Total Pageviews

Clues Sought in Burning of Bag Holding 5 Dogs

Animal protection authorities are looking for the people who set fire to a bag containing five pit bulls behind a beverage distribution warehouse in East Flatbush, Brooklyn, on Saturday.

The dogs, four puppies and one adult dog, are all dead, said Bret Hopman, a spokesman for the American Society for the Prevention of Cruelty to Animals. “It is unclear whether the dogs were dead or alive prior to being place in the bag,” he added. He said necropsy results expected by the end of the week should answer that question.

The bag was found by workers at the warehouse, at East 91st Street and Ditmas Avenue, on Monday, and they examined security footage and found images of men getting out of a van with a bag and setting it aflame, Mr. Hopman said.

Sammy Omar, a worker at the warehouse, told WNBC-TV: “We seen the dog outside all burnt up, the babies all burnt up. It was horrible.”

Grainy footage shown on WNBC (see video below) shows two men with backs to the camera, one carrying a plastic garbage bag, walking toward a trash pile, and then a bag burning.



Bruno Mars, Discounted Online, Tops Album Chart

Bruno Mars in February.Dominik Bindl/Getty Images Bruno Mars in February.

Never doubt the selling power of a deep, well-publicized sale.

After being a steady presence among Billboard’s Top 10 albums for three months, Bruno Mars’s “Unorthodox Jukebox” (Atlantic) has finally reached No. 1, largely â€" but perhaps not entirely â€" because of a steep discount at Amazon’s MP3 store.

Last week Amazon put “Unorthodox Jukebox” and a handful of other titles on sale for $1.99 for one day, then raised the price for the rest of the week to $3.99 â€" still a steal. The album sold 95,000 cpies in the United States, nearly doubling its numbers from the week before, according to Nielsen SoundScan, and Mr. Mars got his first No. 1 album.

Amazon’s sale, promoted on the site and on its Twitter feed, undoubtedly helped the album reach the top, but according to the number-crunchers at Billboard it would have likely come close even without the discount. Of the album’s 95,000 sales last week, 64,000 were digital downloads, about three times its weekly average. If last week’s digital sales had held to the average level, “Unorthodox Jukebox” mi! ght have sold 48,000 or 49,000 copies â€" only slightly less than the No. 2 album this week, “Amok” (XL) by Atoms for Peace, the side project of Radiohead’s Thom Yorke, which opened with 50,000 sales.

Mumford & Sons’ “Babel” (Glassnote), the No. 1 album for the last two weeks, fell to No. 3 this week with 43,000 sales, while Macklemore & Ryan Lewis’s album “The Heist” (Macklemore) rose 12 spots to No. 4 with 42,000, helped by the Amazon promotion as well as the group’s performance on “Saturday Night Live.” (The continued popularity of the duo’s hit song, “Thrift Shop,” didn’t hurt: with 326,000 sales, it remains by far the most downloaded track.)

In fifth place on the album chart this week is “Zion” (Hillsong) by Hillsong United, a band affiliated with the Hillsong Church, a Pentecostal megachurch in Australia. The album sold 34,000 copies.



New Bruce Norris Play Will Be Part of Steppenwolf Season

New plays by the Pulitzer Prize-winning playwright Bruce Norris (“Clybourne Park”) and Mona Mansour (“Urge for Going”) are among the productions in the 2013-14 season at Chicago’s Steppenwolf Theater, the company announced on Wednesday.

The season begins in September with Zinnie Harris’s play “The Wheel,” a supernatural drama set on a 19th century Spanish farm. Directed by Tina Landau, the show will star Joan Allen, who was last seen at Steppenwolf in the 1991 production of “Earthly Possessions.” “The Wheel” had its premiere in a National Theater of Scotland production at the Edinburgh Fringe Festival in 2011.

In April 2014, my Morton, recently seen on Broadway in the revival of “Who’s Afraid of Virginia Woolf,” will direct Ms. Mansour’s “Way West,” a play-with-music about a mother who shares “death-defying tales of pioneer crossings with her two squabbling adult daughters as she waits for her bankruptcy to come through,” according to a news release. No casting was announced.

Next July the Steppenwolf will mount Bruce Norris’s new work “The Qualms,” about a group of people whose friendship is tested during a night of food and partner-swapping at a beachside apartment complex. The show will be directed by Pam MacKinnon, a Tony nominee for her work on the Pulitzer Prize-winning “Clybourne Park” last year.

Mr. Norris has a long history with the Steppenwolf, which mounted the premieres of several of his plays, including “The Unmentionables” and “The ! Pain and the Itch.” Mr. Norris’s calendar will be full in the run-up to “The Qualms.” He currently has two plays in London â€" “Purple Heart” and “The Low Road” â€" and his drama “Domesticated” is to open this fall in a Lincoln Center Theater production. (Laurie Metcalf, a Steppenwolf veteran, recently said she will be in the cast.)

