Prince Lowenstein’s manner (which centered on the remark ‘Exactly’) indicated that they were operating from a temporarily useful understanding.” ![]() The piece, reported across several years, is filled with richly acid descriptions, such as one of David Geffen’s efforts to suck up to Prince Rupert Lowenstein, the financial adviser to the Stones, at the Hotel Majestic in Cannes: “Geffen’s manner indicated that he and Prince Lowenstein were operating within a well-established rapport. Trow’s two-part Profile of Ahmet Ertegun, the head of Atlantic Records, is a fascinating, mandarin, ultimately skeptical look at the modes of power and seduction employed by a constantly shifting entourage around Ertegun that includes music executives, David Crosby, the Rolling Stones, and the Studio 54 crowd, all of whom are engaged in a never-ending search for the ideal place to be right now. Trow, Jr.’s “ Eclectic, Reminiscent, Amused, Fickle, Perverse,” May 29 and June 5, 1978. “It will take ten billenia for our sun to reach its ultimate state, frozen in crystalline undetectability. Amis writes with bemused awe about Travolta’s post-“Pulp Fiction” kingliness-the star offers him a ride in his limo from the set to a nearby elevator, a mere hundred and fifty yards away-but is equally intrigued by the terrible choices that, for a time, blighted the actor’s career. ![]() John Travolta in the full, electrifying wattage of his second stardom. Martin Amis’s “ Travolta’s Second Act,” February 20 & 27, 1995. A deeply reported Profile of the director Mike Nichols, whose situational brilliance seems born of a corrosive desire for control and, even more, for revenge (on his parents, on his doubters, on fate). John Lahr’s “ Making It Real,” February 21 & 28, 2000. At the heart of the piece is the unnerving suggestion that power derives to the obsessive-compulsive, who are particularly unsuited to enjoying it. ![]() A lacerating yet endearing look at the producer Brian Grazer, who storyboarded every step of his rise to power, wealth, and fame, but still isn’t sure if he succeeded because of his planning or in spite of it. Larissa MacFarquhar’s “ The Producer,” October 15, 2001.
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