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    The Beatles’ ‘Let It Be’ Film Will Stream After 54 Years on Disney+

    Michael Lindsay-Hogg’s unloved — or misinterpreted? — 1970 documentary, the source for Peter Jackson’s “Get Back,” will stream on Disney+.In 2021, the director Peter Jackson’s sprawling and vibrant Beatles docuseries, “The Beatles: Get Back,” streamed on Disney+ to nearly universal acclaim. The three-part epic, which ran nearly eight hours, captured the drama and frenzy as John Lennon, Paul McCartney, George Harrison and Ringo Starr recorded, over the pressure-filled month of January 1969, what would become the last album that the Beatles released, “Let It Be.”As fans were well aware, Jackson’s series was culled from nearly 60 hours of behind-the-scenes footage originally shot by the director Michael Lindsay-Hogg for “Let It Be,” his little-seen, though often dismissed, 1970 documentary about those recording sessions.After its initial theatrical run, Lindsay-Hogg’s film largely disappeared for more than a half-century with the exception of low-quality VHS versions and bootlegs. Fans tend to remember it as an intriguing historical document capturing the late-stage creative flights of a seismic musical force, but also as a divorce proceeding of sorts, with stark moments of internal discord as the band hurtled toward a nasty split.By that view, “Get Back,” with its abundant moments of jokey banter and on-set clowning, was seen by some as an overdue corrective to “Let It Be.”Little surprise but Lindsay-Hogg, 83, has a very different view. The acclaimed director had a hand in inventing the music video, with his promotional films for the Beatles and the Rolling Stones in the mid-1960s, and went on to win plaudits for the 1980s British mini-series “Brideshead Revisited.” He has fought for a half-century for “Let It Be” to get a second look and, in his mind, a fair shake.On May 8, he will get his wish, when “Let It Be,” meticulously restored by Jackson’s production team, begins streaming on Disney+ in collaboration with Apple Corps, the company that oversees the Beatles creative and business interests. Lindsay-Hogg spoke to The New York Times about the culmination of a long crusade. These are edited excerpts from the conversation.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

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    John Sinclair, 82, Dies; Counterculture Activist Who Led a ‘Guitar Army’

    His imprisonment for a minor marijuana offense became a cause célèbre. He was released after John Lennon and Yoko Ono sang about him at a protest rally.John Sinclair, a counterculture activist whose nearly 10-year prison sentence for sharing joints with an undercover police officer was cut short after John Lennon and Yoko Ono sang about his plight at a protest rally, died on Tuesday in Detroit. He was 82.His publicist, Matt Lee, said the cause of his death, in a hospital, was congestive heart failure.As the leader of the White Panther Party in the late 1960s, Mr. Sinclair spoke of assembling a “guitar army” to wage “total assault” on racists, capitalism and the criminalization of marijuana. “We are a whole new people with a whole new vision of the world,” he wrote in his book “Guitar Army” (1972), “a vision which is diametrically opposed to the blind greed and control which have driven our immediate predecessors in Euro-Amerika to try to gobble up the whole planet and turn it into one big supermarket.”He also managed the incendiary Detroit rock band the MC5. Their lyrics — “I’m sick and tired of paying these dues/And I’m finally getting hip to the American ruse” — were a kind of ballad for the cause.Mr. Sinclair, right, with members of the MC5, the rock group he managed, and friends in 1967.Leni Sinclair/Michael Ochs, Archive, via Getty ImagesMr. Sinclair’s command of this “raggedy horde of holy barbarians,” as he described them in his book, was upended in 1969 when Judge Robert J. Colombo of Detroit Recorder’s Court sentenced him to nine and a half to 10 years in prison for giving two joints to an undercover police officer.During the hearing, Mr. Sinclair argued that he had been framed.“Everyone who is taking part in this is guilty of violating the United States Constitution and violating my rights and everyone else that’s concerned,” he said. He added, “There is nothing just about this, there is nothing just about these courts, nothing just about these vultures over here.”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

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    Peter Brown, One of the Beatles’ Closest Confidants, Tells All (Again)

