Larry King, Breezy Interviewer of the Famous and Infamous, Dies at 87
Over five decades, he chatted with an estimated 50,000 people from all walks of life, from presidents and pundits to swindlers and U.F.O. “experts.” More
Subterms
150 Shares189 Views
in TelevisionOver five decades, he chatted with an estimated 50,000 people from all walks of life, from presidents and pundits to swindlers and U.F.O. “experts.” More
113 Shares119 Views
in TheaterAdvertisementContinue reading the main storySupported byContinue reading the main storyBob Avian, Choreographer of Broadway Smashes, Dies at 83His collaborations with Michael Bennett included “A Chorus Line.” He later worked on “Miss Saigon” and other hits. More
138 Shares119 Views
in MusicAdvertisementContinue reading the main storySupported byContinue reading the main storyJimmie Rodgers, Who Sang ‘Honeycomb’ and Other Hits, Dies at 87His crossover appeal landed him on the charts often in the 1950s and ’60s, but a violent incident in 1967 derailed his career.The singer Jimmie Rodgers in a 1958 publicity photo. He was was a regular presence on the pop, country, R&B and easy listening charts for a decade.Credit…Bettmann ArchiveJan. 22, 2021, 5:21 p.m. ETJimmie Rodgers, whose smooth voice straddled the line between pop and country and brought him a string of hits — none bigger than his first record, “Honeycomb,” in 1957 — died on Monday in Palm Desert, Calif. He was 87.His daughter Michele Rodgers said that the cause was kidney disease and that he had also tested positive for Covid-19.Mr. Rodgers was a regular presence on the pop, country, R&B and easy listening charts for a decade after “Honeycomb,” with records that included “Oh-Oh, I’m Falling in Love Again” (1958) and “Child of Clay” (1967), both of which were nominated for Grammy Awards.He might have continued that run of success but for an ugly incident in December 1967, when he was pulled over by a man who, he later said, was an off-duty Los Angeles police officer and beat him severely.Three brain surgeries followed, and he was left with a metal plate in his head. He eventually resumed performing, and even briefly had his own television show, but he faced constant difficulties. For a time he was sidelined because he started having seizures during concerts.“Once word gets out that you’re having seizures onstage, you can’t work,” he told The News Sentinel of Knoxville, Tenn., in 1998. “People won’t hire you.”Mr. Rodgers was found to have spasmodic dysphonia, a disorder characterized by spasms in the muscles of the voice box, a condition he attributed to his brain injury. Yet he later settled into a comfortable niche as a performer and producer in Branson, Mo., the country music mecca, where he had his own theater for several years before retiring to California in 2002.James Frederick Rodgers was born on Sept. 18, 1933, in Camas, Wash., in the southwest part of the state. (Four months earlier, a more famous Jimmie Rodgers, the singer known as the father of country music, had died; the two were unrelated.) His mother, Mary (Schick) Rodgers, was a piano teacher, and his father, Archie, worked in a paper mill. Jimmie started out singing in church and school groups.After graduating from high school, he briefly attended Clark College in Washington State but left to enlist in the Air Force, serving in Korea during the Korean War. In a 2016 interview with The Spectrum, a Utah newspaper, he recalled one particular evening near Christmas 1953.“I bought a beat-up old guitar from a guy for $10 and started playing and singing one night and all the guys joined in,” he said. “We were sitting on the floor with only candles for light, and these tough soldiers had tears running down their cheeks. I realized if my music could have that effect, that’s what I wanted to do with my life.”Back in the States and stationed near Nashville, he started performing in a nightclub for $10 a night and free drinks before returning to Washington after mustering out. In 1957 he traveled to New York to perform on a TV talent show and also snagged an audition for Roulette Records, singing “Honeycomb,” a Bob Merrill song he had learned off a recording by Georgie Shaw and had been performing in the Nashville club.