Other shows in the Steppenwolf season include Erika Sheffer’s “Russian Transport” and Nina Raine’s “Tribes.”



Artist Quits Superman Project After Outcry Over Writer’s Marriage Views

“Adventures of Superman,” a digital anthology from DC Comics, is scheduled to begin April 29. But it will not feature the work of Chris Sprouse, an artist who has decided to drop out of the project because of a controversy surrounding the novelist Orson Scott Card, one of the writers.

Mr. Sprouse’s resignation, which came on Tuesday, followed weeks of growing consternation by some fans and retailers after the announcement from DC in early February that included Mr. Card among the creative teams. In a statement provided by DC Comics, Mr. Sprouse said: “It took a lot of thought to come to this conclusion, but I’ve decided to step back as the artist on this story. The media surrounding this story reached the point where it took away from the actual work, and that’s something I wasn’t comfortable with.”

At the heart of the issue is Mr. Card’s stance on gay marriage. Mr. Card is a board member of the National Organization for Marriage, a nonprofit group with a “mission to protect marriage and the faith communities that sustain it.” According to its Web site the organization was founded in 2007 “in response to the growing need for an organized opposition to same-sex marriage in state legislatures.”

The story by Mr. Card, along with a co-writer, Aaron Johnston, was to appear in the first issue but will now be appear at a later date. An online petition calling for DC to remove him from the book has more than 16,000 signers. Comics Alliance has a series of interviews with retailers, including one who will not offer the book when it becomes available in print and another who will donate proceeds to the! Human Rights Campaign.

In a statement, DC Comics said, “As content creators we steadfastly support freedom of expression, however the personal views of individuals associated with DC Comics are just that â€" personal views â€" and not those of the company itself.”



A Wedding Day Letter, Remembered After Groom’s and Wife’s Deaths

A letter Nathan Glauber wrote to his parents on his wedding day. Click to enlarge. A letter Nathan Glauber wrote to his parents on his wedding day. Click to enlarge.

The young groom took some moments on his wedding day to write a letter thanking his parents for never sparing time or money if he needed, say, a tutor or an eye doctor, and for sending him to yeshiva “to learn your values, religious and worldly, until I reached to this current lucky moment.”

Children, Nathan Glauber wrote, often do not understand what parents do for them until they mature and have their own children, so he asked them to forgive him for any pain he may have caused the..

“I feel a sting in my heart that I’m already leaving your warm home,” he wrote.

The letter, in Yiddish, has a haunting quality because Mr. Glauber and his pregnant wife, Raizy, were killed Sunday morning by a speeding driver in Williamsburg, Brooklyn, as they rode in a livery cab to see a doctor about the health of their fetus. The baby was delivered three months premature but died the next day. The episode has deeply upset the Satmar Hasidic community that they were a part of, if not much of New York.

Undated photo of Nathan and Raizy Glaub!   er, who were killed in a hit-and-run accident on Sunday. Ms. Glauber was six months pregnant with their first son, who died Monday, a day after being delivered. Undated photo of Nathan and Raizy Glauber, who were killed in a hit-and-run accident on Sunday. Ms. Glauber was six months pregnant with their first son, who died Monday, a day after being delivered.

On Tuesday and Wednesday, Hasidim were sending BlackBerry messages to one another with photographs of the Yiddish letter, which is signed with the name Nachman, Nathan Glauber’s Hebrew name. The Glauber family is in mourning and could not confirm the letter’s authenticity, but associates of the family say the handwriting is Nathan Glauber’s.

Nathan and Raizy Glauber, both 21, were married roughly a year ago and a photograph shows them smiling in their wedding garb, with Mr. Glauber in a long belted ceremonial coat, his head crowned with a round fur shtreimel. Hasidim do no customarily write such letters to their parents before a wedding, said Rabbi David Niederman, executive director of the United Jewish Organizations of Williamsburg.

Here is the text of a translation provided by a reader:

To my dear parents:

In these imminent joyous and highly spiritual moments of my life, when I’m heading to my chupa to begin my own family, I feel a sting in my heart that I’m already leaving your warm home.

I feel an obligation to thank you for everything you did for me since I was a small child. You did not spare time, energy and money, whether it was when I needed a private tutor to learn or an eye doctor or general encouragement. Also, later on, you helped me to succeed in my Torah studies, you sent me to yeshiva to learn your values, religious and worldly, until I reached to this current lucky moment.

Even though I’m leaving your home (actually I’m not leaving, I’m bringing in an additional family member) I want to tell you th! at all th! e education and values you taught me I’ll - with God’s help â€" take along with me in my new home, and continue to plant the same education in my home and kids that God will grant me.

