Aurelia Butler

More stories

  • 150 Shares169 Views

    in Movies

    Gene Hackman’s Wife Died at Least a Day Later Than Originally Thought

    Betsy Arakawa made several calls to a medical clinic on Feb. 12, the day after the authorities initially believed that she died.The authorities in New Mexico have recovered evidence that Betsy Arakawa, the wife of the actor Gene Hackman, died at least one day later than they had previously estimated.The New Mexico authorities initially believed that Ms. Arakawa had likely died of a rare viral infection on Feb. 11, because that was when she was last seen publicly and stopped returning email correspondence.But after analyzing her cellphone, investigators learned that Ms. Arakawa had made three phone calls on the morning of Feb. 12, Denise Womack-Avila, a spokeswoman for the Santa Fe County Sheriff’s Office, said on Monday. She said that Ms. Arakawa had made the calls to a concierge medical service, Cloudberry Health.Dr. Josiah Child, the lead physician there, said in an interview that the clinic called Ms. Arakawa back that morning and scheduled an appointment for that afternoon. He said she had reported feeling congested but that there were no signs of respiratory distress. Ms. Arakawa did not show up for her appointment that afternoon, Dr. Child said.“I suspect that she was starting to feel ill and that’s why she reached out to us,” he said.Ms. Arakawa and Mr. Hackman were both found dead in their secluded home outside of Santa Fe late last month. The state medical examiner concluded that Ms. Arakawa, 65, died from the effects of hantavirus, which is contracted through exposure to excrement from rodents. The virus can cause flulike symptoms before progressing to shortness of breath, as well as cardiac and lung failure.They said that Mr. Hackman, who had Alzheimer’s, spent another week in the house with her body and died Feb. 18 of heart disease.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 138 Shares149 Views

    in Music

    ‘We Are the Lucky Ones’ Gives Operatic Voice to a Generation

    This new opera assembles a compassionate, haunting portrait of the middle class that emerged from World War II and considers what they leave behind.Theaters are never truly dark. In between performances, a simple floor lamp is placed onstage and switched on. It’s called a ghost light, and depending on whom you ask, it’s either a practical safety measure or a way to ward off spirits. Some say it actually welcomes them.As audience members entered the auditorium of the Dutch National Opera on Friday for the world premiere of “We Are the Lucky Ones,” they were greeted by a ghost light that, true to its history, was open to interpretation.For one, it was a signal of artifice. “We Are the Lucky Ones” may be a moving work of music theater, but it is, ultimately, theater: a space for storytelling and reflection. The ghost light, though, also had a hint of the supernatural, summoning eight singers to an uncanny, purgatorial space so they could share their secrets, regrets and worries for the future.Their stories are, for the most part, true. “We Are the Lucky Ones,” with music by Philip Venables and a libretto by Ted Huffman and Nina Segal, is based on interviews with about 80 people born between 1940 and 1949, distilled into a headlong rush through time.What emerges, in an opera as compact and overwhelming as “Wozzeck,” is a portrait of a generation told with compassion, wisdom and artfulness. You can imagine a version of this story as an indictment of the age group that, as one character admits, “made a mess of things.” But while opera thrives on simplicity, with love blossoming over the few minutes of an aria, “We Are the Lucky Ones” is anything but simple.Stucker, left, and Rosen, in the opera, which is based on interviews with about 80 people born between 1940 and 1949.Dutch National Opera. Photo: Koen BroosWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 113 Shares159 Views

    in Movies

    Conan O’Brien to Host the Oscars Next Year, Too

    Mr. O’Brien received high marks for his work as the emcee of the 97th Oscar telecast this month. It was his first time hosting the show.Conan O’Brien will reprise his Oscar hosting duties next year, the Academy of Motion Picture Arts and Sciences said Monday morning, in one of the earliest renewals for an Oscar host.The news comes after Mr. O’Brien received high marks for his work as the emcee of the 97th Oscar telecast, which delivered a five-year ratings high for ABC this month. It was his first time hosting the show.“The only reason I’m hosting the Oscars next year is that I want to hear Adrien Brody finish his speech,” Mr. O’Brien said in a statement, referring to Mr. Brody’s five-minute oration after winning the Oscar for best actor.The show’s producers, Jeff Ross and Mike Sweeney, will also return for a second year. And the ceremony’s executive producers Raj Kapoor and Katy Mullan, will be back for a third consecutive year. The ceremony will be held on March 15, 2026.The job of hosting the Oscar telecast is often a thorny one. The comedian Chevy Chase called it “the most thankless job in the world.” The hosts rarely get credit when things go right — and are often held responsible when things go wrong.In the past few years, the academy has tried to shore up the assignment early, though it didn’t announce its most recent hosts until the November before the March telecast. Jimmy Kimmel signed on for his fourth and final turn in November 2023, and Mr. O’Brien was named in November 2024.“Conan was the perfect host — skillfully guiding us through the evening with humor, warmth and reverence,” Bill Kramer, the academy’s chief executive, and Janet Yang, the group’s president, said in a statement. More