“They basically said, ‘Don’t go any further, that’s great,’” he said in an interview with Gary James for classicbands.com.Mr. Rodgers in performance in 1969, two years after a violent incident in Los Angeles temporarily ended his career.Credit…Jim McCrary/RedfernsMr. Rodgers was taken to a studio to record what he thought would be a demo with musicians he had only just met.“They brought in four players and three singers and we recorded it in about two hours — no charts, no music,” he said in a 2010 oral history for the National Spasmodic Dysphonia Association.A week or two later, he was surprised to hear the song on the radio. It reached the top of the Billboard pop and R&B charts.Later that year he had another success with his version of a song that had been a hit for the Weavers, “Kisses Sweeter Than Wine,” giving it an up-tempo kick and injecting key changes similar to what he had used in “Honeycomb.”“I was told that they won’t sell — records that change keys, people can’t sing along with them,” Mr. Rodgers recalled in an oral history recorded in 2002 for the National Association of Music Merchants. The public disagreed.His early songs, released as Elvis Presley was shaking up the music scene, were a sort of comfort food, jaunty yet melodic and not too earthshaking. In 1959 his quick popularity earned him his own television variety show, which ran for one season.“If his singing style calls for more emphasis on beat than lilt,” Jack Gould wrote of its premiere in The New York Times, “at least it has the virtue of being well this side of rock ’n’ roll.”Mr. Rodgers’s short-lived acting career included a lead role in the 1964 war movie “Back Door to Hell.” Also in the cast was a young Jack Nicholson.Credit…ImdbMr. Rodgers in concert in 2012. He had his own theater in Branson, Mo., the country music mecca, for several years before retiring to California in 2002.Credit…John Atashian/Getty ImagesMr. Rodgers dabbled in acting in the 1960s, including a leading role in “Back Door to Hell,” a 1964 war movie whose cast also included Jack Nicholson. In 1965, “Honeycomb” found new life when Post introduced a cereal by that name, repurposing the song to advertise it, the jingle sung by Mr. Rodgers. He also sang a SpaghettiOs jingle that riffed on his “Oh-Oh, I’m Falling in Love Again.”Mr. Rodgers said he was under consideration for a featured role in the 1968 movie musical “Finian’s Rainbow” when the encounter on the freeway derailed his career. In his telling, he was driving home late at night when the driver behind him flashed his lights. He thought it was his conductor, who was also driving to Mr. Rodgers’s house, and pulled over.“I rolled the window down to ask what was the matter,” he told The Toronto Star in 1987. “That’s the last thing I remember.”He ended up with a fractured skull and broken arm. He said the off-duty officer who had pulled him over called two on-duty officers to the scene, but all three scattered when his conductor, who went looking for Mr. Rodgers when he hadn’t arrived home, drove up.The police told a different story: They said Mr. Rodgers had been drunk and had injured himself when he fell. Mr. Rodgers sued the Los Angeles Police Department, prompting a countersuit; the matter was settled out of court in his favor to the tune of $200,000.During his long recovery Mr. Rodgers got another shot at a TV series, a summer replacement variety show in 1969.“I looked like a ghost,” he admitted in a 2004 interview.His marriages to Colleen McClatchy and Trudy Ann Buck ended in divorce. In 1978, he married Mary Louise Biggerstaff. She survives him.In addition to her and his daughter Michele, he is survived by a son, Michael, from his first marriage; two sons from his second marriage, Casey and Logan; a daughter from his third marriage, Katrine Rodgers; five grandchildren; and two great-grandchildren.AdvertisementContinue reading the main story More
138 Shares179 Views