But since kids do not grasp what parents are, and how much they do for them, and only when he matures and - with God’s help â€" have their own kids, they could realize it. And unfortunately I may have caused you a lot of pain; I am asking you to please forgive me.

I’m asking you, I’m dependent on your prayers, pray for me and my bride, and I will pray for you.

I pray to God that Daddy and Mommy should see lots of pride and delight from me and my special bride, until the final redemption of the Messiah.

From your son who admires and thanks you and will always love you.

Nachman.



German Museum Returns Painting to Jewish Estate

A German museum has returned a 15th century Renaissance painting to the estate of a Jewish art dealer who was forced to sell it under duress in 1935.

The painting, “Virgin and Child,” is the tenth work of art to be returned to the estate of Max Stern, since the dealer’s beneficiaries - Hebrew University in Jerusalem, and Concordia and McGill universities in Montreal- launched a restitution project in his name in 2002.

Prohibited by the German government from buying and selling art because he was Jewish, Mr. Stern was forced to sell hundreds of artworks for a pittance in order to buy exit permits for his family. Mr. Stern, who died in 1987, ultimately settled in Montreal, where he became a prominent art dealer.

New York’s Holocaust Claims Processing Office, which began working with the Stern project in 2005, helped gather and present the documentation that proved the laim to the museum, Staatsgalerie Stuttgart.

The painting was turned over in a ceremony at the Canadian Embassy in Berlin on Tuesday.



Second Round of Features Announced for Tribeca Film Festival

Images from the documentaries Smart Broad Films/Comedy Store Images from the documentaries “Richard Pryor: Omit the Logic” and “Elaine Stritch: Shoot Me.”

New movies from Richard Linklater, Neil Jordan, David Gordon Green, Mira Nair, Neil LaBute and Clark Gregg; documentaries about Elaine Stritch, Richard Pryor and Gore Vidal; and a nonfiction feature about Moms Mabley directed by Whoopi Goldberg are among the additional films unveiled for the Tribeca Film Festival, its organizers said on Wednesday.

Among the 33 features that will be presented in the festival’s Spotlight series are “Before Midnight,” the latest entry in Mr. Linklater’s romantic series starring Julie Delpy and Ethan Hwke; “Byzantium,” a new film about creatures of the night from Mr. Jordan (“Interview With the Vampire”) and starring Gemma Arterton and Saoirse Ronan; “Prince Avalanche,” a road comedy set in the summer of 1988, directed by Mr. Green and starring Paul Rudd and Emile Hirsch; Ms. Nair’s adaptation of “The Reluctant Fundamentalist,” based on the Mohsin Hamid novel; “Some Velvet Morning,” a new drama by Mr. LaBute and starring Stanley Tucci and Alice Eve; and “Trust Me,” a Hollywood satire directed by and starring Mr. Gregg (“Choke,” “The Avengers”) as a bumbling talent agent.

The nonfiction features on this slate include “Elaine Stritch: Shoot Me,” chronicling that indefatigable actress and directed by Chiemi Karasawa; “Gasland Part II,” Josh Fox’s followup to his documentary about hydraulic fracturing; “Gore Vidal: The United States of Amnesia,” about that outspoken author and directed and written by Nicholas Wrathall; and “Richard Pryor: Omit th! e Logic,” directed by Marina Zenovich and written by Peter Morgan. The lineup also includes “I Got Somethin’ to Tell You,” a documentary directed by Ms. Goldberg about Moms Mabley, the pioneering comedian, using newly found photographs and performance footage.

The Tribeca festival’s Midnight Circuit will include films like “V/H/S/2,” the sequel to last year’s hit found-footage horror film. The festival is also introducing a new Storyscapes series that will include projects like “Star Wars Uncut,” Casey Pugh’s mashup of fan-created remakes of that George Lucas science-fiction epic.

Among the special screenings that were announced on Wednesday are “Herblock - The Black & The White,” a new documentary about the political cartoonist Herbert Block; “The Trials of Muhammad Ali,” a documentary about that boxer; and “Running From Crazy,” a documentary by Barbara Kopple about the actress Mariel Hemingway.

This yearâ€s Tribeca Film Festival will run from April 17 through 28.



Second Round of Features Announced for Tribeca Film Festival

Images from the documentaries Smart Broad Films/Comedy Store Images from the documentaries “Richard Pryor: Omit the Logic” and “Elaine Stritch: Shoot Me.”

New movies from Richard Linklater, Neil Jordan, David Gordon Green, Mira Nair, Neil LaBute and Clark Gregg; documentaries about Elaine Stritch, Richard Pryor and Gore Vidal; and a nonfiction feature about Moms Mabley directed by Whoopi Goldberg are among the additional films unveiled for the Tribeca Film Festival, its organizers said on Wednesday.

