to Exeter, did you do research at Exeter? Or Deerfield?'"
Even with all the heady attention Ms. Sittenfeld seems not to have strayed too far into the stratosphere. At lunch, she blushed easily and apologized for the novel's graphic sex, which she said her parents thought was a bit too much. "I think the book is between PG-13 and R," she said earnestly, and therefore not for her students.
"They're ninth graders and they're not fascinated by my life and they shouldn't be," Ms. Sittenfeld said after lunch, showing a visitor around the St. Albans campus. "They ask me questions like 'Does it have foreshadowing? Does it have symbolism?' One boy said, 'Is it about the loss of innocence?' "
It is "weird," she said, that teaching at St. Albans puts her back in a prep school. "I see it as coincidental that I am here, which might sound delusional," she said. She was the writer in residence at the school in 2002-3.
At one point, Ms. Sittenfeld showed off a grosgrain ribbon belt in shades of green and pink, exactly the same one embossed on the cover jacket of "Prep" and handed out at her readings. "I wonder if they would have thought of handing out yarmulkes for Philip Roth's new novel?" Ms. Sittenfeld asked with a smile.
Speaking of writers, she said she was not a terribly disciplined one, but chained herself to her desk for "Prep." She has been writing since childhood. Like Sylvia Plath (to whom Ms. Sittenfeld compares herself in a recent article in The New York Observer) she won Seventeen magazine's annual fiction contest. That was in the summer of '92, before senior year. The story's protagonist was Leah Tappenreich and it was set - surprise - in a prep school.
"Prep" is very much a novel about class. All in all, Ms. Sittenfeld comes from a more privileged family background than Lee. Ms. Sittenfeld's mother teaches art history at a private school, where she is also a middle-school librarian. All four Sittenfeld children went to private school, although only Ms. Sittenfeld attended boarding school.
After Groton, Ms. Sittenfeld went to Vassar but transferred to Stanford because of "the slight dearth of cute boys" at Vassar. Then came the writing program at the University of Iowa, where she was enrolled in the master's program.
The world probably has not heard the last of old Lee Fiora, who by the end of the fictional memoir has finished college, "I definitely have an idea for a sequel," Ms. Sittenfeld said. "But I definitely feel prep-schooled out right now."
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Wednesday, January 26, 2005
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Richard M. Scrushy
January 26, 2005
In Birmingham, Richard Scrushy Is a Local Story
By REED ABELSON
BIRMINGHAM, Ala., Jan. 25 - The trial of Richard M. Scrushy, one of this city's most prominent and charismatic executives, got under way today, with the chief federal prosecutor calling Mr. Scrushy the mastermind of a sweeping accounting fraud at the hospital chain he founded. "He was the boss - he was the man," the prosecutor said.
Alice H. Martin, the United States attorney in charge of the case, promised the jurors that she would bring them "inside HealthSouth" to the executive offices where the decisions to manipulate the hospital company's results took place. Ms. Martin said all five former chief financial officers would testify. "You will hear how Richard Scrushy directed them to inflate that profit," artificially boosting earnings by $2.7 billion from 1996 through 2002, she said.
But defense lawyers countered by arguing that Mr. Scrushy was the victim of a fraud conceived by the financial officers, who, the lawyers said, misled him as much as they misled the company's outside auditors, Ernst & Young, and the company's board of directors. The executives "did it not for Richard Scrushy," argued Jim Parkman, a Birmingham lawyer who is serving as Mr. Scrushy's main defender at the trial. "They did it for themselves.
"You're not going to find one single memo, document, note, e-mail - nothing - with Richard Scrushy's fingerprint on it," Mr. Parkman said.
Instead, Mr. Parkman sought to describe William T. Owens, a former chief financial officer who is a critical government witness, as a man desperate to keep the company going. "He needed the money," he said. "He needed it more than anyone else."
The courtroom was crowded with lawyers, local press and the curious, and local television crews waited on the courthouse steps, eager to catch Mr. Scrushy leaving, holding hands with his wife. The trial made the local evening news, although it was not the top story.
While the case against Mr. Scrushy, who earned and spent tens of millions of dollars as head of HealthSouth, is of national interest, the trial is, in many senses, a local one. He will be judged, if not exactly by a jury of his peers, then certainly by the Birmingham community.
And that seems to be a crucial element of Mr. Scrushy's defense strategy. Skeptics say he began more than a year ago to court public opinion, reminding people of his good works and his religious faith. Last year, he began attending the Guiding Light Church, a ministry that caters primarily to blacks. In March, Mr. Scrushy and his wife, Leslie, became hosts of a half-hour Christian-themed talk show each weekday morning on local television.
