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USA Today
09-06-2025
- Entertainment
- USA Today
Pioneering ballerina Misty Copeland is retiring from American Ballet Theatre
Pioneering ballerina Misty Copeland is retiring from American Ballet Theatre Misty Copeland is ready for her swan song. The dancer, 42, has announced she will retire from the American Ballet Theatre after more than 20 years and deliver her final performance during the company's fall gala in October. "I could never have imagined the life ballet would give me," Copeland said in a statement. "To dance on the world's greatest stages, with artists I admire so deeply, has been one of the greatest gifts of my life." She continued: "My time with ABT has shaped me not just as a dancer, but as a person, and given me the platform to reach back and make space for others. This moment isn't a farewell, it's a celebration of everything we've built together, and a step toward all the work that's still ahead." Copeland made history in 2015 as the first Black woman to become a principal dancer at the ABT. Misty Copeland shares essential advice from Prince, favorite dish to cook, self-care tips Speaking to The New York Times Magazine, she said she initially "wanted to fade away into the background," only to realize this was not "really possible," so she decided to announce her retirement officially. "The legacy of what I've created, the way that I'm carrying so many stories of Black dancers who have come before me — I can't just disappear," she said. "There has to be an official closing to my time at American Ballet Theater, this company that has meant everything to me." Copeland also told the Times she is "dealing with a lot" while preparing for her final performance. How I became a ballerina: Misty Copeland "I have a labral tear that happened during my training recently," she said. "Then I found out that I have all these old injuries that I never acknowledged and danced through. My doctor was like, 'I think you should stop dancing.' I'm like, 'I'm trying!' So it's very humbling, but it's also comforting." The American Ballet Theatre's fall gala, scheduled for Oct. 22, is set to include a "curated selection of works from Copeland's celebrated repertoire," as well as video tributes and performances from her "collaborators and admirers," according to a June 9 announcement. Susan Jaffe, the American Ballet Theatre's artistic director, said in a statement that Copeland's legacy "is profound — not only through the roles she's redefined but also through the lives she's inspired," adding that her "advocacy for inclusion, equity, and education ensures her impact will resonate far beyond this moment." In a May interview with USA TODAY, Copeland reflected, "Throughout my career, so many incredible women, and specifically Black women, have really been like the backbone of my success. That, naturally and organically, taught me the importance of being a mentor." Contributing: Clare Mulroy
CNBC
07-06-2025
- Health
- CNBC
Susan Dominus
Susan Dominus has worked for The New York Times since 2007, first as a Metro columnist and then as staff writer for The New York Times Magazine. In 2018, she was part of a team that won a Pulitzer Prize for public service for its reporting on workplace sexual harassment. She won a Front Page Award from the Newswomen's Club of New York and a Mychal Judge Heart of New York Award from the New York Press Club. She has studied as a fellow at the National Institutes of Health and Yale Law School. Her article about menopause in The New York Times Magazine won a National Magazine Award in 2024. She teaches journalism at Yale University, and her new book, "The Family Dynamic: A Journey into the Mystery of Sibling Success," is out now. Follow her on Instagram @suedominus.
Boston Globe
02-06-2025
- Entertainment
- Boston Globe
Sebastião Salgado, photographer of human misery and dignity, dies at 81
A scene from the 2014 French/Brazilian documentary film "The Salt of the Earth," directed by Juliano Ribeiro Salgado and Wim Wenders. Courtesy of (c) Sebastiao Salgado In his landmark 1986 photo essay of gold mine workers in the Pará state in northern Brazil, one image showed a man encased in sweat and dirt cresting a wooden ladder. A loaded bag from the mine floor was held by a rope around his forehead. Another scene, shot from within the mine, was a wide-angle tableau of workers climbing and digging in an ant-like flow. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Goldmine, Serra Pelada, State of Pará, Brazil, 1986 © Sebastião Salgado © Sebastião Salgado, courtesy of Robert Klein Gallery Advertisement For decades, Mr. Salgado was on hand for many of the world's major crises - the devastating famine in Ethiopia in the 1980s, the 1991 US-led war to oust Iraqi forces from Kuwait, the 1994 genocide in Rwanda, and other upheavals. He described his mission as seeking to convey a sense of the ordinary people caught, often helpless, in the tumult. The assignment in Kuwait was for The New York Times Magazine and centered on the efforts of workers struggling to extinguish oil-well fires set by Saddam Hussein's troops, an environmental disaster that came to define Iraq's turbulent retreat from Kuwait. 'The photos were beyond extraordinary,' said Kathy Ryan, a former photo director at magazine, who worked with Mr. Salgado on that assignment. 