“The nominees are all people I look up to, and have aspired to be,” Lovato admitted as she clutched her heavy Waterford crystal prize. Her competition was Beyonce, Lady Gaga, Rihanna and Katy Perry; Perry snagged five of the glittering statues, but missed the fun.

Los Angeles She’s the People’s Choice Award winner for Best Pop Artist, a fact that got Demi Lovato all choked up during the live awards show at the Nokia Theater in downtown Los Angeles on Wednesday, Jan. 11.

No one could have slept through the shrieking as Robert Pattison took the stage to accept the Favorite Drama Movie prize for “Water for Elephants.” His newly shaven head didn’t deter the screaming fans from almost drowning out his speech and the excitement didn’t stop there. The crowd went crazy for presenters Ian Somerhalder, Ginnifer Goodwin, Julianne Hough and Ewan McGregor, who gave Morgan Freeman the first annual Favorite Movie Icon award.

And the biggest excitement of the night didn’t come for the younger stars that graced the show, like Miley Cyrus, Vanessa Hudgens, Adam Levine, Kat Dennings, Nina Dobrev or Jennifer Morrison. That was reserved for beloved Betty White, who took home the trophy for her “Hot in Cleveland” win for Favorite Cable TV Comedy and is about to celebrate her 90th birthday on Jan. 17.

But the thousands of fans that packed the venue were not disappointed, as top stars from film, television and music filled the front rows and caused serious shrieking as they hit the stage. “Glee” star Lea Michele thanked her parents for their support as she won Favorite TV Comedy Actress, and Adam Sandler broke up the house with thanks to all his “public school teachers” when he won Favorite Comedic Movie Actor.

Faith Hill belted out “Come Home,” her latest hit single, and Neil Patrick Harris gave the assemblage a giggle as he tried to take over hosting duties from Kaley Cuoco. He also won for Favorite TV Comedy Actor, and admonished his young twins at home in his acceptance speech to “go to bed!”

Another of the day’s big collections came from Givenchy, direct from the universe of its imaginative designer Riccardo Tisci, who led revellers around a curious and luxurious exhibition-like collection.

Giorgio Armani proved once again that his Armani Prive collection is one of the sexiest tickets in town.

A noisy media scrum was triggered Tuesday when actresses Cameron Diaz and Jessica Chastain took their seats, delaying the start of the show.

A black-and-green jacquard silk bustier and ample skirt shimmered with a bodice of black micro-sequins. A flared bustier dress teemed with tiny sequins like green snowflakes.

“I love the green look, so stylish and so elegant with the embroiderings,” said Chastain, star of “The Help,” which was nominated for an Oscar for Best Picture on Tuesday.

The last of Armani’s 44 pieces got whoops from spectators: a stunning but restrictive mermaid dress with flounces embroidered with green degrade crystals. The model-cum-siren struggled to get one foot in front of the other, stumbling at one point.

Apparently no one told her that mermaids aren’t supposed to walk.

STEPHANE ROLLAND

A strict palette of red, lime green, black and ivory, and fabric in its purest form, met the fashion set for French designer Stephane Rolland’s highly-sculptural offering.

Inspired by the work of kinetic artist Michel Deverne, Rolland’s rich floor-sweeping gowns were kept ultra-simple to show off the movement of the materials.

Clean silhouettes, combined with sweeping waist appendages and expert draping, were broken up only by the odd shiny breastplate or waistband in gold metal.

But you couldn’t help but feel that Rolland fell short of the mark. His aim was crystal clear: displaying the natural beauty of fabrics such as silk jersey, gazar and organza that often are embroidered to death in couture. However, the collection suffered from its simplicity and became a bit repetitive.

For the finale piece Rolland’s muse-of-the-day, former supermodel Yasmin Le Bon looked uncomfortable walking in a humongous red silk jersey ball gown with assorted lacquered metal appliques. She had a right to be nervous: weighing in at 50 kilos (110 pounds) and 45 meters (147.5 feet) of fabric at its longest point, the train had to be carried by two assistants.

GIVENCHY

Givenchy’s Riccardo Tisci opened the doors of his cabinet of curiosity on Tuesday, in what was surely the most imaginative fashion presentation in Paris’s haute couture week.

Giant art-deco crystal earrings were shown alongside studded leather jackets and 1930s nubuck crocodile skin dresses.