Among the 33 features that will be presented in the festival’s Spotlight series are “Before Midnight,” the latest entry in Mr. Linklater’s romantic series starring Julie Delpy and Ethan Hwke; “Byzantium,” a new film about creatures of the night from Mr. Jordan (“Interview With the Vampire”) and starring Gemma Arterton and Saoirse Ronan; “Prince Avalanche,” a road comedy set in the summer of 1988, directed by Mr. Green and starring Paul Rudd and Emile Hirsch; Ms. Nair’s adaptation of “The Reluctant Fundamentalist,” based on the Mohsin Hamid novel; “Some Velvet Morning,” a new drama by Mr. LaBute and starring Stanley Tucci and Alice Eve; and “Trust Me,” a Hollywood satire directed by and starring Mr. Gregg (“Choke,” “The Avengers”) as a bumbling talent agent.

The nonfiction features on this slate include “Elaine Stritch: Shoot Me,” chronicling that indefatigable actress and directed by Chiemi Karasawa; “Gasland Part II,” Josh Fox’s followup to his documentary about hydraulic fracturing; “Gore Vidal: The United States of Amnesia,” about that outspoken author and directed and written by Nicholas Wrathall; and “Richard Pryor: Omit th! e Logic,” directed by Marina Zenovich and written by Peter Morgan. The lineup also includes “I Got Somethin’ to Tell You,” a documentary directed by Ms. Goldberg about Moms Mabley, the pioneering comedian, using newly found photographs and performance footage.

The Tribeca festival’s Midnight Circuit will include films like “V/H/S/2,” the sequel to last year’s hit found-footage horror film. The festival is also introducing a new Storyscapes series that will include projects like “Star Wars Uncut,” Casey Pugh’s mashup of fan-created remakes of that George Lucas science-fiction epic.

Among the special screenings that were announced on Wednesday are “Herblock - The Black & The White,” a new documentary about the political cartoonist Herbert Block; “The Trials of Muhammad Ali,” a documentary about that boxer; and “Running From Crazy,” a documentary by Barbara Kopple about the actress Mariel Hemingway.

This yearâ€s Tribeca Film Festival will run from April 17 through 28.



Stranger Than We Can Imagine: David Toomey Talks About ‘Weird Life’

In “Weird Life,” David Toomey writes about the search for life that is not just strange, but very strange; in fact, like nothing we’ve discovered before. In a recent e-mail interview, Mr. Toomey discussed the origins of life on Earth, the porous line between science and philosophy, his favorite science fiction and more. Below are edited excerpts from the conversation:

Q.

You’re an English professor with a Ph.D. in English literature. How did you get so deeply interested in science, and how did you come to write about it

A.

I don’t recall a time when I was not interested in science and the natural world. I do, though, recall a moment when I began to wonder why others were not. I was four or ive years old, and I asked an adult how far away the moon was. The answer was evasive, and I realized the answerer didn’t really know. In some ways I still don’t understand how people â€" particularly adults â€" can be so incurious about the world around them, and I think I came to write about science in part because I saw that incuriosity as a problem. (By the way, the moon is about a quarter of a million miles distant, give or take.)

Q.

First things first: You differentiate “weird life” from “familiar life” and even “extreme familiar life.” What’s the quickest way to explain that distinction to a layperson

A.

“Familiar life” is a phrase I (and many others) use to describe the kind of life we know to exist â€" you, me, geraniums, blue whales, sponges, soft shell crabs. “Extreme familiar life” is life we know to exist that survives in extreme environments, like hydrothermal vents near the ocean floor. Familiar life of both varieties has DNA, the same 20 or so amino acids and proteins, and a biochemistry that employs the same chemical pathways and uses liquid water as a solvent. These shared features lead biologists to believe that all familiar life is descended from a single common ancestor and may be represented somewhere on a single phylogenetic tree. “Weird life,” if it exists, would be something completely different. It might have other features (other amino acids or other chemical pathways, for instance), it would not be descended from that ancestor, and it would be represented on another tree entirely.

Q.

The book focuses on the possibility of finding weird life elsewhere in the universe. What are the odds of finding it on Earth

A.

Since we know so little about life’s origin, it’s difficult to give odds for this. If life is an ievitable result of complex chemistry and can arise quickly in a broad range of environmental conditions, then the odds are very good that there might have been a second genesis of another kind of life on Earth, and that it might survive somewhere on Earth today. If however, life requires a very special set of environmental conditions over a long period, then the odds are slim.

Q.

After the recent dazzling meteor that landed in Russia, I was particularly taken with the theory that life (or the makings of life) arrived on Earth aboard a meteor. Is this a mainstream theory, and do you think there are decent odds that it’s true

A.

We know that most of Earth’s water arrived by meteorite, and research by Lou Allamandola and his colleagues at NASA Ames suggest! s that so! me surprisingly large and complex molecules came with it. Some of these molecules may have been precursors to life. As to whether life itself had an extraterrestrial origin, it’s certainly possible, but we’d have a long way to go to prove it.