    At 87, the dapper insider is releasing a new book of interviews conducted in 1980 and 1981 with the band and people nearest to it.Peter Brown stood in his spacious Central Park West apartment, pointing first at the dining table and then through the window to the park outside, with Strawberry Fields just to the right.“John sat at that table looking through here,” Brown said, “and he couldn’t take his eyes off the park.”That’s John as in Lennon. And the story of the former Beatle coveting this living-room view in 1971 — and how Lennon and his wife, Yoko Ono, eventually got their own place one block down, at the Dakota — is just one of Brown’s countless nuggets of Fab Four lore. In the 1960s he was an assistant to Brian Epstein, the Beatles’ manager, and then an officer at Apple Corps, the band’s company. A key figure in the Beatles’ secretive inner circle, Brown kept a red telephone on his desk whose number was known only to the four members.And it was Brown who, in 1969, informed Lennon that he and Ono could quickly and quietly wed in a small British territory on the edge of the Mediterranean, a piece of advice immortalized in “The Ballad of John and Yoko”: “Peter Brown called to say, ‘You can make it OK/You can get married in Gibraltar, near Spain.’”Next week, Brown and the writer Steven Gaines are releasing a book, “All You Need Is Love: The Beatles in Their Own Words,” made up of interviews they conducted in 1980 and 1981 with the band and people close to it, including business representatives, lawyers, wives and ex-wives — the raw material that Brown and Gaines used for their earlier narrative biography of the band, “The Love You Make: An Insider’s Story of the Beatles,” published in 1983.Now 87, Brown is a polarizing figure in Beatles history. He was a witness to some of the band’s most important moments and was a trusted keeper of its secrets. “The only people left are Paul and Ringo and me,” he said.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

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    How Sean Ono Lennon Helped His Parents Send a Message.

    To keep their legacy relevant for a new generation, he worked on the short “War Is Over! Inspired by the Music of John & Yoko.” Now it’s up for an Oscar.Three years ago, Sean Ono Lennon was asked to develop a music video for the 50th anniversary of “Happy Xmas (War Is Over),” the 1971 protest song by his parents, John Lennon and Yoko Ono, which has become a rare type of perennial — a warmhearted Christmas tune that doubles as an antiwar challenge, telling ordinary citizens that peace can be achieved “if you want it.”But Lennon, 48, was not interested in making a simple video. That “felt unnecessary” for such a well-known track, he said in a recent interview. What intrigued him more was the possibility of expanding the song’s message through a narrative film. After about two years of work, that project became “War Is Over! Inspired by the Music of John & Yoko,” directed by Dave Mullins, which was nominated for an Academy Award for best animated short film.The 11-minute picture is set in a World War I-like battle zone where two soldiers on opposing sides take part in a secret chess game, communicating their moves via a homing pigeon that dodges bombs over a snowy No Man’s Land. In the story’s climax, both armies are ordered into bloody hand-to-hand combat while the opening lines of John and Yoko’s song ring out: “So this is Christmas/And what have you done?”“It’s not about mining the past,” Lennon said of the project. It’s aimed at “people who have not grown up with the same culture and art that most people my age and older take for granted.”ElectroLeagueFor Sean Lennon, who in recent years has gradually taken on the responsibility of managing his parents’ artistic legacies — his mother, 91, has officially retired — the film is part of a continual process to keep that work relevant for younger generations. He is well aware that even a Beatle’s classic can fade away without tending.“It’s not about mining the past,” Lennon said by phone. “You’re competing with generations of people who have not grown up with the same culture and art that most people my age and older take for granted. So, for me, it’s very important that the message of peace and love, which may be a trope, are not forgotten.”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

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    Sam Mendes to Direct Four Beatles Films

