The FBI’s focus on black musicians has its roots in the agency’s Counterintelligence Program (COINTELPRO), which led to the surveillance of several of the most important black jazz musicians of the mid-20th century.
“[He] gave Modernism his personal, often whimsical spin, putting portholes in buildings in New York and using things like ashtrays and salvaged convent windows in unusual ways in houses in New Orleans.”
“Perhaps Charles Manson also remains a source of such horror and continued fascination because he was the ultimate symbol of insanity. With eyes that either projected total blankness or the agitated evil of a demon awakened, Manson looked like what most people stereotypically think of when they imagine a crazy person. In what may be the craziest time that many Americans have lived through, it makes twisted sense, then, that the most recognizable American psycho is still so omnipresent in our culture.”
“He began writing both feature stories and critical reviews [on opera, classical music, and theater] for Pasatiempo [magazine] in 1990 and continued to contribute to both Pasatiempo and The New Mexican after he left the staff around 2010 until the time of his death.” He was also the author of a 2015 biography of Santa Fe Opera founder John Crosby.
“German police recovered around 100 items that belonged to late Beatles star John Lennon that were stolen from his widow in New York, including three diaries, two pairs of his signature metal-rimmed glasses, a cigarette case and a handwritten music score.”
“A favorite of audiences thanks to his alluring voice and heartthrob presence, Mr. Hvorostovsky cut a striking figure, his trim 6-foot-1 frame topped by a mane of prematurely white hair. He also had a compelling personal story: He escaped the street-gang life as a teenager in a grim Siberian city, found his talent there despite the region’s cultural isolation, and overcame a tempestuous drinking problem that could have ruined his career.”
One of Scotland’s leading critics, he spent a quarter-century at each of the country’s major newspapers, The Scotsman and The Herald.
The actor received a seven-figure settlement from Boone over a $190,000 Ross Bleckner painting he bought in 2010 that turned out to be a different painting than the one she promised to deliver. The agreement, reached last month and finalized on Friday, concludes a civil fraud case that was scheduled to head to trial next year.
“Reared in gospel, Reese became a seductive, big-voiced secular music star with her No. 1 R&B and No. 2 pop hit ‘Don’t You Know’ in 1959. … She ranged through a series of releases that showed off her mastery of standards, jazz and contemporary pop through the early ’70s, and over the course of her career she received four Grammy Award nominations.” She went on to become an even bigger star on television, where she was the first black woman to host her own variety show and played major roles in Chico and the Man and Touched by an Angel.
“An algorithm-based vetting process has real issues. So few immigrants have committed acts of terrorism, that a computer program couldn’t even generate an accurate predictive model, the coalition of tech experts from some of the U.S.’s top universities and research groups says.”
The Australian took over the Printed Matter book fair in New York in 2013. Printed Matter is “the granddaddy of such gatherings, and [Cane] transformed it into a radically inclusive affair, attended by venerable rare-book dealers alongside obscure zine makers so scrappy they could barely afford the plane fare to participate.”
As the legend gets a lifetime achievement award, and during the 55th anniversary of the Supremes’ debut, Ross says, “Motown was genius! It put all of this energy together and created music that traveled around the entire world. Berry Gordy had a vision, and so did I. We were surrounded by [so much] talent, and that combination of harmony and family became one.”
We would know so little of dance without him: “Bhargava edited films that captured the work of Balanchine, Peter Martins, Bob Fosse, Merce Cunningham, Martha Graham and many other prominent choreographers, in the process creating an archival record of a genre that had historically been difficult to preserve. And through Dance in America and other television work, he spread the art form to people who might not have been able to get to a theater.”
“I expect art to be troubling because I expect people to be troubling. I am prepared to like and dislike something in every work. I can also appreciate the aesthetic genius of a moral monster without feeling that I am becoming inured to monstrosity. Just as I can read Heidegger without becoming a Nazi, I can look at one of Adolf Hitler’s juvenile watercolour paintings and appreciate a bit of pink in the sky there, and understand it as a painting of its era and one by a tyrant at the same time. And if I do this and am judged immoral for it, is it because it is bad for just me or bad for society at large?”
Those affected said they “felt unable to raise concerns”, and he “operated without sufficient accountability”. The London theatre said it “truly apologises” for not creating a culture where people felt able to speak freely.
He was one of the two attorneys whose groundbreaking defense prevailed in the 1960 obscenity trial of Penguin Books for publishing Lady Chatterley’s Lover; eleven years later, he won a more difficult case against Paul Ableman’s The Mouth and Oral Sex, establishing the “literary merit” argument. “He added a service to the arts by ending the cultural vandalism of Mary Whitehouse, whose attempt in 1982 to prosecute the National Theatre for staging Howard Brenton’s The Romans in Britain collapsed after his (and the Old Bailey’s) most remarkable cross-examination.”