Pieces were presented on mannequins in 18th century showrooms, just like the historic artifacts in the Louvre museum a stone’s throw from the Givenchy salons in central Paris.

The fashion crowd so used to the frenetic catwalk relished the opportunity to study the pieces.

It was a Riccardo Tisci of contradictions, mixing up high and low fashion. A black crocodile biker jacket with embellishments sat on top of intricately beaded organza.

A scooped-front jewelled cocktail dress channeled the 1930s, but was mixed with a dark sporty undergarment.

One floor-length dress looked conventional enough, until it was opened to reveal studs all over the inside. It has apparently become the most-wanted piece of the collection.

Wednesday’s haute couture shows include collections from Elie Saab, Jean Paul Gaultier and Valentino.

CHANEL

French mega-brand Chanel would certainly agree, billing its own couture show as the biggest spectacle yet. Inside a reconstructed jumbo jet, guests including many from Asia were treated to a showy presentation.

There were gasps as they reached the catwalk: a life-size jumbo-jet reconstructed complete with luggage lockers, walkways and even a Champagne trolley.

It was blue-sky thinking for Karl Lagerfeld, as he treated guests to a jet-set experience in Chanel’s spring-summer collection.

GIORGIO ARMANI PRIVE

It was as if stiff-suited Karl Lagerfeld had finally decided to relax into the flight as soft, floaty floor-length silhouettes replaced last season’s more fitted, shorter and architectural look.

Tuesday’s haute couture shows felt more flashy than in previous seasons perhaps owing to confidence after some fashion houses revealed rising sales figures during last year.

Sitting on the front row of the Italian designer’s show, US Vogue Editor Anna Wintour quipped: “Doesn’t couture always buck the trend?”

Revolutionary the show was not, but the Chanel brand is definitely flying steady with reason to be excited about the future. A strong clientele, and robust business mean that like other couture-producing labels, they are bucking the downtrend in a gloomy financial climate.

PARIS On day two of Paris’s frantic three days of haute couture collections, Chanel took the fashion crowd to the skies and highlights included super-sexy, celebrity-filled Armani Prive.

The Giorgio Armani Prive show was a glitzy affair and judging by its profits, it can afford to be: sales rose 50 percent in 2011 despite the sluggish economy.

Speaking backstage in the reconstructed cockpit, Lagerfeld said that blue was used because it’s an optimistic color.

Haute couture is an artisan-based method of making clothes that dates back over 150 years. The garments, shown in collections in Paris twice a year, are bought by a core group of no more than 100 rich women around the world. Creations range in price from euro15,000 to over euro100,000 for wedding dresses.

The wet Paris morning failed to dampen the mood outside the imperial Grand Palais, as guests waited excitedly to see the inside theme always a closely-guarded secret. The “Cocos” as one fashionista called Chanel followers were led nervously down a space-age passage.

Under Tisci, the French brand has also seen success in the past 12 months, reporting year on year profits of 5 percent.

Magnum photographer Martin Parr declared Hassink’s “The Table of Power” (1996), in which she photographed the boardrooms of 40 multinational companies, one of the most important photo books of the 20th century. Her new sequel “The Table of Power 2,” revisits companies from the 2009 Fortune Global 500 list, documenting the impact of the economic downturn.

Q: What else has changed in boardrooms since the last visit?

Q: You made “The Table of Power” sixteen years ago. What drew you to this topic and why did you revisit the subject?

Q: How does the value of these companies compare with 16 years ago?

A: “The top 40 in Europe in the first project had total revenues of $1,194,368.2 million. The top 40 from Europe in the second project had total revenues of $5,252,710.9 million.

A: “BASF, BP, Daimler, EDF, ENI, Fiat, Nestlé, PSA Peugeot Citroën, Royal Dutch Shell, Siemens, Total and Volkswagen. I only visited three companies twice — ENI, Siemens, and Volkswagen — where the same spokesperson accompanied me.

Q: Your work covers spiritual and material ideas, and you recently filmed the monks and their gardens in Kyoto. Why?

A: “My work develops over time. I travel extensively and ideas develop usually while traveling. Something catches my eye, which I observe in several continents. That is usually how a new body of work starts. I am interested in the relationship between private and public space in Zen Buddhist temples and gardens. I have been working with these monks since 2004 on a photography project called “View, Kyoto” and over time I have learned a lot from them. … I talked with them about the meaning of space and their relationship to nature. As a person I have become more balanced. They taught me how to live life in a Buddhist way.