    The Oscar-winning filmmaker Sam Mendes was given full rights to the band’s music and their life stories for the unusual quartet of films, planned for 2027.The British director Sam Mendes has signed on to direct not one but four biopics about the Beatles, each telling the story of the Fab Four from a different member’s point of view.Apple Corps, the guardian of the Beatles’ musical interests, and Paul McCartney, Ringo Starr and the families of John Lennon and George Harrison have granted full life story and music rights for the scripted films — a first — which will be financed and released by Sony Pictures Entertainment. The films are planned for release in 2027.“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” Mendes said in a statement on Tuesday. The announcement teased that the films would be released in an “innovative and groundbreaking” manner, but did not offer details.In recent years Mendes, the Oscar-winning director of “American Beauty,” has helped refresh the James Bond franchise with “Skyfall” and told the story of two British lance corporals in World War I in “1917.” As a theater director, he showed an ability to work with complicated biographical material over a long stretch of time with “The Lehman Trilogy,” a saga about the rise and fall of Lehman Brothers that earned him a Tony Award.Biopics about pop stars have grown popular in recent years: “Bob Marley: One Love” was on track to earn an estimated $33.2 million last weekend, following on the success of films including “Elvis” in 2022 and “Bohemian Rhapsody” in 2018.The Beatles have shown strength with movie audiences since they starred in “A Hard Day’s Night” in 1964, playing versions of themselves. Their fans continue to show an appetite for expansive projects: Peter Jackson’s documentary series “The Beatles: Get Back,” an over-seven-hour project, was released to much acclaim in 2021 on Disney+. More

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    Paul McCartney Talks About His Beatles Photos Coming to the Brooklyn Museum

    Sixty years after the Beatles appeared live on “Ed Sullivan,” McCartney reflects on his photos capturing those halcyon days. The Brooklyn Museum will exhibit them, and some will be for sale later.They are now a collector’s trove — Paul McCartney’s own photos, shot 60 years ago, when the Beatles took Europe and America by storm: images of screaming fans (one carrying a live monkey); a girl in a yellow bikini; airport workers playing air guitar, and unguarded moments grabbed from trains, planes and automobiles.McCartney, now 81, doesn’t like to sit still and reminisce about the past, so he chatted while driving home from his recording studio in Sussex, England. ‘‘My American friends call these small, one-way lanes ‘gun barrels,’ ’’ he said, warning his interviewer that at any moment the signal might die (it did). In the end, it took two days to complete a coherent conversation about the breakthrough period when the Beatles went viral, captured in the traveling exhibition ‘‘Paul McCartney Photographs 1963-1964: Eyes of the Storm,’’ which features 250 of his shots. Currently it’s at the Chrysler Museum of Art in Norfolk, Va., and comes to the Brooklyn Museum May 3-August 18. (Don’t be surprised if the artist shows up for the opening.)It was McCartney’s archivist, Sarah Brown, who found 1,000 photographs the musician had taken over 12 weeks — from Dec. 7, 1963, to Feb. 21, 1964, — in the artist’s library.“I thought the photos were lost,’’ he said. ‘‘In the ’60s it was pretty easy. Often doors were left open. We’d invite fans in.” Even the recording studio wasn’t a safe space. “I was taking my daughter Mary to the British Library to show her where to research for her exams, and in one display case I saw the lyric sheet for ‘Yesterday,’” he said. A sticky fingered biographer had swiped the original from their studio.Rosie Broadley, a senior curator at the National Portrait Gallery in London, where the show was inaugurated, said, “His photographs show us what it was like to look through his eyes while the Beatles conquered the world.’’McCartney won an art prize at school and practiced photography with his brother, Mike (who later became a professional photographer). He graduated to a 35 mm SLR Pentax camera when the Beatles hit it big.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

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    In Praise of Whistling in Pop Music