Q.

Would it be so thrilling to find, say, a microbe on one of Saturn’s moons, or is sentient life the only kind that would have significant ramifications for us on Earth

A.

The discovery of sentient life would have immediate, profound and probably widespread ramifications for us on Earth. The discovery of a microbe on a Saturnian moon would certainly be thrilling to a biologist, and I hope it would also be thrilling to anyone who gave thought to our place in the cosmos. That microbe would show that life is not exclusive to Earth, and may be widespread in a universe that is stranger and more interesting than many had imagined.

David ToomeyLeslie Haynsworth David Toomey
Q.

What’s the state of support for searching for life in the rest of the universe

A.

At present, no missions to search for life elsewhere are being planned or developed by NASA or the European Space Agency. The only mission now underway to perform onsite study of any planet or moon’s surface is NASA’s Mars Science Laboratory (better known as the Curiosity rover), and it is designed not to detect life directly, but merely the conditions that would make it possible.

Q.

Is NASA devoting enough resources to it, in your opinion

A.

NASA should probably not take advice f! rom Engli! sh professors.

Q.

You cite several works of science fiction and their imaginings about life elsewhere. Do you have a favorite fictional depiction of weird life

A.

If pressed for a favorite, I’d say the planet-wide sentient ocean in Stanislaw Lem’s novel “Solaris,” and the two films of the same name. Thousands of scientists spend their lifetimes studying it and theorizing about it, yet they cannot understand it, and cannot even say exactly what it is they are studying and theorizing about. It’s the best dramatization I know of the geneticist and evolutionary biologist J. B. S. Haldane’s truism, which I’ll paraphrase as, “The universe is not only stranger than we imagine; it is stranger than we can imagine.”



Fondly Recalling a Paper That ‘Punched The Times in the Nose’

The New York Herald Tribune, a newspaper renowned for its roster of talented writers, once occupied this building on West 41st Street in Manhattan. Later this year The International Herald Tribune, an incarnation of what began publishing as The Paris Herald, will be rechristened The International New York Times. The New York Herald Tribune, a newspaper renowned for its roster of talented writers, once occupied this building on West 41st Street in Manhattan. Later this year The International Herald Tribune, an incarnation of what began publishing as The Paris Herald, will be rechristened The International New York Times.
Horace Greeley, founder and editor of The New York Tribune, in an image from around 1865. Horace Greeley, founder and editor of The New York Tribune, in an image from around 1865.
James Gordon Bennett, founder and editor of The New York Herald, in a drawing from a photograph by Matthew Brady. James Gordon Bennett, founder and editor of The New York Herald, in a drawing from a photograph by Matthew Brady.

Ghostly vestiges of the gothic Herald Tribune logo still survive on the eastern facade of 230 West 41st Street in Midtown Manhattan, camouflaged by a faded Group Health Insurance emblem, and, more recently, dwarfed by the towering hea! dquarters of The New York Times next door.

This fall, when The International Herald Tribune is rebranded as The International New York Times, that pallid logo atop the fabled Trib’s former home may become the most visible remaining legacy of one of the great names of American journalism.

The New York Herald Tribune was born in 1924, which means that it has been dead - since 1966 â€" longer than it was alive.

But it was not for nothing that Richard Kluger titled his 1986 biography of The Herald Tribune “The Paper” - as if there were no other - and that so many journalists craved a job writing for a scrappy paper that proclaimed, its thumb defiantly planted in The Times’s eye, that a good newspaper didn’t have to be dull. (Among those actually hired were Tom Wolfe, Jimmy Breslin, Dick Schaap, Red Smith and Pete Hamill.)

I cherish a pay stub I saved(it must be all of $20) from my days as a campus correspondent for The Trib. My dreams of working there after college were dashed, though, when I witnessed the lintel bearing the words “The Tribune” being dismantled from the paper’s former headquarters in Printing House Square in Lower Manhattan on what I remember was the very same day that The Trib’s new owners declared it dead.

The Herald was a gossip-guzzling penny paper founded in 1835 by James Gordon Bennett, an eccentric Scot, Democrat and populist. The Tribune was first published by Horace Greeley, a Republican, onetime presidential candidate and promoter of Abraham Lincoln. The papers were so distinct that placing a hyphen in the combined name would have been presumptuous. (The Tribune acquired the Herald, but for some reason, the merged paper was not named the Tribune Herald).

Beginning under Stanley Walker, a city editor in the 1920s and ’30s, “it used to be said that The Trib was a writ! er’s pa! per and The Times was an editor’s paper,” said Richard C. Wald, The Herald Tribune’s last managing editor.

“It was the first paper to have a separate Book Review section (started by Irita Van Doren) or review paperbacks (you could look it up),” Mr. Wald recalled. “It had the most vivid serious sports page (you could look it up). Walter Kerr redefined how you could write about the theater. It was a knowing New Yorker’s daily look at the city, with some smart reporting on national and international events.”