Q: What was your most challenging project?

A: “The hardest project was by far ‘Arab Domains’ (2005-06). Over two years I visited 18 Arab countries, portraying 36 top female executives. For almost every country I needed to get a visa and I traveled for weeks through the Middle East and North Africa.”

Q: What are you working on?

A: “I just finished ‘View, Kyoto’ (2004-11) and I am making another film in Kyoto in 2012. In 2013, my book “View, Kyoto” will be published. I am planning to continue working on fashion world projects, like “Haute Couture Fitting Rooms, Paris” (2003-10) and a new project in China.”

(Reporting by Liza Foreman; Editing By Bob Tourtellotte)

A: “I consider it an artistic endeavor, simply because it is an artistic project and not a journalistic project.”

Q: Why did you decide to include in “The Table of Power 2″ the banks and financial institutions?

A: “I took part in a photography workshop in Oslo in 1993 and I was asked to pick a Norwegian book and choose one word to work with. I chose “table” in Ibsen’s play “Peer Gynt.” I projected this taxonomy as a map onto the city of Oslo, then looked for other tables in Norwegian society. That led to the idea of creating a map of Europe, by photographing its most potent meeting places: the meeting tables of the boards of directors of Europe’s largest corporations. I wanted to reveal the centers of economic power, the meeting tables where top executives were seated, making decisions upon which millions of people depend. In 2008 with the onset of the worst recession since the 1930s, I decided to look once again at Europe’s economic landscape.”

LOS ANGELES (Reuters) For 15 years, New York-based Dutch photographer Jacqueline Hassink has been making her mark with global art projects, covering subjects as diverse as Haute Couture fitting rooms in Paris, the gardens of Kyoto and the boardrooms of Europe’s leading corporations.

Q: What do tables reflect in business and society?

A: “The technology and the lack of ashtrays. Boardrooms can be highly complex these days with a lot of built-in technology. A striking new feature is the presence of BlackBerry trays.”

A: “Tables symbolize the core of our society. They are a fascinating symbol of how we organize our private and public lives. Within families, tables show a hierarchy. The father heads the table and the mother sits closest to the kitchen. In corporations, boardroom tables represent a similar power play. CEOs usually sit at an oval or rectangular table at the head, or in the middle of the longest stretch. Ideally they face the entrance, which is the most secure place in the room.”

Q: Your project represents the first time in Europe that boardrooms have been photographed and made public. Do you consider this a journalistic endeavor?

Q: Which companies are still on the original list?

A: “Since major banks and financial service companies have played an enormous role in the economy’s downward spiral, and thus our immediate social coexistence, they too were included in ‘The Table of Power 2,’ alongside industrial, multinational corporations. I simply observed the economic landscape of Europe in the year 2009, and I could not do the project without adding the banks nor not include Russian corporations in the project.”

Davis beat out a heady field of contenders including Meryl Streep, Charlize Theron, Michelle Williams, Tilda Swinton, and Elizabeth Olsen, who all looked on from the jam-packed audience as Davis got teary-eyed during her acceptance speech.

“I’m so not prepared for this,” Spencer stammered. “I wasn’t a Girl Scout!”

“I’m very proud to be in this film,” he said.

As the show built to its climax, the star-studded crowd rose to give a standing ovation to singer Bob Dylan, who played a song in honor of Scorsese’s special Music+Film Award, then cheered again as George Clooney presented the Joel Siegel Humanitarian Award to Sean Penn, who accepted via satellite from Haiti, two years to the day since the devastating earthquake there.

“It’s amazing what our little film has done so far,” “The Artist” star Missi Pyle said happily at the CCMA after party. “I feel a bit like Cinderella at the ball!”

“I wanted to make a mark, I wanted to be somebody,” she said, recalling her first days as an aspiring thespian, riding a bus for hours to get to an acting class. “I am honored to play a woman who didn’t have the chance to dream.”

Los Angeles There were some shocked faces at the 17th Annual Critics’ Choice Movie Awards held at the Hollywood Palladium on Thursday, Jan. 12, and none more than that of Viola Davis, who took home the Best Actress prize for her fine work as a maid in “The Help.”