    Billy Joel has a new song coming next week. Before it arrives, revisit “The Stranger” and tracks by Juelz Santana, Dick Hyman and more.Billy Joel’s “The Stranger” is a classic whistle song. Next week, he’ll release a new track titled “Turn the Lights Back On.”Ethan Miller/Getty ImagesDear listeners,When Billy Joel was working on what would become his breakout 1977 album, “The Stranger,” he played the opening chords of the title track for his producer Phil Ramone, whistling a melody that he imagined another instrument would play in the final recording. “I whistle the whole thing and I finish,” he wrote in 2013, “I look at him and I say, ‘So what instrument should that be?’” Ramone responded, “You just did it.” The rest is music history.On Monday, Joel announced he’ll be releasing his first new pop single in nearly two decades next week. Fortuitous timing! While listening to “The Stranger” over the weekend, I found myself considering the pop musical whistle.It’s such a simple expression, but in a song it can convey a wide range of feelings and tones. A whistle can be childlike and playful (see: the whistle solo on Paul Simon’s “Me and Julio Down by the Schoolyard”) or it can be an adult expression of vulnerability (like the broken whistle that John Lennon musters on the wrenching “Jealous Guy”). Some whistles are innocent as lambs, and others — particularly those of the “wolf” variety — are unmistakably lascivious. Best of all, though, it’s a free instrument that almost all of us carry all the time. You don’t even need to take lessons to play it passably.While we await Joel’s latest, “Turn the Lights Back On” (which may or may not feature a whistle break), today’s playlist is a homage to the pop musical whistle, in all its glory and multitudes. I hope these 10 songs will wet your … well, never mind. And if you don’t know how to whistle along, you can always consult Lauren Bacall.Listen along on Spotify while you read.1. Billy Joel: “The Stranger”The aforementioned whistle acts as a kind of theme for the album “The Stranger,” setting its tone and recurring later, at the tail end of the closing track. Joel said the feeling he was going for was the “sound of a man walking down a Parisian street at night, and the streets are all glistening from rain.” (Listen on YouTube)2. Caroline Polachek: “Bunny Is a Rider”A repeated, beckoning whistle urges on Caroline Polachek’s restless heroine in this 2021 single, which plays out like a kind of pop travelogue. (Listen on YouTube)3. Peter Gabriel: “Games Without Frontiers”Peter Gabriel, hauntingly, depicts war as a kind of children’s game on this lilting hit from 1980, which features backing vocals from Kate Bush, invoking the French name of the European game show “Jeux sans frontières.” The whistled motif that echoes throughout is at once playful and eerie. (Listen on YouTube)4. Peter Bjorn and John: “Young Folks”I almost included this 2006 tune on my “Summer of Saltburn” playlist a few weeks ago, but it’s an even better fit here. “Young Folks,” the best-known track from the Swedish indie-pop group Peter Bjorn and John, has a happy-go-lucky whistled refrain that immediately recalls a particular sense of mid-2000s whimsy. (Listen on YouTube)5. Paul Simon: “Me and Julio Down by the Schoolyard”Speaking of whimsy, here’s a Paul Simon classic that also made an appearance on my Wes Anderson playlist last year. The song’s arrangement is so light and childlike that a midsong guitar solo would be too intense — so, Simon wisely reasoned, how about a whistle solo? (Listen on YouTube)6. Dick Hyman: “The Moog and Me”You may recognize this one thanks to Beck, who memorably sampled it in the intro of his “Odelay” track “Sissyneck.” A whistled melody snakes through a 1969 song from the jazz pianist and electronic music pioneer Dick Hyman, who contrasts familiar human-generated sounds with the synthetic ones made with the a Moog synthesizer, then a novel instrument. (Listen on YouTube)7. Juelz Santana: “There It Go (the Whistle Song)”A minimalist, melodically descending whistle provides the infectious hook for this 2005 hit by the New York rapper and Cam’ron collaborator Juelz Santana, and provides the main reason this song still gets stuck in my head all the time. “I decided to simplify,” Santana once said of the song’s composition. “I knew that the whistle would be something that people would come back to — and be distinctive. People don’t want to hear too much.” (Listen on YouTube)8. John Lennon featuring the Plastic Ono Band: “Jealous Guy”I appreciate the wobbly imperfection in the whistling solo in the middle of this one because it heightens the vulnerability that Lennon channels throughout a deeply personal song. (Listen on YouTube)9. Guns N’ Roses: “Patience”A karaoke standard — even more so if you can match Axl Rose note for note in his extended whistle intro. (Listen on YouTube)10. Otis Redding: “(Sittin’ on) The Dock of the Bay”Finally, I’ll play you out with this all-timer from Otis Redding, who perfectly captures the laid-back feeling of “sittin’ on the dock of the bay, wasting time” by idly whistling a tune as the song fades out. (Listen on YouTube)Whistling tunes we hide in the dunes by the seaside,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“In Praise of Pop Music Whistling” track listTrack 1: Billy Joel, “The Stranger”Track 2: Caroline Polachek, “Bunny Is a Rider”Track 3: Peter Gabriel, “Games Without Frontiers”Track 4: Peter Bjorn and John, “Young Folks”Track 5: Paul Simon, “Me and Julio Down by the Schoolyard”Track 6: Dick Hyman, “The Moog and Me”Track 7: Juelz Santana, “There It Go (The Whistle Song)”Track 8: John Lennon featuring the Plastic Ono Band, “Jealous Guy”Track 9: Guns N’ Roses, “Patience”Track 10: Otis Redding, “(Sittin’ on) The Dock of the Bay” More