in Television#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyMira Furlan, Actress on ‘Lost’ and ‘Babylon 5,’ Dies at 65The Croatian-born actress played Ambassador Delenn on the science fiction TV series “Babylon 5” throughout its five seasons and in two movies.Mira Furlan as the scientist Danielle Rousseau in “Lost.”Credit…Mario Perez/Walt Disney Television, via Getty ImagesJan. 22, 2021, 3:08 p.m. ETMira Furlan, an actress best known for her roles on the fantastical TV series “Babylon 5” and “Lost,” died at her home in Los Angeles on Wednesday. She was 65.The cause was complications of the West Nile virus, according to Chris Roe, her manager.From 1993 to 1998, Ms. Furlan starred in “Babylon 5,” a space opera that followed the relationships, politics, interspecies tensions and galactic conflicts aboard a United Nations-type space station in the mid-23rd century. She played Ambassador Delenn, representing the Minbari alien race on the space station.Ms. Furlan in “Babylon 5: In the Beginning.”Credit…Doug Hyun/TBS“Delenn is a wonderful creation, a woman who must be a leader and must be strong, but who is also full of emotion and secrets,” Ms. Furlan said in 1997.Ms. Furlan twice won a Sci-Fi Universe Award for best supporting actress for her work on the show, which also starred Bruce Boxleitner and Stephen Furst. She appeared in all 111 episodes and in two “Babylon 5” TV movies.In 2004, she began playing the scientist Danielle Rousseau on the popular ABC drama “Lost,” about a group of survivors stranded on a remote mysterious island after the crash of their jetliner. She played her character, known as “the Frenchwoman,” through the show’s final season, in 2010.Mira Furlan was born on Sept. 7, 1955, in Zagreb, Croatia, where she was a leading actress in theater, film and TV and was part of the Croatian National Theater. A profile once described her as “the Balkan equivalent of Meryl Streep.”Amid civil war in her homeland, she emigrated in 1991 to New York City with her husband, Goran Gajic, a writer and director. She lived and acted in the city until moving to Los Angeles for “Babylon 5.” In addition to her husband, she is survived by their son, Marko Lav Gajic.Her other acting credits include appearances on “NCIS,” “Law and Order: LA” and over 25 films. She most recently appeared in another science fiction series, “Space Command,” playing a former archaeologist.At the time of her death, Ms. Furlan was working on her autobiography.An excerpt released by her manager and posted on her website invoked space to describe her sense of peace as she battled illness.“I look at the stars,” she wrote. “It’s a clear night and the Milky Way seems so near. That’s where I’ll be going soon.”AdvertisementContinue reading the main story More
138 Shares199 Views
in Music#masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and Cases13,000 Approaches to TeachingVaccine InformationTimelineAdvertisementContinue reading the main storySupported byContinue reading the main storythose we’ve lostElijah Moshinsky, Met Opera Director With Fanciful Touch, Dies at 75Mr. Moshinsky, known for mixing traditional staging ideas with modern flourishes, also created productions for the Royal Opera and Opera Australia. He died of Covid-19.The director Elijah Moshinsky in 2015. Joseph Volpe, the Metropolitan Opera’s former general manager, said Mr. Moshinsky was “the closest thing the Met had to a house director.” He also worked in theater.Credit…Jeff BusbyJan. 21, 2021Updated 6:53 p.m. ETElijah Moshinsky, an Australian theater, television and opera director known for his productions at the Royal Opera in London, Opera Australia and especially the Metropolitan Opera, died on Jan. 14 at a hospital in London. He was 75.The cause was Covid-19, his family said.The best Moshinsky productions combined traditional staging ideas with modern, striking, sometimes fanciful touches, as in his 1993 version of Richard Strauss’s “Ariadne auf Naxos” for the Met, which is slated for revival in the 2021-22 season.That production reached the essence of Strauss’s opera, a delicate mix of grandeur and farce, providing “the thrill of beauty encased in irony, of sincerity at the end of self-consciousness,” Edward Rothstein of The New York Times wrote in a review.Mr. Moshinsky’s version featured an exaggeratedly bustling depiction of backstage preparations for an entertainment at the home of a Viennese gentleman, as well as a trio of eerily gigantic nymphs, their colorful dresses falling to the ground.