'It was one of the best photo essays ever made.' Advertisement On another noteworthy assignment, Mr. Salgado documented dramatic scenes following a failed assassination attempt on President Reagan in 1981. He photographed the gunman, John Hinckley Jr., moments after he was tackled to the ground. 'Everyone knows he had an incredible way of making pictures,' Ryan said. But, she added, he also had an uncanny sense of 'where important stories were.' His other projects - part of a body of work spanning 120 countries - included a series on migrants in North Africa desperate to reach Europe and the life in slums where the immediate concerns are food and safety. 'I admit there's a very specific message in my work,' Mr. Salgado said in a 1990 interview with journalist Amanda Hopkinson in London. 'The developing countries have never been as poor or as dependent as they are today.' 'It is time to launch the concept of the universality of humanity,' he continued. 'Photography lends itself to a demonstration of this and as an instrument of solidarity between peoples.' A scene from "The Salt of the Earth," directed by Juliano Ribeiro Salgado and Wim Wenders. Photo courtesy of (c) Sebastiao Salgado An economist by training, he borrowed his wife's camera in 1971 while working in London for the International Coffee Organization. During a trip to Africa, he took photos of workers and rural life. 'Four days later I had an obsession; a fortnight later, a camera of my own,' Mr. Salgado recounted. 'Within a month I had a darkroom.' He sought jobs as a freelance photographer in 1973 and later contributed work to the Sygma and Gamma photo agencies. In the late 1970s, he joined Magnum, a professional home for some of the world's top photographers. Advertisement Mr. Salgado stepped away from Magnum in 1994 to establish Amazonia Images with his wife, Lélia Wanick Salgado. Four years later, the couple founded the environmental group Instituto Terra, which seeks to restore stretches of Brazil's southeastern Atlantic Forest threatened by development. Mr. Salgado increasingly turned his lens on nature - drawing close enough to photograph the armor-like skin on a marine iguana in the Galapagos and, other times, pulled back for vistas such as a river through the Alaskan wilderness and the sculpted curves of Antarctic icebergs. An iceberg between Paulet and South Shetland islands off Antarctica, shown in a scene from "The Salt of the Earth." Courtesy of (c) Sebastiao Salgado In his 'Amazonia' series, Mr. Salgado traveled across the rainforest, taking portraits of Indigenous people and chronicling the power of the natural world such as towering clouds, appearing in his photos the color of forged steel, rising above the forest canopy. In a private nature reserve, he and his wife planted more than 300 species of trees as part of a rewilding. As the trees grew, birds and insects returned. The tree roots held back erosion. 'Although we were amazed at how nature can fight back, we began to get worried about the threat to the whole planet,' Mr. Salgado told the British Journal of Photography in 2013. 'There is a strange idea that nature and humanity are different but in fact this separation poses a great threat to humanity,' he added. 'We think we can control nature, but it's easy to forget that we need it for our survival.' Manda Yawanawá, from the village of Escondido. Rio Gregório Indigenous Territory, State of Acre, Brazil, 2016 © Sebastião Salgado © Sebastião Salgado, courtesy of Robert Klein Gallery Sebastião Ribeiro Salgado Jr. was born in Aimorés, in the Brazilian state of Minas Gerais north of Rio de Janeiro, on Feb. 8, 1944. His family operated a cattle ranch. Advertisement In 1964, the Brazilian military seized control of the government in a coup that ousted President João Goulart. As the ruling junta waged crackdowns on dissent, Mr. Salgado and his wife decided to flee. They headed in 1969 to Paris, which would become their main base over the next five decades. 'If a photographer is not there, there's no image. We need to be there,' he told Forbes Brasil. 'We expose ourselves a lot. And that is why it is such an immense privilege.' Among his honors was the Leica Oskar Barnack Awards, which he received twice, and more than 10 World Press Photo awards in categories including news feature and general news. In addition to his wife, he leaves his sons, Juliano and Rodrigo, and two grandchildren. A 2014 documentary on Mr. Salgado's life and work, 'The Salt of the Earth,' was co-directed by Wim Wenders and his son Juliano. Mr. Salgado, an honorary degree recipient, took a picture during a Harvard Commencement ceremony in Cambridge in 2022. Mary Schwalm/Associated Press In a memorial ceremony in Brazil's capital, Brasília, the country's president, Luiz Inácio Lula da Silva, led a minute of silence and called Mr. Salgado's photographs 'a wake-up call for the conscience of all humanity.' During an interview with the Guardian last year, Mr. Salgado asked: 'Why should the poor world be uglier than the rich world? The light here is the same as there. The dignity here is the same as there.' Mount Roraima, State of Roraima, Brazil, 2018 © Sebastião Salgado © Sebastião Salgado, courtesy of Robert Klein Gallery Material from The New York Times was used in this obituary.