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    Leon Wildes, Immigration Lawyer Who Defended John Lennon, Dies at 90

    Leon Wildes, a New York immigration lawyer who successfully fought the United States government’s attempt to deport John Lennon, died on Monday in Manhattan. He was 90.His death, at Lenox Hill Hospital, was confirmed by his son Michael.For more than three years, from early 1972 to the fall of 1975, Mr. Wildes (pronounced WY-ulds) doggedly battled the targeting by the Nixon administration and immigration officials of Mr. Lennon, the former Beatle, and his wife, Yoko Ono, marshaling a series of legal arguments that exposed both political chicanery and a hidden U.S. immigration policy.Uncovering secret records through the Freedom of Information Act, he showed that immigration officials, in practice, can exercise wide discretion in whom they choose to deport, a revelation that continues to resonate in immigration law. And he revealed that Mr. Lennon, an antiwar activist and a vocal critic of President Richard M. Nixon, had been singled out by the White House for political reasons.Mr. Wildes was ultimately vindicated by the stinging decision of a federal appeals court in October 1975, which said that “the courts will not condone selective deportation based upon secret political grounds,” and which halted the effort to kick Mr. Lennon out of the country.Mr. Lennon and Mr. Wildes addressing reporters about the case, which centered on Mr. Lennon’s 1968 London conviction for marijuana possession.via Wildes Family ArchivesThe Beatles had broken up in 1970, and Mr. Lennon and Ms. Ono moved to New York the next year. Mr. Lennon had been convicted of marijuana possession in London in 1968; that record would normally have barred him from entry, but he had obtained a waiver. The waiver was coming to an end, and the Lennons received a deportation notice.“It was a very frightening moment,” Ms. Ono said in the 2007 documentary “The U.S. vs. John Lennon.”When the Lennons engaged Mr. Wildes to represent them, he had barely heard of his famous clients. In his book about the case, “John Lennon vs. the USA,” published by the American Bar Association in 2016, he wrote that he was vaguely aware of the Beatles — it was nearly impossible not to be — but that the names of its members had escaped him.“I think it was Jack Lemmon and Yoko Moto,” he recalled telling his wife after meeting them in their apartment on Bank Street in Greenwich Village. She quickly corrected him.In the 2007 film, Mr. Lennon is seen telling reporters about Mr. Wildes: “He’s not a radical lawyer. He’s not William Kunstler.”Mr. Lennon had publicly opposed the Vietnam War — he recorded the antiwar anthem “Give Peace a Chance” in 1969 — and he had been involved in protests on behalf of figures in the New Left movement, which campaigned against the war.Nixon administration officials feared that he had outsize influence among the young, who would be allowed to vote in greater numbers in the 1972 presidential election, the first after the voting age had been lowered to 18 from 21. In the paranoid atmosphere then prevailing in the White House, that was enough for administration officials and their allies, notably the conservative South Carolina senator Strom Thurmond, to go after Mr. Lennon.Their case centered on the London marijuana conviction. But the appellate court judge, Irving Kaufman, ultimately ruled that the crime was insufficient to make Mr. Lennon an “excludable alien.”The real reasons for the quixotic pursuit of Mr. Lennon, Mr. Wildes argued, lay elsewhere, as he was able to show thanks to his relentless digging through records. Early in 1972, Mr. Thurmond had drafted a letter recommending that Mr. Lennon be thrown out of the country, which Attorney General John N. Mitchell forwarded to the Immigration and Naturalization Service, the agency then in charge of visas. Of particular concern was the fact that Mr. Lennon had performed at a rally in support of a New Left figure, the poet John Sinclair, who had been jailed on a marijuana charge.