The judge, Karon O. Bowdre, of United States District Court in Birmingham, has tried to curtail what she considered overt attempts to influence the jury pool outside the courtroom by forbidding lawyers to comment on the case. In addition, she closed most of the jury selection to the public.
The jury seated for the trial - 12 members of the regular panel and 6 alternates - is evenly divided between men and women; 11 of the jurors are black.
Aware that both the prosecution and the defense may try to introduce elements of Mr. Scrushy's character or lifestyle that go beyond the issues in the case, the judge told the jury on Tuesday, "A trial is not a popularity contest." And, seemingly in response to concerns raised by the defense, Ms. Bowdre emphasized that the jurors should not be influenced one way or another by Mr. Scrushy's wealth. "Mr. Scrushy is not on trial for making and spending money," she said.
Federal prosecutors are presenting a long list of charges against Mr. Scrushy, although they announced on Tuesday that they had reduced the number of counts to 46 from 58. Along with charges of conspiracy, fraud and money laundering, he is charged with false certification of corporate finances in the first major test of the Sarbanes-Oxley Act, Congress's response to a wave of corporate fraud cases and its attempt to make executives more accountable for what goes on in their companies. At HealthSouth, Mr. Scrushy signed documents attesting that the financial statements given investors were accurate.
Mr. Scrushy, who has steadfastly, even defiantly, maintained his innocence, has gone through a changing cast of lawyers. The team that will be defending him in court is now from the Birmingham area, including not only Mr. Parkman but also Donald V. Watkins, a prominent black lawyer and businessman who was sitting next to Mr. Scrushy on the opening day of the trial.
Just a few years ago, Mr. Scrushy, and Birmingham as well, seemed to revel in his astonishing success at creating HealthSouth, a chain of rehabilitation hospitals. A former respiratory therapist, he started the company in 1984 from virtually nothing, building it into a national presence with some 2,000 hospitals and clinics that employed 50,000 people across the country. To an aging industrial city, Mr. Scrushy seemed to promise a robust future in health care and economic prosperity.
Mr. Scrushy himself embodied what it was to be a modern chief executive, amassing tremendous personal wealth with all the trappings: luxury homes, fast cars and boats and the ability to spread his good fortune around the community. His charity was on prominent display, with the Scrushy name splashed on buildings from the local library to a junior college campus. His vision included a hospital here that would have the very latest in medical technology.
But the hospital remains unfinished, and the new management team running HealthSouth plans to exit the venture.
In the wake of the fraud uncovered at HealthSouth, investors lost hundreds of millions of dollars, and the shares still do not trade on a major stock exchange. Having narrowly averted bankruptcy, HealthSouth is now struggling to straighten out its affairs. It employs 44,000 people.
Some in the community blame Mr. Scrushy for what has transpired since the government first disclosed the fraud nearly two years ago. "I think there's a real strong sense he has let people down and shamed a community that was proud of HealthSouth," said Pamela H. Bucy, a law professor at the University of Alabama in Tuscaloosa, who used to live in the Birmingham neighborhood where the Scrushys live.
But the defense lawyers sought to portray Mr. Scrushy as a great visionary, brought down by his trust in others. Mr. Scrushy had "a dream of building something great - not for himself, but for others," Mr. Parkman said.
Much of the trial is expected to come down to the credibility of the witnesses, including the numerous former HealthSouth executives who have already admitted their part in the fraud and are cooperating with the government. Mr. Owens wore a secret recording device to tape some of his conversations with Mr. Scrushy, a tape that the jury is expected to hear during the trial.
But while Ms. Martin made frequent references to the coming testimony of her witnesses, the defense made clear that it would offer a vigorous attack on the significance of what was said on the tape and whether it represented clear proof of Mr. Scrushy's involvement.
Arguing that the tapes were "controlled" in a way to try to reach a certain outcome, Arthur Leach, the second defense lawyer to make opening arguments, told jurors to listen to it carefully. "You will see it's cryptic," he said. "There are no direct references."
And legal specialists say that defense lawyers are likely to take an extremely aggressive approach to defending their client, as a way of countering the steady stream of witnesses testifying against Mr. Scrushy.
"Scrushy is going to swing for the fences every chance he gets," said Roland Riopelle, a former federal prosecutor who now practices at Sercarz & Riopelle in New York.
The stakes are high: Mr. Scrushy faces a lengthy prison term and heavy fines if he is convicted on some of the counts, and the trial has been widely viewed as an important test of the new Sarbanes-Oxley legislation because he was the first chief executive to be charged under the law.
Prosecutors have poured enormous energy and resources into the case. "It is of monumental importance, not only to the United States attorney in Alabama, but also to the Department of Justice as a whole," said Christopher J. Bebel, a former federal prosecutor who now practices in Houston.