“After seeing Martin Scorsese and Steven Spielberg here,” the French filmmaker gasped, “this is just stupid!”

And dream she should, for the Broadcast Film Critics Association, who bestow the CCMAs every year, are the most accurate barometer of any of the pre-Oscar awards fetes in predicting who wins the Academy Award. If that holds true, then there are a few other surprising underdogs on their way up.

She thanked director Steven Spielberg, who watched from a prime seat; his company DreamWorks funded “The Help.” Spielberg was up for Best Director for his film “War Horse,” along with Martin Scorsese, Alexander Payne, Stephen Daldry, Nicolas Winding Refn and “The Artist” auteur, Michel Hazanavicius, who got the critic’s nod.

Octavia Spencer won Best Supporting Actress for her part in “The Maid,” and once she had hugged her collected co-stars including Emma Stone, Jessica Chastain, Allison Janney, Cicely Tyson and director Tate Taylor, she was at a loss for words.

But not as proud as the cast of “The Artist,” which grabbed the big prize of Best Picture. That delightful black-and-white silent film has been wowing audiences everywhere, and beat out popular hits like “The Help,” “Moneyball,” “Hugo” and “Midnight in Paris.”

NEW YORK Welcome to the Rock and Roll Hall of Fame, Guns N’ Roses.

Other inductees include Freddie King for early influence; rock promoter Don Kirshner, who died earlier this year, receives the Ahmet Ertegun award; and Tom Dowd, Glyn Johns and Cosimo Matassa will be honored for musical excellence.

The Rock and Roll Hall of fame induction ceremony will be held in Cleveland, where the rock hall is based, on April 14. It will be shown on HBO in May.

The Beastie Boys (Adam Yauch, Mike Diamond and Adam Horovitz) are among the pioneers of rap. The first white act to make real inroads in the emerging genre, they were known initially for boorish party music, but would develop into a group critically acclaimed for its musicality, experimenting with different soundscapes, even producing an instrumental album.

But it wasn’t just women who were denied entry into the rock hall for next year. Voters also passed on hip-hop pioneers Eric B. & Rakim, War, the Cure and the Spinners.

The seminal rock band of the late 1980s and early `90s, best known for hits like “Welcome to the Jungle,” “Sweet Child O’ Mine” and “November Rain,” leads the 2012 class of inductees announced on Wednesday. Also making the cut is the hip-hop trio Beastie Boys; rockers the Red Hot Chili Peppers; the late singer/songwriter Laura Nyro; Donovan; and influential British rock group The Small Faces/The Faces, which included Rod Stewart and Rolling Stones guitarist Ronnie Wood.

Guns N’ Roses blazed on the rock scene in 1987 with their official debut, “Appetite for Destruction.” Fronted by siren-voiced singer Axl Rose, with Slash and Izzy Stradlin on guitars, Duff McKagan on bass and Steven Adler on drums, the group dominated music with its aggressive rock grooves. Early in their career they were criticized for lyrics in the song “One in a Million” deemed as homophobic, misogynistic and racist. They were also defined by their dysfunction, gleefully embodying the mantra of sex, drugs and rock and roll.

The band sold millions and millions of albums, providing a sharp contrast to a pop world defined by the likes of Madonna and Michael Jackson. But the group’s turmoil, often on display before the whole world, would cause the core to fall apart by 1996. Their induction should lead to talk once again of a possible reunion, at least for the induction ceremony.

Nyro, who wrote such hits the 5th Dimension’s “Wedding Bell Blues” and Blood Sweat & Tears’ “And When I Die,” is the only female act to make it this time around. The hall passed on Donna Summer, Joan Jett and the Blackhearts, Heart and Rufus with Chaka Khan, who were on the ballot for 2012.

“Well it’s quite a thrill and honor to make it in the Hall of Fame a second time,” Stewart said in a statement. “We (The Faces) were always synonymous with a good party and with this list of fellow artists being inducted I’m looking forward to (it) … and it’s a hell of a good reason to reunite and celebrate with my old mates.”

Their trajectory was the opposite of the Chili Peppers. Despite troubles that included the drug-related death of guitarist Hillel Slovak and the departure of guitarist John Frusciante, the band, fronted by Anthony Kiedis, with Flea on bass, drummer Chad Smith and guitarist Josh Klinghoffer, released its 10th album, “I’m With You,” this year.