“I was five when my neighbor in Santo Domingo bought the first set on our street, the first I’d ever laid eyes on. … Maybe I would have been O.K. if I’d seen anything else: the news, a variety show, a political debate. But my earliest exposure to television was a Spider-Man cartoon … My father’s absence made perfect sense. He couldn’t come back right away because he was busy fighting crime in N.Y.C. . . . as Spider-Man. The diasporic imagination really is its own superpower.”
He held some of the most prestigious positions his profession had to offer – at the Cathedral of Notre-Dame, Saint-Séverin in Paris, and the Chapelle Royale at Versailles – and he was a pioneer, as performer and scholar alike, in reviving the organ repertoire of the 17th and 18th centuries, notably on historical organs. His large discography includes one of the most admired sets of J.S. Bach’s complete works for organ. (in French; Google Translate version here)
Sontag the personality has grown so large in death that it threatens to eclipse her work: She is remembered as a narcissist, a pugilist, the enemy of Camille Paglia, and a genius.
Though he came out of the theater – he attended Yale Drama and the Actors Studio and directed on Broadway – his greatest impact was in opera: he was renowned (and occasionally infamous) for his daring interpretations and the high level of acting he drew from singers, especially at New York City Opera during its glory years.
“Baker flitted back and forth between Casablanca and Lisbon, Seville, Madrid, and Barcelona. Between performances, she accepted invitations to parties and embassy functions, where she hobnobbed with the elite and diplomats. And as she bantered over champagne and twirled around the dance floor, she continued her intelligence gathering.”
If America is, for Amis, an easier place in which to grow old – fewer critics, for a start – he retains an expectation that he and his wife will move home one day. “I miss the English,” he says. “I miss Londoners. I miss the wit. Americans, they’re very, well, de Tocqueville saw this coming in about 1850 – he said, it’s a marvellous thing, American democracy, but don’t they know how it’s going to end up? It’s going to be so mushy that no one will dare say anything for fear of offending someone else.
Basically, she knew it all, at least everything in New York. “From hardscrabble nights writing snippets for a Hearst newspaper in the 1950s to golden afternoons at Le Cirque with Sinatra or Hepburn and tête-à-tête dinners with Madonna to gather material for columns that ran six days a week, Ms. Smith captivated millions with her tattletale chitchat and, over time, ascended to fame and wealth that rivaled those of the celebrities she covered.”
Judd Apatow: “How are we going to decide who we shouldn’t work with? But in the most extreme cases, it seems pretty clear. We shouldn’t be making TV shows with Bill Cosby. We shouldn’t be putting on new shows with Bill O’Reilly. We shouldn’t be starring in movies produced by Harvey Weinstein. There are cases which are also complicated, and everybody has their own set of ethics about it, and those debates will continue. But there are very clear cases where people are getting hurt, and their lives are being ruined by people.”
“Now, after years of unsubstantiated rumors about [the star comedian]masturbating in front of associates, women are coming forward to describe what they experienced. Even amid the current burst of sexual misconduct accusations against powerful men, the stories about Louis C.K. stand out because he has so few equals in comedy. … And [he] built a reputation as the unlikely conscience of the comedy scene, by making audiences laugh about hypocrisy – especially male hypocrisy.”
From Lebanon to Sweden to England to Indonesia to Turkey (President Erdoğan is a fan), 36-year-old Maher Zain draws enormous, cheering crowds and 100 million YouTube views every month. All this with music that’s as wholesome, in its Muslim way, as Donny Osmond or Amy Grant. “I don’t want to live this life, basically. I really don’t,” he says. “I believe I’m on a mission and you cannot turn it down, you know what I mean? I’ve been chosen.”
“In interviews, a total of eight who had worked with him at the Armory Show, Artnet and Louise Blouin Media said he made sexually inappropriate comments to them, and an additional 11 people said they had observed or knew about Mr. Genocchio making these comments, often in the workplace.”
“Zubaida Aapa – the Urdu honorific for elder sister- is a homemaker, turned TV star, turned domestic goddess, and the closest thing Pakistan has to Martha Stewart, but with Stewart’s fame dialed up to 11. Since the nineties, … [Zubaida] Tariq has taught generations of homemakers how to raise their children, clean their homes, and make parathas. She has authored at least six cookbooks, doled out countless home remedies (totkas in Urdu) for kitchen, home, and child, and left satire in the wake of her outsize celebrity.”
Mr. Fairey has gone from great heights to dramatic lows in the last decade. He’s risen from cult figure to cultural reference point on “The Simpsons” to committing what he now calls his biggest blunder during the course of the A.P. lawsuit when he lied to his lawyers about exactly which A.P. photograph he used as the source of the “Hope” image and deleted files from his computer to cover up the truth.
“[She was] a dissatisfied daughter of the sexual revolution whose best-selling books” – My Secret Garden and My Mother/My Self – “aimed to liberate women from embarrassment over their erotic fantasies and from fraught relationships with their mothers.”