Time of India
25-05-2025
- General
- Time of India
Sebastiao Salgado, acclaimed Brazilian photographer, is dead
Sebastiao Salgado (AP) Sebastiao Salgado, a celebrated Brazilian photographer whose striking images of humanity and nature in the Amazon rainforest and beyond won him some of the world's top honours and made him a household name, died Friday in Paris. He was 81. His death was announced by Instituto Terra, the environmental nonprofit that he and his wife founded in Brazil. His family cited leukemia as the cause, saying that Salgado had developed the illness after contracting a particular type of malaria in 2010 while working on a photography project in Indonesia. "Through the lens of his camera, Sebastiao tirelessly fought for a more just, humane and ecological world," Salgado's family said in a statement. Working mostly in black and white, Salgado garnered widespread acclaim at home and abroad with his striking images of the natural world and the human condition, often travelling around the globe to photograph impoverished and vulnerable communities. In all, he worked in more than 120 countries throughout his career. Salgado was especially interested in the plight of workers and migrants, and spent decades documenting nature and people in the Amazon rainforest. He captured some of his most well-known images in 1986, when he photographed workers toiling in a gold mine in northern Brazil. The photo essay was featured on the cover of The New York Times Magazine and cemented Salgado's reputation as one of the star photographers of his time. In the 1980s, Salgado also moved audiences worldwide with a series of pictures depicting the famine in Ethiopia. That work earned him worldwide recognition and won some of photography's most prestigious awards. In 1991, while on assignment in Kuwait, Salgado photographed workers struggling to extinguish oil-well fires set by Saddam Hussein's troops, an environmental disaster that came to define Iraq's turbulent retreat from Kuwait. "The photos were beyond extraordinary," said Kathy Ryan, a former photo director at The New York Times Magazine, who worked with him on that assignment. "It was one of the best photo essays ever made. " On another noteworthy assignment, Salgado documented dramatic scenes following a failed assassination bid on President Ronald Reagan in 1981. He photographed the gunman, John Hinckley Jr, moments after he was tackled to the ground. "He had an uncanny sense of where important stories were," said Ryan. Known for his intense blue-eyed gaze and his rapid way of speaking, Salgado was remembered by his colleagues as a defender of documenting the human condition who respected the people he photographed. He was at times criticised for cloaking human suffering and environmental catastrophe in a visually stunning aesthetic, but Salgado maintained that his way of capturing people was not exploitative. "Why should the poor world be uglier than the rich world?" he asked in an interview with The Guardian in 2024. "The light here is the same as there. The dignity here is the same as there." Over the course of his career, Salgado's work won some of photography's top prizes, including two Leica Oskar Barnack Awards and several World Press Photo awards. Sebastiao Ribeiro Salgado Jr was born Feb 8, 1944, in Aimores, in the Brazilian state of Minas Gerais. An economist by training, Salgado discovered photography while working for the World Bank and traveling to Africa.
Boston Globe
15-05-2025
- Entertainment
- Boston Globe
Nahid Rachlin, novelist who explored the Iranian psyche, dies at 85
Advertisement 'There is a subtle shift in 'Foreigner' that is fascinating to watch,' Anne Tyler, who won the 1989 Pulitzer Prize for fiction, wrote in a review for The New York Times in 1979, 'a nearly imperceptible alteration of vision as Feri begins to lose her westernized viewpoint.' Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up 'What is apparent to Feri at the start -- the misery and backwardness of Iranian life -- becomes less apparent,' Tyler continued. 'Is it that America is stable, orderly, peaceful, while Iran is turbulent and irrational? Or is it that America is merely sterile while Iran is passionate and openhearted?' In a 1990 lecture, Trinidadian writer V.S. Naipaul, who received the Nobel Prize in 2001, noted that 'Foreigner,' 'in its subdued, unpolitical way, foreshadowed the hysteria that was to come' for Iran -- the popular uprisings that forced out the repressive Shah Mohammed Reza Pahlavi, who was backed by the United States, and ushered in a theocratic republic under Ayatollah Ruhollah Khomeini. Advertisement Ms. Rachlin grew up steeped in those contradictions. In her hometown, Ahvaz, Iran, the local cinema featured American films even as the mosque across the street 'warned against sinful pleasures,' she wrote in a memoir, 'Persian Girls' (2006). Her own home 'was chaotic, filled with a clashing and confusing mixture of traditional Iranian/Muslim customs and values, and Western ones,' she wrote. 