Donovan is best known for trippy hits like “Mellow Yellow.”

“I feel an infinite energy from what we are doing and looking forward to taking this togetherness we are forging out on tour … So hearing this news about the hall of fame really seems like it has extra significance for me. To be recognized this way seems especially full and profound,” he said. He also cited the contributions from Slovak and Frusciante.

Both Stewart and Wood will become second-time members of the Rock Hall (Stewart was inducted as a solo artist in 1994 and Wood as part of the Rolling Stones in 1989) for the Small Faces/The Faces, a key rock group that developed as British invasion was peaking. Among their hits was the song “Stay With Me.”

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In a statement on the band’s website, Flea expressed his excitement about the honor.

Online:

http://www.Rockhall.org

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Nekesa Mumbi Moody is the AP’s music editor. Follow her at http://www.twitter.com/nekesamumbi

The doctor charged in the death of Michael Jackson has arrived at a Los Angeles courthouse for the verdict in the involuntary manslaughter case.

“There’s a great impatience in careers. If you’ve got a beautiful lyrical voice, your voice can grow over time, but if you push it too soon into heavier roles this takes a toll on the voice. We’ve seen it happen over and over and over again.”

“IMPATIENCE” THREATENS FUTURE

Instead, it seems, the man with the golden voice and acting abilities appears to be loved just as much for his professionalism and generosity on and off stage.

“They don’t make them like that any more,” he added. “And more’s the pity. Domingo belongs to Grand Opera in a way that few male singers do today. He’s also a real trouper in a way that virtually none are.”

“No-one dies like Placido Domingo,” he wrote of his on-stage demise in Simon Boccanegra.

DON’T CLAP TOO MUCH

For Domingo, the Royal Opera House was in some ways “unbeatable,” not least because audiences did not applaud for too long.

“This house has always been enormous, I mean the warmth of the public, the company like a family,” he told Reuters and London’s Evening Standard in a backstage interview.

Still dressed in the long gowns of his Simon Boccanegra costume and surrounded by fans and colleagues, he added: “I think the public in London is amazing because you know in some theatres maybe you have anything between half and hour and 40 minutes of curtain calls.

“In London I think what’s so absolutely amazing is the way they react and they kind of respect the artist … 10 minutes of London applause, it is equivalent of any other house’s half an hour or 40 minutes because it’s really like an explosion.”

Sharing the stage with Domingo at the concert were four Covent Garden debutants, underlining the singer’s engagement with discovering new talent.

“This is my big thing, to be able to create new artists with my competition and with my young artist programs,” Domingo said, speaking in English. “It’s really the future when you see these people.”

Asked whether he was optimistic about opera’s future, he replied: “I believe opera is forever, as long as there is sensibility in people.”

And addressing the economic crisis that has put the notoriously expensive art form out of the reach of many fans, he said: “Always there have been crises and this is of course one of the most difficult times.

“I think it’s possible to encourage people to work more with co-productions and sometimes you have to cut a little bit the repertoire and the performances, but it is going to be back.”

(Editing by Steve Addison)

“We live in a world where everybody is, you know, ‘the next young thing’ and ‘the next prodigy’ and the ‘next superstar kid’, and now you see what a real career is about. It’s built over time.

Antonio Pappano, music director at the Royal Opera House, who conducted Domingo, said the experience was less nerve-racking than some might expect.

The sellout crowd paying up to 225 pounds ($360) a seat saw Domingo perform the final acts of three of his favorite Verdi operas.

“It’s incredibly comforting because … in his voice there’s history and there’s time,” he said backstage after the performance.

Domingo recently switched to baritone, and performed the title roles in the closing scenes of “Rigoletto” and “Simon Boccanegra.”

LONDON (Reuters) Spanish singer Placido Domingo marked his 40th anniversary at London’s Royal Opera House with a gala concert late Thursday that was greeted with one of the longest and loudest curtain calls the venue has seen in years.

“You’ll never hear anyone in the industry say a bad word about him,” said veteran opera photographer Rob Moore, who was at Covent Garden in 1971 when Domingo made his debut there.

But he also voiced concerns that future Domingos may not be given space to develop.

Yet amid the celebrations for the 70-year-old’s distinguished career, there came warnings that his like may not be seen again in a time when finding the “next big thing” could deny singers the time to develop into genuine greats.