Donald H. Forst, a former assistant managing editor, remembered that as the underdog, The Trib “fought harder, had wackier, brighter ideas, had great passion and therefore was more creative. You attracted people who were not yet buffed by rejection or molded into conventional ways of doing things. You weren’t afraid to make a mistake.”

Perhaps its greatest legacy, Mr. Forst said, was “it punched The Times in the nose, which made The Times a better paper.”

Oe Trib alumnus, Maurice Carroll, recalled that even a dozen years after he joined The Times his complaints about changes in his copy would invariably be met by an editor’s lament: “Oh, you Trib guys.”

In the 1960 movie Cahiers Du Cinema In the 1960 movie “Breathless,” Jean Seberg played an aspiring journalist in Paris who earned money selling The Herald Tribune.

When Homer Bigart, a famous World War II correspondent and another Trib alumnus who joined The Times, died in 1991, Clifton Daniel, a former Times managing editor, recalled: “It seemed to me that he always looked down! on The T! imes, even when he worked there. Its main fault, in his eyes, was that it wasn’t The Trib.”

If it was so good, why did it succumb

“By the time we came out of the Second World War, The Trib was arguably a better paper than The Times in the sense of being better edited, better written, graphically more pleasing,” Mr. Kluger said. “But it just didn’t have the depth. It got overwhelmed by its failure to invest in itself for wider coverage and more space. It was in last place in the morning and couldn’t command the advertising. And it was a Republican paper, a Protestant paper and a paper more representative of the suburbs than the ethnic mix of the city.”

The headquarters building itself suffered from neglect. “Homer, how can we make The Times more like The Tribune” Mr. Bigart was asked by Arthur Gelb, one of his new colleagues at The Times. Mr. Bigart replied, “Turn off the air-conditioning.”

And when John Hay Whitney toured the place as The Trib’s new owner in1958, he couldn’t help but notice the despair and decrepitude. Then he repaired to the Artist and Writers restaurant at 213 West 40th Street, which was bustling with bonhomie (and now houses a Hale and Hearty restaurant) and where Mr. Whitney memorably declared: “I should have bought the bar.”

A half-century later, New York still has Herald Square (and Greeley Square). New York magazine, originally a Sunday supplement in The Trib, was reincarnated as a free-standing weekly. (And there are hyphenated Herald-Tribunes in Sarasota, Fla., and Batesville, Ind.)

The International Herald Tribune is the current incarnation of what began publishing in 1887 (as a European edition of the New York Herald) and became known as the Paris Herald and later the I.H.T.

Homer Bigart, a reporter for The Herald !   Tribune w!   ho won two Pulitzer Prizes, working as a World War II correspondent in the Pacific theater. Homer Bigart, a reporter for The Herald Tribune who won two Pulitzer Prizes, working as a World War II correspondent in the Pacific theater.

The quirky paper based in Paris reflected James Gordon Bennet Jr.’s eccentricities (printing for 6,718 consecutive issues a bogus letter signed “Old Philadelphia Lady” that explained how to convert Celsius into Fahrenheit and vice versa). It was immortalized by Hemingway and Fitzgerald (Jake Barnes and Dick Diver read it) and in “Breathless,” the 1960 film in which Jean-Paul Belmondo’s girlfriend, Jean Seberg, plays an aspiring journalist who gets by hawking The Trib on Paris streets.

Beginning in 1967, the paper was operated jointly by the Whitney family, The Times and The Washington Post (The Times came first on the nameplate as a result of a coin toss). The Times became the sole owner in 202. Within a few years, the handwriting was on the wall: The International Herald Tribune unceremoniously scrapped the hand-drawn “dingbat” that had squatted between “Herald” and “Tribune” on its front page since 1966 and that originated in the New York Tribune on April 10, 1866.

Even Mr. Kluger’s 801-page book was unable to resolve an enduring mystery: Why the clock in the logo was set at 6:12.



‘Beaches’ Musical Finds a Home

Artwork for the musical adaptation of the film Artwork for the musical adaptation of the film “Beaches,” part of the 2013-14 season at the Signature Theater in Arlington, Va.

The wind beneath the wings of the musical adaptation of the film “Beaches” has landed the show a home. This week the Signature Theater in Arlington, Va., announced that it will produce the show as part of its 2013-14 season. Eric Schaeffer, Signature’s artistic director, will direct the production, which has been talked about for a Broadway run. Casting is still to be announced.

In an interview Mr. Schaeffer said the musical is based on Iris Rainer Dart’s 1985 novel, itself the inspiration for the 1988 film, directed by Garry Marshall, that starred Barbara Hershey and Bette Midler as lifelong friends whose relationship is tested by single parenthood, strained romances and a fatal illness. (It’s turning out to be a rich year for fans of Ms. Midler, who will appear on Broadway this spring in “I’ll Eat You Last,” a play about the Hollywood superagent Sue Mengers.)