“Ariadne” was one of nine new productions Mr. Moshinsky presented at the Met from 1980 to 2001, making him “the closest thing the Met had to a house director,” Joseph Volpe, the company’s general manager for much of that period, wrote in his 2006 memoir, “The Toughest Show on Earth: My Rise and Reign at the Metropolitan Opera.”Along with “Ariadne,” four are still in the Met’s active repertory, including a boldly stylized 1995 version of Tchaikovsky’s “The Queen of Spades” that had a film-noir feel, and a bleak, eerily contemporary, almost Expressionist 1996 staging of Janacek’s mysterious “The Makropulos Case.” Mr. Moshinsky’s last Met production was Verdi’s “Luisa Miller.”Mr. Moshinsky’s Met career began inauspiciously with a roundly criticized production of Verdi’s “Un Ballo in Maschera,” a clumsily updated and poorly executed production starring Luciano Pavarotti. He returned in 1986 for Handel’s oratorio “Samson,” starring the tenor Jon Vickers in the title role, a stiff production that originated at the Royal Opera. But with that 1993 “Ariadne,” he announced himself anew.In attempting to bring a contemporary edge to his productions, Mr. Moshinsky was sometimes criticized for forcing what seemed quasi-modern elements and stark monumentality onto an otherwise traditional staging.His 1994 production of Verdi’s “Otello,” mounted for the tenor Plácido Domingo, was full of grandly operatic spectacle, yet some felt it seemed heavy-handed. It was dominated by “soaring columns and towering facades” that “alternately embrace and smother a great opera,” the critic Bernard Holland wrote in The Times.When Mr. Moshinsky followed his instincts to keep things traditional, the results were often effective. The critic Peter G. Davis, in a review for Classical Music, called the director’s 2001 production of “Luisa Miller” the Met’s “most satisfying Verdi effort in years.” Working within a “sensible but atmospheric setting,” Mr. Davis wrote, Mr. Moshinsky directed his characters “with skill, flexibility, and a sure understanding of who these people are.”He was also content, unlike some directors who come to opera from the world of theater, to work with singers who bring “outsized emotions” and “huge egos” onstage, as he put it in an interview with the BBC in 1993. Opera, he said, needed “people who can fill those emotional roles,” and part of his job was to engage with a performer’s temperament “to enable the best performance to occur.”Plácido Domingo as the title character and Renee Fleming as Desdemona during a dress rehearsal for a Moshinsky production of Verdi’s “Otello” at the Metropolitan Opera in 2002.Credit…Jack Vartoogian/Getty ImagesElijah Moshinsky was born on Jan. 8, 1946, in the French Concession in Shanghai, to which his Russian Jewish parents, Abraham and Eva (Krasavitsky) Moshinsky, had fled. He was the youngest of the couple’s three sons. Even though the family left Shanghai for Australia when Elijah was 5, he retained vivid memories of his early childhood, fortified by family stories and memorabilia, he said in the BBC interview.The Coronavirus Outbreak More
125 Shares99 Views
in Movies#masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesU.S. Travel BanVaccine InformationTimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyThose We’ve LostBarbara Shelley, Leading Lady of Horror Films, Dies at 88Sometimes the victim, sometimes the monster, she was a frequent presence in scary movies in the 1950s and ’60s. She died of underlying conditions following a bout with the coronavirus.Barbara Shelley was an elegant queen of camp in a succession of British horror movies. She appeared with Christopher Lee in the 1966 film “Dracula: Prince of Darkness.”Credit…20th Century-Fox/Everett CollectionJan. 