'None of us prayed, followed the hijab, or fasted.' But her parents insisted on arranged marriages for their children and reserved higher education for their sons. Ms. Rachlin's second novel, 'Married to a Stranger' (1983), explored post-revolutionary Iran. Reviewing it in the Times, Barbara Thompson said it depicted, 'better than most factual accounts, what was happening in Iran that made the Ayatollah's theocracy possible.' Nahid Bozorgmehri was born June 6, 1939, in Ahvaz, the seventh of 10 children of Mohtaram (Nourowzian) and Manoochehr Bozorgmehri. Her father was a prominent lawyer and judge. Three of her siblings died in childhood. At 6 months, Nahid was given by her mother to her Aunt Maryam, her mother's widowed sister, who longed for a child after years of infertility. But when Nahid was 9 -- the age at which girls in Iran could legally marry -- her father, most likely concerned that her more traditional aunt would follow that custom, retrieved her. (Perhaps he understood the consequences, having married Nahid's mother when she was 9 years old and he was 34.) The separation devastated Nahid. Feeling 'kidnapped,' Ms. Rachlin wrote in a 2002 essay for The New York Times Magazine, she had a strained relationship with her birth mother and would never call her Mother. Advertisement A childhood photo of Ms. Rachlin, then Nahid Bozorgmehri (far left), with her parents and siblings in Iran. VIA RACHLIN FAMILY/NYT Over time, she grew close to her older sister Pari, who fought their father over her pursuit of acting and her resistance to arranged marriage -- battles she lost. Determined to avoid such a fate, Nahid implored her father to send her to America to attend college, like her brothers. She enlisted her brother Parviz to persuade him: She was first in her high school class, and her writing showed promise. Her father adamantly refused. But as political tensions escalated -- both Nahid's outspoken feminist teacher and the bookseller who sometimes slipped her banned literature had disappeared -- her father, who had resigned his judgeship after interference from the government, feared a servant or neighbor might tattle about Nahid's stories and her 'white jacket' books to the Savak, the shah's notorious secret police. When Parviz found her a women's college near St. Louis, where he was studying medicine, their father allowed Nahid to apply, hoping his headstrong daughter would cause less trouble abroad -- though not without stipulating that she return home after graduation to marry. While attending Lindenwood University in St. Charles, Mo., on a full scholarship, Ms. Rachlin discovered that though she had escaped the 'prison' of her home, as she wrote in her memoir, she felt utterly isolated in America. 'Late at night I turned to my writing, my long-lasting friend,' she wrote. She had quickly developed fluency in English -- though she had taken only hasty lessons in Iran before her departure -- and had begun writing in her adopted tongue about the difficulty of feeling neither Iranian nor American. 'Writing in English,' she said, 'gave me a freedom I didn't feel writing in Farsi.' Advertisement She majored in psychology and, after graduating with a bachelor's degree in 1961, resolved not to return to Iran. She curtly informed her father in a letter; he would not speak to her for 12 years. With only $755, she took a Greyhound bus to New York City, where she picked up odd jobs -- babysitting, waitressing -- and, to maintain her student visa, enrolled at the New School, where she met Howie Rachlin. They married in 1964. Their daughter, Leila, was born in 1965. In addition to her, Ms. Rachlin leaves a grandson. Rachlin died in 2021. After a few years in Cambridge, where Howie Rachlin studied for a doctorate in psychology at Harvard, and then in Stony Brook, N.Y., where he taught, they moved to Stanford, Calif., in the mid-1970s. There, on a Wallace Stegner Fellowship, she worked on 'Foreigner.' Her novel would never find a home in Iran. Censors blocked its publication in Farsi, arguing that Nahid Rachlin's descriptions of dirty streets and hole-in-the-wall hotels suggested a failure of the shah's modernization plans. Her literary agent, Cole Hildebrand, said as far as he knows, none of her books was ever translated into Farsi. In 1981, she received devastating news: Her sister Pari had died after a fall down a flight of stairs. For decades, Ms. Rachlin could not bear to write about the tragedy; she did not turn to the subject until her memoir, in 2006. 'Yes, dearest Pari,' the last line of that work reads, 'it is to bring you back to life that I write this book.' Advertisement Her other works, all of which explore Iranian social and political life, include two short-story collections, 'Veils' (1992) and 'A Way Home' (2018); and three novels, 'The Heart's Desire' (1995), 'Jumping Over Fire' (2006), and 'Mirage' (2024). Her last novel, 'Given Away,' which will be published next year, is the story of an Iranian child bride. It draws from the life of her birth mother, who gave birth to her first child at 14. The mother-daughter connection featured prominently in Ms. Rachlin's work and in her life. She dreamed of living near her Aunt Maryam, whom she always called Mother, but Maryam felt that life in America would be too jarring and preferred to stay in Iran. With her own daughter, however, Ms. Rachlin found the tight mother-daughter bond that had always eluded her. 'Even in our rare disagreements,' Leila Rachlin wrote in an email, 'she would gently reassure me afterward, 'We're still best friends, right?'' This article originally appeared in