Ms. Dart, who wrote the book and lyrics for the short-lived Broadway musical “! People in the Picture,” wrote the lyrics and co-wrote the book for “Beaches” with Thom Thomas. The score is by David Austin, a young composer for whom “Beaches” will be “his first big thing,” according to Mr. Schaeffer. The show is scheduled to run Feb. 18 through March 23, 2014, in the Signature’s largest theater, which seats 274.

Mr. Schaeffer, who directed the recent Broadway revival of “Follies,” said he and the creative team spent time in December “working intensely” on developing “Beaches” into a full-scale production.

“It’s a great title and you don’t want to screw it up,” he said. “You want to give it the time it needs to be born and the space to make it what it wants to be. We can do that here and provide that opportunity for the writers.”

Ms. Dart said her experience with “The People in the Picture” taught her a lesson about the value of working on a show outside New York before bringing it to Broadway

“We were lucky that we had Donna Murphy and that was a good thing,” she said in an interview. “But I wish he had that time that they used to have where you’re out of town. I want to retool and do all the work you can do a theater like the Signature.”

In addition to being a classic weepy, the film is perhaps best known for the ballad “Wind Beneath My Wings,” a hit for Ms. Midler. But Mr. Schaeffer said that song and all of the other musical numbers from the film are not in the new score â€" as of now. Will that cause “Beaches” fans to run for the refund line

“I think there’s a trap both ways, of it being there and not being there,” said Mr. Schaeffer. “I think as we continue developing it over the next year, we’ll talk about it all the time. But at this point it ! feels lik! e if we’re going to do an original musical let’s do an original musical. We’ll see how that goes. But I find that exciting.”

Ms. Dart said it was “wonderful” to have “Beaches” be a way for audiences to discover Mr. Austin, an under-the-radar composer.

“So many of the young composers we heard were either Sondheim wannabes or Stephen Schwartz wannabes,” she said. But this was a sound that wasn’t imitating either of those guys. This was a fresh new sound that blew me away.”

Other productions announced for Signature’s new season features several new shows: “Pride in The Falls of Autrey Mill,” a family drama by Paul Downs Colaizzo (“Really Really”); “Crossing,” a decades-spanning musical, set in a train station, from Matt Conner and Grace Barnes; and “Cloak & Dagger,” Ed Dixon’s new musical comedy sendup of 1950s film noir. The teater will also mount revivals of the musicals “Miss Saigon,” “Gypsy” and “The Threepenny Opera,” as well as the Washington premiere of Philip Ridley’s play “Tender Napalm.”



Sam Mendes Says He Won’t Direct Next James Bond Movie

Daniel Craig and Javier Bardem in a scene from Francois Duhamel/Columbia Pictures Daniel Craig and Javier Bardem in a scene from “Skyfall.”

With any luck, the next James Bond movie will have a better title than “Skyfall” â€" yes, “Skyfall” â€" the 23rd official entry in that long running spy-thriller franchise, which featured an Academy Award-winning title song performed by Adele, the detachable jaw of Javier Bardem and Albert Finney in a supporting role that seemed almost surely designed for Sean Connery.

But whatever the next entry in the Bond series may be and whatever it is titled, it will not e directed by Sam Mendes, the stage director and filmmaker (“American Beauty,” “Revolutionary Road”) who oversaw “Skyfall.”

In an interview with Empire magazine Mr. Mendes said that he had declined an invitation from the Bond producers Barbara Broccoli and Michael G. Wilson to direct the next Bond movie, and would focus on his theater work for the time being.

“It has been a very difficult decision not to accept Michael and Barbara’s very generous offer to direct the next Bond movie,” Mr. Mendes said in remarks quoted by Reuters.

Mr. Mendes said that directing “Skyfall” â€" which sold more than $1.1 billion in tickets worldwide â€" was “one of the best experiences of my professional life, but I ! have theater and other commitments, including productions of ‘Charlie and the Chocolate Factory’ and ‘King Lear,’ that need my complete focus over the next year and beyond.”

But as surely as James Bond will return, Mr. Mendes added that he could come back to the franchise at a later date. “I feel very honored to have been part of the Bond family,” he said, “and very much hope I have a chance to work with them again sometime in the future.”

Mr. Wilson and Ms. Broccoli, who surely bear some responsibility for the “Skyfall” title as well, said of Mr. Mendes that they “hope to have the opportunity to collaborate with him again.”



Starbucks Barista Gets Creative With a New Yorker

Dear Diary:

On a recent trip from New York to Washington, I went into a Starbucks and ordered my usual venti nonfat decaf cappuccino, and a tall “cawfee” for my husband.