Glynn Wilson contributed reporting for this article.
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Wednesday, January 26, 2005
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Bernard J. Ebbers
January 26, 2005
Bernard Ebbers: Victim Himself or Mastermind?
By KEN BELSON
Opening the long-awaited fraud trial against Bernard J. Ebbers, who presided over one of the most spectacular collapses in the telecommunications industry as the chief executive of WorldCom, a federal prosecutor argued yesterday that Mr. Ebbers told "lie after lie after lie" to cover up the company's mounting losses and stave off his own financial downfall.
Mr. Ebbers knew WorldCom's "books were cooked," charged David Anders, the United States attorney leading the government's case, because "he told people to do it" as early as the year 2000.
"This wasn't just the problem of Bernard Ebbers, the C.E.O.," Mr. Anders told the jury at the federal courthouse in Lower Manhattan, "but Bernard Ebbers, who owned millions of shares himself." Contributing to his motive to lie, Mr. Anders said, was the fact that Mr. Ebbers had pledged millions of his WorldCom shares as collateral for personal loans.
But Mr. Ebbers's lawyers said that he was not guilty of any crime and that he had been misled by subordinates he trusted to handle WorldCom's complex finances. Reid Weingarten, the lead defense lawyer, compared the government's case to a television docu-drama where facts are conveniently left out if they do not fit the planned story line.
"There are zillions of documents in this case and there ain't one smoking gun," Mr. Weingarten said in an opening statement twice as long as the prosecution's.
Mr. Weingarten said Mr. Ebbers was in the dark about the fraud, a victim himself who never acted as if he were engaged in a conspiracy and who lost hundreds of millions of dollars of his own money as a result of the actions of others. He said Mr. Ebbers was loyal to WorldCom (renamed MCI after it emerged from bankruptcy) to the end, even after he was "unceremoniously" dumped as chief executive.
Mr. Ebbers had little background in accounting, his defense lawyer said, and relied on others to handle the company's accounting intricacies. Mr. Weingarten accused the government's central witness, Scott D. Sullivan, WorldCom's chief financial officer, of masterminding the fraud, adding that Mr. Sullivan "is more than a liar, but a poseur."
The trial is the latest in a string of high-profile corporate criminal cases to be held at the New York courthouse recently, including those of Martha Stewart, now serving a prison term for lying to investigators; John J. Rigas, the founder of Adelphia Communications; and Frank P. Quattrone, the most successful investment banker of the 1990's tech boom. All were found guilty by juries last year.
Mr. Ebbers, 63, sat motionless through the opening statements in the third-floor courtroom, though his face at times turned red and his brow often furrowed.
Mr. Ebbers's lawyers tried unsuccessfully to move the trial to Mississippi, where he lives and where WorldCom had its headquarters.
Opening arguments in the case came almost a year after Mr. Ebbers was indicted on charges of conspiracy, securities fraud and filing false claims with securities regulators. The $11 billion fraud led WorldCom in 2002 to file for bankruptcy protection, the largest filing in American history.
The indictment was the culmination of work by prosecutors who won guilty pleas from five of Mr. Ebbers's subordinates, including Mr. Sullivan. The case is being closely watched not only because of the scale of WorldCom's collapse, but also because it may provide an indication of how juries will respond to Mr. Ebbers's argument, like that of other chief executives accused of fraud, that he knew nothing about a scheme hatched on his watch.
Mr. Ebbers's defense rests in part on his rags-to-riches tale. As Mr. Weingarten went to great lengths to detail, Mr. Ebbers came from a modest background and used his entrepreneurial skill to build WorldCom into a telecommunications giant. Mr. Ebbers was hailed as a visionary during the company's rise in the 1990's, and is now, fairly or not, often depicted, along with Kenneth Lay, Enron's former chief executive, as a prime emblem of corporate greed.
David Myers, a former WorldCom controller who pleaded guilty to fraud charges, has agreed to cooperate with prosecutors in exchange for a potentially shorter sentence. Mr. Weingarten told the jury that Mr. Myers's testimony, like Mr. Sullivan's, would be tainted because of their motivation to cooperate.
Earlier yesterday, the court completed its weeklong screening of several hundred potential jurors. After sifting through questionnaires, Judge Barbara S. Jones and lawyers for both sides eliminated dozens of candidates because of potential conflicts of interest.
By lunch yesterday, the court had settled on a group of 16 men and women who will decide Mr. Ebbers's fate. Four of the team will listen to deliberations as alternates; the judge did not disclose which four.
The panel of jurors, predominantly working class, is diverse. Two are teachers, three are current or retired transit workers and three others are employed by banks. Most come from Manhattan and the Bronx; several others live in suburban Westchester County. Ten of the 16 jurors are women.