“If Lennon’s visa is terminated it would be a strategic countermeasure,” the South Carolina senator wrote.Ten days later, “a telegram went out to all immigration offices in the United States instructing that the Lennons should not be given any extensions of their time to visit the United States,” Mr. Wildes wrote in his book.For the next three years, the government continued to press its case, in efforts that appeared increasingly ham-fisted as public support for Mr. Lennon and Ms. Ono grew. In letters and testimony, many of the era’s cultural celebrities spoke up for them, including Bob Dylan, Joan Baez, Leonard Bernstein, the artist Jasper Johns and the authors John Updike, Joyce Carol Oates and Joseph Heller, as well as Mayor John V. Lindsay of New York.“The sole reason for deporting the Lennons was President Nixon’s desire to remove John and Yoko from the country before the 1972 election and a new, much younger electorate getting the vote,” Mr. Wildes wrote. “To ensure his grip on power, any ‘dirty tricks,’ including the abusive misuse of the immigration process, were acceptable.”Mr. Wildes, seated, consulted with his partner, Steven Weinberg, at their immigration law office in 1983.via Wildes Family ArchivesThe whole time, the F.B.I. was keeping a close watch on Mr. Lennon. “Surveillance reports on him ran to literally hundreds of pages,” Mr. Wildes wrote.When Mr. Lennon learned of the skulduggery, he was infuriated. “They’re even changing their own rules because we’re peaceniks,” he said in a television interview.The 1975 ruling allowed him to remain in the country. He was killed in front of the Dakota, the Upper West Side building where he and Ms. Yoko lived, five years later.In another breakthrough, Mr. Wildes found that immigration officials had the discretion to deport or not, depending on whether there were extenuating circumstances. The revelation of this policy continues to aid immigration lawyers battling the deportation of noncitizens today.“As part of his legal strategy, Wildes conducted groundbreaking research on the ‘nonpriority’ program, and eventually filed an application for ‘nonpriority status’ for Lennon,” the immigration expert Shoba Sivaprasad Wadhia wrote in her 2015 book, “Beyond Deportation.” “Wildes learned that I.N.S. had for many years been granting ‘nonpriority’ status to prevent the deportation of noncitizens with sympathetic cases, but I.N.S. had never publicized the practice.”Throughout what Mr. Wildes acknowledged was the all-consuming job of representing the Lennons, he kept a bemused and friendly eye on his famous clients, sometimes encountering them, as others did, in what he called the “wonderful upright bed” in their Bank Street apartment.“One could meet half the world around that bed,” he wrote — “radical types like Jerry Rubin or Bobby Seale, oddball musicians like David Peel, poets like Allen Ginsberg, actors like Peter Boyle, television personalities like Geraldo Rivera, or even political operatives like the deputy mayor of New York.”Mr. Wildes at his office in 2015. “He’s not a radical lawyer,” John Lennon said. “He’s not William Kunstler.”via Wildes Family ArchivesLeon Wildes was born on March 4, 1933, in Olyphant, Pa., a small coal-mining town near Scranton. His father, Harry, was a clothing and dry goods merchant, and his mother, Sarah (Rudin) Wildes, worked in his store. Mr. Wildes was educated at public schools in Olyphant and earned a bachelor’s degree from Yeshiva University in 1954 and a law degree from New York University in 1958.He quickly gravitated toward immigration law, working for the Hebrew Immigrant Aid Society, a refugee aid organization, and helping two Americans who had gone to Israel establish their U.S. citizenship. He founded the immigration law firm Wildes & Weinberg in 1960 and went on to write numerous law review articles on immigration law and to teach at the Benjamin N. Cardozo School of Law at Yeshiva University.In addition to his son Michael, he is survived by another son, Mark; his wife, Alice Goldberg Wiles; eight grandchildren; and five great-grandchildren.Immigration law had “biblical import to him,” Michael Wildes, who is also a lawyer, recalled in a phone interview. “My father drew value from helping others achieve their American dream, as he had done — the golden grail of a green card, or citizenship.” More