The barista asked my name to properly identify my drinks. I replied Melissa, and without missing a beat, he wrote “MelissaFromNewYork,” all one word.

I guess it really is true â€" you can take the girl out of New York, but you can’t take the Noo Yawk out of the girl.

Read all recent entries and our updated submissions guidelines. Reach us via e-mail: diary@nytimes.com. Follow @NYTMetro on Twitter using the hashtag #MetDiary.



London Theater Journal: Follow the Money

Lucy Ellinson in “Money the Game Show.Simon Kane Lucy Ellinson in “Money the Game Show.”

LONDON â€" It felt like a good day to go to a funeral for the financial system that rules the Western world. My reading on the subway had been the Evening Standard (now a giveaway), which featured a lead story with blaring headlines about bankers’ bonuses and money laundering. (The next day I would awaken to a grim front-page essay in the Guardian on the same subject with the no-win headline “Too big to fail - and too big to manage.”)

Oh, well, at least it had been a sunny afternoon, for a change. And the comely couple who greeted the audience in the lobby of the Bush Theater were a sunny pair, with their neon-bright clothes and aggressive smiles. Their names were Queenie andCasino, they told us, and they would be our hosts for a show with a title that promised lots of good fun to anyone of capitalist tendencies: “Money the Game Show.”

An hour and 45 minutes later - after assorted jolly exercises involving balloons, party tricks, soap bubbles and a pile of (real) 10,000 pound coins â€" one of these two charming creatures would be dead, or brain-dead anyway. As for that big golden pile that we had been encouraged to eye so lustily, it had been shoveled into a big golden rubbish cart and wheeled out of sight.

Written and directed by Clare Duffy, “Money the Game Show” offers a brightly apocalyptic guide to the way of all lucre during the past couple of decades. It is presented in the guise of a quiz show, overseen by Queenie (Lucy Ellison) and Casino (Brian Ferguson), former hedge fund managers who have been forced to become performance artists.

We the audience are divided into teams and pitted against one other in a! television studio-like environment where the games include selling short, selling long and hedging your bets. We cheer and hoot as volunteers from each team transport coins from the pile to suitcases before a freshly inflated soap bubble bursts or participate in balloon-blowing races. In between, Queenie and Casino act out the story of their rise and rise and - darn, knew it couldn’t last - precipitous fall as investment bankers.

The British stage has inhabited this kind of territory frequently in recent years, most notably in “Enron,” Lucy Prebble’s bloated cautionary spectacle about American greed. “Money the Game Show” has the advantage of being short, clever and remarkably understandable, even for a financial illiterate like myself. It makes you, as a participant in its games, feel silly, sordid and finally scared. It also provides the most ingenious and sobering explanation I’ve come acros for the current fascination with zombies in our culture.

Simon Russell Beale in Johan Persson Simon Russell Beale in “Privates on Parade.”

A few days earlier, I had been to another frolicsome treatise on the collapse of an empire, this one with music-hall-style songs performed in drag by one of the leading classical actors of the British stage. The great Simon Russell Beale starred as the cross-dressing Acting Captain Terri Dennis in “Privates on Parade,” Peter Nichols’s 1977 play about a British military revue troupe in Singapore in the late 1940’s.

This production, which ended its limited run last weekend, was the opening offering of the starry first season of the Michael Grandage Company. (Up next: Judi Dench and Ben Whishaw in John Logan’s “Peter and Alice.”) The show united three of my favorite British theater talents: Mr. Beale, Mr. Grandage (who was until recently the artistic director of the Donmar Warehouse) and Mr. Nichols (“Passion Play,” “A Day in the Death of Joe Egg”).

Yet somehow, as both the story of a young soldier’s sentimental education and a portrait of the decline of British imperialism, this “Privates” seemed blunter - and longer â€" than I remembered it. (I had last seen it at the Donmar in 2001, again directed by Mr. Grandage, with Roger Allam and the young James McAvoy, who has grown up to become a movie star and portray the title role of “Macbeth,” which I’ll be catching on Thursday.)

Mr. Beale seemed to be enjoying himself mightily and infectiously as a flaming, show-stopping officer. Yet for once I didn’t sense the intricate layers of pesonal history that he usually brings to a performance. I knew what Terri was but not so much where he came from, as I felt I did with Mr. Allam.

Still, Mr. Beale did so beautifully by the pastiche songs, with music by Denis King and Noel Coward-style patter lyrics by Mr. Nichols, that I wonder if he doesn’t have a real future in musicals.He was delightful as King Arthur in “Spamalot” when he replaced Tim Curry on Broadway, but here he brought a true soulfulness as well as the obligatory camp to numbers that had him dressing up as Marlene Dietrich and Carmen Miranda. In fishnet stockings, he was definitely a knock-out, though perhaps not in the usual sense of the term.