Twenty other potential jurors were dismissed yesterday.
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36 U.S. Troops Die in Iraq in Their Bloodiest Day
Wed Jan 26, 2005 11:12 AM ET
By Matt Spetalnick

BAGHDAD (Reuters) - Thirty-one U.S. troops were reported killed in a helicopter crash and five more died in insurgent attacks Wednesday in the deadliest day for American forces since they invaded Iraq 22 months ago.
Guerrillas also killed 10 Iraqis in a string of bombings and raids Wednesday. President Bush urged Iraqis to defy the insurgents, who are waging a bloody campaign to disrupt Sunday's landmark election, a cornerstone of U.S. plans.
CNN, quoting the U.S. military, reported that 31 Marines died when their transport helicopter went down in the deserts of the restive Anbar province of western Iraq.
The military confirmed casualties to reporters but gave no figures, as search and rescue teams scoured the area. The cause of the crash was not immediately known.
"Obviously, anytime you lose life it is a sad moment," Bush told a White House news conference. Mounting U.S. deaths have increased public pressure for a clearer exit strategy from Iraq.
Four U.S. Marines were killed in action in Anbar province, and an American soldier died in a rocket-propelled grenade attack north of Baghdad, U.S. officials said.
The latest surge of insurgent attacks appeared aimed at sowing panic even as the U.S.-backed interim government vowed stringent measures to safeguard the election, Iraq's first since the fall of Saddam Hussein in April 2003.
"I urge all people to vote. I urge people to defy these terrorists," Bush said, calling the election a "grand moment in Iraqi history."
"They (the terrorists) have no clear view of a better future. They're afraid of a free society," he added.
In a closely coordinated attack, three suicide car bombers hit the town of Riyadh, a Sunni Arab area southwest of the northern city of Kirkuk.
Two explosives-laden cars blew up simultaneously close to an Iraqi army post and police station and a third vehicle detonated minutes later on a nearby highway, a local police chief said.
Four Iraqi policemen, two Iraqi soldiers and three civilians were killed, and at least 12 people were wounded, police said.
Shortly after the blasts, a U.S. combat patrol heading to the scene came under small arms fire and two U.S. soldiers were lightly wounded, the military said.
The previous deadliest day for U.S. forces was March 23, 2003, the third day of the war, when 28 U.S. soldiers died mostly in fierce fighting in southern Iraq.
STRING OF ATTACKS
Police in Baquba, a mixed Shi'ite and Sunni town 65 km (40 miles) north of Baghdad, said one Iraqi policeman was killed and at least eight people were wounded when gunmen fired on the local offices of three parties contesting the polls.
Sunni insurgents have repeatedly targeted the country's fledgling security forces in the countdown to the election, accusing them of collaborating with U.S.-led occupiers.
Iraq's Shi'ite majority is expected to dominate the vote after decades of rule by Saddam's Sunni minority.
In the northern city of Mosul, a rebel stronghold that has seen persistent violence, a video filmed by insurgents showed three Iraqi men who had apparently been taken hostage and who said they worked for Iraq's electoral commission in the city.
On the video, a hooded insurgent carrying a pistol read out a statement as another masked guerrilla crouched with a rocket-propelled grenade launcher on his shoulder.
"We are mujahideen in the province of Nineveh. What they call elections have no basis in the Islamic religion and that's why we will hit all election centers," the statement said.
Several guerrilla groups in Iraq -- including militants loyal to Abu Musab al-Zarqawi, al Qaeda's leader in the country -- have declared war on Sunday's elections, vowing to attack polling stations and kill those who dare to vote.
The government plans extraordinary security measures, including closing Baghdad airport and land borders over the election period, extending night curfews in cities and banning cars from roads on election day.
Zarqawi, a Jordanian with a $25 million bounty on his head, says the election is a plot by Washington and Iraqi Shi'ite allies against Sunni Arabs, who now fear being marginalised.
Iraq's Shi'ites, oppressed under Saddam, strongly support the elections. A list of candidates dominated by Shi'ite Islamists and drawn up with the guidance of revered cleric Ayatollah Ali al-Sistani is expected to win the most votes, cementing the newfound political power of Shi'ites.
But many Sunni Arab parties will boycott the polls, saying the insurgency raging in Iraq's Sunni heartlands will prevent their supporters from voting and skew the results.
Tension between Shi'ite and Sunni Arabs has been stoked by a series of bomb attacks on Shi'ite targets, raising fears of sectarian conflict.
Insurgents have also assassinated several leading officials. Tuesday a top Baghdad judge was killed along with his son in an ambush as they left home during morning rush hour.
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