  • 150 Shares169 Views

    in Music

    Louis Ballard, the ‘Father’ of Native American Composers, Hasn’t Gotten His Due

    More than 50,000 spectators filled Kennedy Stadium in Washington on Nov. 27, 1977, for a football game between two bitter rivals, the Washington Redskins and Dallas Cowboys.There was drama in the game, with both teams in the hunt for a playoff berth, but more unusual was the entertainment before and at halftime: an enormous spectacle of Native American music, dance and history. It was, The Washington Post reported, “part of a new movement to re-establish American Indians as first-class citizens in the United States.”At the center of the event was the National Indian Honor Band — 150 students chosen from 80 tribes in 30 states — which played four pieces by Louis W. Ballard. With tens of thousands of listeners, this was probably the most prominent platform a Native American composer had ever had.The performance was a career highlight for Ballard, a pioneering figure who paved the way for the broad upswing in Native composers over the past few decades. He was among the first to negotiate issues that younger artists still face: melding Native and Western classical traditions; the role of his music in social and political activism; expressing his community’s deep history and culture in a modern way.“Ballard was the grandfather of Native American composers,” Jerod Impichchaachaaha’ Tate, one of that next generation of artists, said in an interview. Tim Long, a conductor and teacher, echoed that sentiment: “He is the father of all of us who are Native people in classical music right now.”A composer as well as a pianist, conductor, filmmaker, writer, teacher, compiler of Native songs and national curriculum specialist for the Bureau of Indian Affairs, Ballard had his music performed throughout the United States and Europe. He studied with Darius Milhaud and brought Stravinsky to a ceremonial Deer Dance in New Mexico.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 100 Shares179 Views

    in Music

    Larry Bell’s Vast Collection of 12-String Acoustic Guitars

    The artist Larry Bell has amassed a vast collection of acoustic instruments, carefully stored in a climate-controlled room.In My Obsession, one creative person reveals their most prized collection.The artist Larry Bell, 85, was born with severe undiagnosed hearing loss. “I didn’t know it, and neither did my parents,” he said. Unsurprisingly, music lessons were a struggle but, when he was about 17, he saw a strange guitar hanging in a pawnshop window in Downtown Los Angeles. “I had never seen anything quite like it because it had 12 strings instead of six,” he said. “I asked the man behind the counter if I could see it. I just dragged the back of my nails across the strings, and it was a complete epiphany. I heard it. And not only did I hear it, I could feel it.” Bell, who is best known for minimalist glass sculptures that explore the properties of light and color, has been collecting 12-string guitars ever since. Hundreds hang in their own climate-controlled room in his studio in Taos, N.M. Twelve-strings are more sensitive than six-strings: They’re difficult to tune and hard to play, and that’s what Bell appreciates. “My collection is about my passion for improbable things,” he said.The collection: Acoustic 12-string guitars.Number of pieces in the collection: “Roughly 300.”Recent purchase: “I had some spare time [during the run of the retrospective ‘Larry Bell: Improvisations’ at the Phoenix Art Museum], and one of the curators drove me around to see some guitar shops. I came across a fantastic instrument made in Vietnam. The sound’s sort of a cross between a harpsichord and an organ.”Weirdest: “In my mind, they’re all unusual because 12-strings aren’t a popular kind of guitar. Years ago, I commissioned a fantastic musician to make me a 12-string guitar that was small enough to slip under the seat of an airplane.”Most expensive: “Ten thousand dollars for a McPherson [a guitar handmade in Sparta, Wis.].”Most precious: “A little Mexican instrument that was made [about 50 years ago] in a town called Paracho, Michoacán. I paid about $600 [for it] at a store in L.A. It probably cost someone $12 when it was new. As it turned out, it was absolutely extraordinary in terms of its playability. How much a guitar costs is not necessarily what determines how good it is.”One previously owned by somebody famous: “Actually, it’s just the opposite. A few musicians borrowed them and never gave them back.”One that was damaged: “They crack all the time. It’s very dry here. I have four humidifiers that run around the clock to feed these guys water so they don’t turn to dust.”Plans for the collection: “I wonder how many people’s guitars burned up in the terrible situation in Los Angeles. I’m thinking of giving the whole collection to somebody who can put the instruments in the hands of those who might need them.”This interview has been edited and condensed. More