Adrian Hamilton of the Independent newspaper said in his four-star review that Domingo “may have lost the full throat of youth,” but argued his dramatic powers were at their height.

In “Otello,” he sang the title role written for a tenor, the register that made him one of the most famous singers of his generation with Luciano Pavarotti and Jose Carreras.

The New York-born rapper died at a Los Angeles hospital Tuesday after collapsing outside his home. He was 44.

Grace Baptist Church’s website says its congregation was founded by five black women in 1888.

He was one of the genre’s top stars in the late 1980s and early 1990s.

Dwight Arrington Myer was the titular member of Heavy D and the Boyz, which had hits with “Now That We Found Love,” “Who’s the Man” and “Somebody for Me.”

MOUNT VERNON, N.Y. A private funeral for rap legend Heavy D will be held at a historic black Baptist church in a northern suburb of New York City.

On Monday, the piano will be picked up from the Detroit museum and shipped to Steinway & Sons in New York for restoration. The work is expected to take up to five months.

“Steinway & Sons is honored to restore the historic Steinway piano that was used by such legends as Marvin Gaye, Smokey Robinson and Stevie Wonder and to do so in the very same New York factory where it was originally built in 1877,” Steinway & Sons President of Americas Ron Losby told the newspaper in a statement.

The piano company has to assess the piano’s condition before a cost can be determined.

Information from: The Detroit News, http://detnews.com/

Undaunted, the legendary rock and roller from England told museum officials following a July concert at Comerica Park that he wanted to help restore it.

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“We’re especially proud, as an American company, to help the Motown Museum in preserving the legacy of the Motown Record Company, whose artists and albums played such a vital role in one of the great eras of American music.”

“He was disappointed when we told him it didn’t play,” Motown Historical Museum chief executive Audley Smith Jr., told The Detroit News for a story ( http://bit.ly/trOphs) Saturday.

“It’s very hard when the product you’re selling to the entire country is yourself, and you’re just selling the hell out of it all the time. … We have to have it, and we need somebody who’s really good at it, but ego is something that was really tricky to embrace.”

“I think that the ‘hope’ part of the hope message has been tamped down a bit,” Clooney said.

LONDON George Clooney says Hollywood can be a ruthless place but it’s nothing compared to the world of politics.

Clooney, whose own private life is the subject of constant scrutiny, said he’s not tempted to step into the even more unforgiving world of politics.

Clooney has politics in the family his father made an unsuccessful run for Kentucky’s 4th Congressional District in 2004. But he said playing a politician was a challenge.

Clooney said the type of scandal the film depicts is universal, but thinks the public and media will have to grow more forgiving of politicians’ personal peccadilloes.

“Hollywood is a bit more forgiving,” Clooney said, “because they don’t expect us to be saints.”

Clooney said the movie, adapted from a play by Beau Willimon, is “a pretty cynical look at politics.” He has said he held off filming it amid the wave of optimism that accompanied the 2008 election of President Barack Obama. Three years later, amid political division and economic gloom, that positive mood is long gone.

“It’s all cyclical,” he added. “It’ll change back again. I feel fairly optimistic about the way our country works.”

“Playing a candidate is tricky because, you would think actors have a gigantic ego and they do,” he said. “But politicians have a tremendous amount of ego.

Clooney directed, co-wrote, produced and stars in the tale of a Democratic presidential contender, with Ryan Gosling as an idealistic aide swept up in a sex scandal in the final days of a closely fought primary campaign. The film also stars Philip Seymour Hoffman and Paul Giamatti as rival campaign managers, and Evan Rachel Wood as an ambitious intern.

“I think we’re going to have to get to the point where we just have to start, every candidate, with ‘Yeah, I did it’ and just go on from there,” Clooney said. “Because it’s going to be very hard to find people who haven’t smoked a joint or drunk some bong water along the way.”

“Because you’re so lucky if you get to the position where you get to be in a film,” Clooney said. “You’re very privileged, and you understand that it’s not just your brilliance that got you there, that you’re standing on the shoulders of a lot of happy accidents along the way.”

The star, who plays a U.S. presidential hopeful in “The Ides of March,” said Wednesday that “there’s a certain cutthroat element to the business” of moviemaking, but added that actors share a spirit of generosity that he doesn’t often see in politics.