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...Rudolf Millendorf, art director of Women's Wear Daily, cooks for friends three times a week. "In my work," he says, "I assemble a lot of things and have control over their timing. To be a cook, you bring these experiences into play." For surgeons and soldiers, executives, editors, artists and salesmen, there is this same symbiotic relationship between shop and stove. Says Howard Abrahams, 32, a Manhattan attorney who graduated cum culinary laude from two cooking schools: "Cooking and law are quite similar. With both, there's the challenge of problem solving, logic and reasoning...

Author: /time Magazine | Title: Love in the Kitchen | 12/19/1977 | See Source »

...subject enthusiastically approved of the portrait that went on display at Manhattan's Coe Kerr Gallery. "It makes me look as jolly as you could after a hard day's work," said Dancer Rudolf Nureyev. Artist Jamie Wyeth had dogged his footsteps, making sketches "before, during and after" each performance of the three ballets Nureyev performed on Broadway last winter. As for Jamie, he had second thoughts about the portrait. The fur coat suddenly looked odd. "I mean, he doesn't wear it at the bar," he objected, then reconsidered. "But I was interpretive in my painting...

Author: /time Magazine | Title: People, Nov. 21, 1977 | 11/21/1977 | See Source »

Slava had been glorying for two weeks. For his season's opening the week before, he featured Rudolf Serkin in a velvety performance of Beethoven's Fourth Piano Concerto, creating a sensitive orchestral accompaniment to Serkin's ethereal tonalities. For the Bernstein concert, Slava took up his own instrument, while Lenny conducted his Three Meditations from "Mass" for Violoncello and Orchestra, an episodic piece that gave listeners a chance to hear Slava produce his exquisite cello sound, to watch his left hand flick across the finger board, his right arm streak like a bowing jet. Both programs were enlivened...

Author: /time Magazine | Title: The Magnificent Maestro | 10/24/1977 | See Source »

That resilience is apparent in every Fox endeavor. In 1956 she outmaneuvered her two fellow partners, both men, for control of the Lyric. "In the end I was the most powerful," she recalls with characteristic bluntness. In a field short on long runs, Fox has not only exceeded Rudolf Bing's 22-year reign at the Metropolitan Opera but made the Lyric by far the longest-lasting company in Chicago's rich operatic history...

Author: /time Magazine | Title: Music: The Seria Side of Opera | 10/17/1977 | See Source »

...early moguls. As usual, Russell hammers one over the head with gaudy and excessive cliches of a bygone era's decor. They have a certain visual excitement, but they say more about his own feverish temperament than about the spirit of the age. The use of Rudolf Nureyev for Rudolph Valentino was canny in conception-both men display an animal magnetism that audiences have found irresistible. But Rudy I had a very different appeal from Rudy II; the Valentino swagger was manifestly a device to hide his vulnerability and naiveté. Nureyev is an athlete, a sophisticated stage performer...

Author: /time Magazine | Title: Cinema: Rudy II as Rudy I in a Gaudy Bust | 10/17/1977 | See Source »

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