19, 2021Updated 5:16 p.m. ETThis obituary is part of a series about people who have died in the coronavirus pandemic. Read about others here.Sometimes Barbara Shelley was the victim. By the end of the movie “Blood of the Vampire” (1958), the Victorian character that she played — her brocade bodice properly ripped — was in chains in a mad scientist’s basement laboratory.She was at Christopher Lee’s mercy in “Dracula: Prince of Darkness” (1966), although before the end she had fangs of her own. (In fact, she accidentally swallowed one of them while filming her death scene, which she considered one of her finest moments.)Sometimes she was an innocent bystander. In “The Village of the Damned” (1960), she was impregnated by mysterious extraterrestrial rays and had a son — a beautiful, emotion-free blond child whose glowing eyes could kill.Sometimes she was the monster, although in “Cat Girl” (1957) it wasn’t her fault that a centuries-old family curse turned her into a man-eating leopard.Ms. Shelley, the elegant queen of camp in British horror films for a decade, died on Jan. 4 in London. She was 88.Her agent, Thomas Bowington, said in a statement that she had spent two weeks in December in a hospital, where she contracted Covid-19. It was successfully treated, but after going home she died of what he described as “underlying issues.”Barbara Teresa Kowin was born on Feb. 13, 1932, in Harrow, England, a part of Greater London. After appearing in a high school production of Gilbert and Sullivan’s “The Gondoliers,” she decided to become an actress and began modeling to overcome her shyness.Her movie debut was a bit part in “Man in Hiding” (1953), a crime drama. She enjoyed a 1955 vacation in Italy so much that she stayed two years and made films there. When Italians had trouble pronouncing Kowin, she renamed herself Shelley.Making “Cat Girl” back home in England led to her calling as a leading lady of horror. Most of her best-known pictures were for Hammer Films, the London studio responsible for horror classics including “The Mummy” and “The Curse of Frankenstein.”But often there were no monsters onscreen. She played almost a hundred other roles in movies and on television. She was Mrs. Gardiner, the Bennet sisters’ wise aunt, in a 1980 mini-series version of “Pride and Prejudice.” She appeared on “Doctor Who,” “The Saint,” “The Avengers” and “Eastenders.”She made guest appearances on midcentury American series, including “Route 66” and “Bachelor Father.” And she had a stage career as a member of the Royal Shakespeare Company in the 1970s. Her final screen role was in “Uncle Silas” (1989), a mini-series with Peter O’Toole.But the horror movies — her last was “Quatermass and the Pit” (1967), about a five-million-year-old artifact — were her legacy.“They built me a fan base, and I’m very touched that people will come and ask for my autograph,” Ms. Shelley told Express magazine in 2009. “All the other things I did, nobody remembers.”AdvertisementContinue reading the main story More
138 Shares189 Views
in Music#masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesVaccine InformationF.A.Q.TimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyPhil Spector, Famed Music Producer and Convicted Murderer, Dies at 81Known for creating the ‘Wall of Sound,’ he scored hits with the Crystals, the Ronettes and the Righteous Brothers and was one of the most influential figures in popular music.Since 2009, Phil Spector had been serving a prison sentence for the murder of Lana Clarkson, a nightclub hostess he took home after a night of drinking in 2003.Credit…Pool Photo Al Seib/Getty ImagesPublished More
150 Shares149 Views
in MusicAdvertisementContinue reading the main storySupported byContinue reading the main storySylvain Sylvain of the Proto-Punk Band New York Dolls Dies at 69He was a core member of a group that had limited commercial success in the early 1970s and didn’t last long but proved hugely influential.The New York Dolls — Jerry Nolan on drums; Sylvain Sylvain, center; Arthur Kane, at back; and Johnny Thunders, right — performing in 1974 with the Stillettos (from far left, Elda Gentile, Debbie Harry and Amanda Jones). Not pictured is the Dolls’ lead singer, David Johansen.Credit…Bob GruenPublished More
This portal is not a newspaper as it is updated without periodicity. It cannot be considered an editorial product pursuant to law n. 62 of 7.03.2001. The author of the portal is not responsible for the content of comments to posts, the content of the linked sites. Some texts or images included in this portal are taken from the internet and, therefore, considered to be in the public domain; if their publication is violated, the copyright will be promptly communicated via e-mail. They will be immediately removed.