• In Michael Feingold’s review of Can-Can [“All Right With Me,” February 18-24], Kathleen Marshall was inadvertently credited with the choreography. The choreographer was Melinda Roy.

  • In Mark Holcomb’s review of Robot Stories [“Aye, Robot: What’s Human,” February 11-17], the name of the film’s editor, Stephanie Sterner, was misspelled.

  • The last line of Elliott Stein’s “Mac and Cheese” [February 18-24], on Orson Welles’s Macbeth and Othello, was inadvertently deleted. The final sentence should read: “He seems miscast as Othello, while Micheál MacLiammóir delivers a subtly insinuating performance as an Iago whose anger and jealousy, it is hinted, are motivated by feelings of sexual incapacity.”

  • Due to an editing error, a critical fact in Wayne Barrett’s story was inaccurately reported last week [“Sleeping With the GOP,” February 4-10]. Roger Stone’s name was substituted for Charles Halloran’s in a sentence about payments from the campaign. Halloran, not Stone, collected nearly $5,000 in expense reimbursement. The campaign owes Halloran, not Stone, $50,000 through December 31. It’s the only time Halloran, not Stone, can recall running a campaign on trust. As the story reported elsewhere, Stone’s services were “donated,” a potentially illegal “in-kind contribution from a professional consultant.”

    Also, Wayne Berman is not a registered lobbyist of the Carlyle Group, as reported in the same piece. Common Cause described him as “lobbying for Carlyle,” but was apparently referring to the seven-figure finder’s fee Berman was paid by Carlyle for pension-fund placement. Also, George H.W. Bush left Carlyle late last year. Tommy Hallissey was inadvertently left off the research credit for this story.

  • Kareem Fahim’s “The Great Arab Voter Revolt” [February 4-10] identified President Bush’s energy secretary Spencer Abraham as a former Michigan governor. He was a Michigan senator.

  • Robert Sietsema’s film review of Eat This New York [January 28-February 3] erroneously mentions that the Brooklyn restaurant Moto closed after a few months; the restaurant is still open. The review also incorrectly states that the film ignores the events of 9-11. In fact, Daniel Boulud mentions it in an interview, and the film contains footage of restaurants donating food to rescue workers.
  • On page 48 of the January 21-27 issue, the William Eggleston photo should have been credited to: William Eggleston/courtesy of Cheim & Reid, New York. (photo not on

    In that same issue the photo on page 26 was miscredited. The credit should have read: Frances M. Roberts. (photo not on

  • In his review of of the film Eat This New York (January 28 – February 3, 2004), a documentary about a Brooklyn eatery called Moto, Robert Sietsema writes: “the restaurant closed a few months later.” It is still open.
  • In a review of Kinky’s album Atlas (“Kinky Kronikles,” December 17-23, 2003), Jem Aswad wrote that Los Amigos Invisibles are from Argentina. They are from Venezuela.
  • In his review of the Bangles’ Doll Revolution album (December 31, 2003-January 6, 2004), George Smith erroneously listed its title as Doll House.
  • In James Hunter’s Ryuichi Sakamoto review in the December 31, 2003-January 6, 2004 issue, cellist Jacques Morelenbaum’s wife, Paula, was incorrectly identified as his daughter.
  • The original meaning of a sentence in Eva Yaa Asantewaa’s review of Esse Aficionado (December 17-23) was altered during the editing process. It should have read, “They have a certain obsession with making and unmaking spatial patterns, and they traffic in mannequin-like isolations and eccentric lighting cues.”
  • In the story “The New Electable Howard Dean” (December 17-23), was mistakenly referred to as a “liberal group.” Meetup is a nonpartisan, commercial venture. The Voice regrets the error.
  • In Jessica Winter’s “Mel Gibson’s Jesus Christ Pose,” two photos were incorrectly captioned. Conspiracy Theory was misidentified as Payback, and vice versa.
  • Due to a fact-checking error, “Gondor” was incorrectly changed to “Mordor” in J. Hoberman’s review of The Matrix Revolutions [“Holy Trinity,” November 5-11].
  • In Amy Phillips’s review of the CMJ Music Marathon (“Ballad of Big Nothing,” October 29-November 4), it was stated that “Stars Burn Out” is an original by Mary Lou Lord. It is actually by the English group the Bevis Frond.
  • The picture that ran with Eva Yaa Asantewaa’s “Fringe Elements Blend Styles, Strengths, and Sensibilities” [August 27-September 2] should have been credited to Krystyna Hughes.
  • In Michael Feingold’s review of Humble Boy (“Moments of Beeing,” May 28-June 3), the names of the characters Flora (Blair Brown) and Mercy (Mary Beth Hurt) were inadvertently reversed.
  • The photo for Charles McNulty’s review of Mabou Mines’s Cara Lucia (“The Dream Factories,” May 7-13) should have been credited to Garett J. Holden.
  • Wayne Barrett’s “Way to Go, Joe” [May 7-13] incorrectly stated that Assembly Speaker Sheldon Silver had attended a May 3 education rally in Albany. In fact, Silver was observing the Sabbath that Saturday and expressed his support through a videotaped speech. The Voice apologizes for the error.
  • The Summer in the City listing for the band Spoon [May 14-20] misspelled frontman Britt Daniel’s name. The band hails from Austin, not Athens.
  • In Ed Halter’s “Radical Cheek” (April 9-15), the first two elements of director Wheeler Winston Dixon’s name were inadvertently transposed.
  • In Hua Hsu’s “Orienting the East” (April 16-22), the subhead should have identified the subject of the article as Richard Nisbett.

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