  • 113 Shares99 Views

    in Music

    So You Think You Can Be a Cabaret Star

    On a crisp Saturday morning in late February, Rachel Murdy joined a group of singers of various ages and experience levels at the 92nd Street Y and sang “Party Hat,” delivering the refrain “I’m going to put a party hat on my cat” with a playful spark.Murdy, a seasoned 56-year-old performer and director, had brought along her 7-year-old Chihuahua, Bibi. “I’m not a cat person,” she noted. But she said she could relate to the lyric, which advocates tackling loneliness with giddy defiance.Joe Iconis, the composter, lyricist and performer, who had been swaying enthusiastically throughout Murdy’s presentation, approved. “You’re so right on,” he said, as he would repeatedly when the participants, chosen from a pool who had submitted videos, performed. “It’s about a human being looking for a connection.”Rachel Murdy entertaining her classmates during the 92NY workshop.Hannah Edelman for The New York TimesThe group had gathered for a cabaret performance workshop that aims to foster fresh talent in a classic art form that has long been pronounced dead, only to rise again and again. Each had prepared a song by Iconis, whose musicals include the Tony Award-nominated “Be More Chill” and “The Untitled Unauthorized Hunter S. Thompson Musical,” set to arrive in Washington, D.C., in June.“I’ll do anything I can to help light a fire, especially in young people,” Iconis said in an interview, “to show them you can have all those things that are exciting about pop singing and also learn how to interpret the lyric, and make the performance of a song a dramatic experience.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 163 Shares199 Views

    in Movies

    Gene Winfield, Whose Cars Starred in Film and on TV, Dies at 97

    He was know for modifying cars with innovative metal work and paint jobs, and for building vehicles like the Galileo shuttle for the original “Star Trek” series.Gene Winfield, a hot rodder and prominent car customizer who built fanciful vehicles for “Star Trek,” “The Man From U.N.C.L.E.” and other television series and for films like “Blade Runner” and “Sleeper,” died on March 4 in Atascadero, Calif. He was 97.His son, Steve, said he died in an assisted living facility from metastatic melanoma. He had also been diagnosed with kidney failure.Mr. Winfield began to attract national attention in the late 1950s with a two-door 1956 Mercury hard top called the Jade Idol.According to the custom car website Kustorama, he transformed the Mercury for a customer by adding features like handmade fenders rolled in aluminum in the front end; headlight rings made from 1959 Chrysler Imperial Crown hubcaps; a television set integrated into a new dashboard; and a steering column taken from an Edsel.The restored Jade Idol in Salinas, Calif., in 1981. Mr. Winfield first attracted national attention in the late 1950s with the car, a customized two-door 1956 Mercury hardtop.David GrantAutomobile magazine described the Jade Idol as having “a sharklike presence that represented a new direction in customs.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 113 Shares119 Views

    in Music

    Trump Seeks More Sway in Picking Kennedy Center Honorees

    When President Trump was criticized by some of the artists who were recognized at the annual Kennedy Center Honors program during his first term, he responded by boycotting the show, breaking with decades of precedent.Now, as he leads a sweeping takeover of the Kennedy Center in his second term, Mr. Trump is seeking changes that will allow him greater sway in the selection of honorees, according to two people briefed on the matter who were granted anonymity to describe confidential discussions.Mr. Trump, who is now the chairman of the Kennedy Center, is scheduled to speak at a meeting of its board on Monday afternoon, when proposed changes to the honors advisory committee will be on the agenda, according to the individuals and a copy of the agenda that was obtained by The New York Times.Since 1978, the Kennedy Center has named honorees to be recognized each year at a star-studded televised gala without interference from the White House. The center has honored a broad spectrum of artists and performers, including Lucille Ball, Dolly Parton, Clint Eastwood, Fred Astaire and the Grateful Dead.But Mr. Trump is seeking a more direct role. He replaced all the Biden appointees on the center’s once-bipartisan board, was elected chairman and installed a loyalist, Richard Grenell, as its president. The board is scheduled to meet Monday to consider a resolution, which has not been previously reported, that would give Mr. Trump more control over the selection of honorees.The resolution states that members of the committee responsible for selecting honorees “shall be appointed by the chairman of the board, and shall serve at the pleasure of the chairman,” according to a copy obtained by The Times. That would give Mr. Trump broad power to hire and fire those who help decide who will receive the honor, which recognizes people and institutions for lifetime artistic achievement. The committee will recommend a slate of honorees to the Kennedy Center’s president for approval, the resolution says.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More