“[He was] a painstaking and passionate chronicler of Italian society whose unforgettable masterpieces featured global stars like Sophia Loren and Marcello Mastroianni. … He leaves behind a wide-ranging oeuvre portraying the dark years of Italy under fascism and its identity crisis in the early half of the 21st century.”
“Boulez fought harder than anyone for the cause of contemporary music, and even those who received his barbs benefitted in one way or another from his energy. No composer of the past hundred years achieved such worldly power: in Paris, IRCAM, the Cité de la Musique, and the new Philharmonie stand as his monuments. In more than one way, he resembled Wagner. He forced you to take sides; his rage was clarifying.”
After fleeing to the UK from Vienna in 1938, “he founded his publishing house with Nigel Nicolson in 1949 … He published big-name authors from Charles de Gaulle to Pope John Paul II and Henry Kissinger … In 1959, Weidenfeld & Nicolson risked obscenity laws to publish Lolita.”
After the diagnosis in May of 2014 began “a grueling convalescence that included bouts of chemotherapy so violent that the founder of Les Violons du Roy was placed in a coma the following November. Only last month, more than a year after awakening, did Labadie return to the podium.”
It all started late last year, when a Facebook event surfaced promising that Banksy would show up for a “meet and greet” at the Waldorf Astoria — with the first hundred guests receiving “a free face painting from the scoundrel himself!!”
“They helped me really prepare for my life with Robert [Mapplethorpe]. These were two artists who believed in one another, and each trusted the other as a shepherd of their art. And that was worth fighting for through their love affairs and fights and disappointments and arguments. They always came back to each other through work. They were lost without each other.”
“When we think of creative people getting into fights, writers usually are the first that come to mind – Ernest Hemingway, Norman Mailer, Jack London, etc.” Hyperallergic stands up for visual artists, with examples from Caravaggio beating a pimp to death to two of Picasso’s mistresses wrestling to two examples of painters punching out art critics.
“The moment when: George Clooney did Sid & Nancy; Don Rickles discovered heckling; George Saunders transformed a dream and a bottle of Boone’s Farm into a short story; Dan Barber tasted his first soft-scramble; Errol Morris learned to listen; Dita von Teese realized she wasn’t Pamela Anderson; Jon Favreau’s all-nighter paid off; and other creative epiphanies.”
“I was asked to return because the new management believes that the old spirit of the Village Voice — where writers of knowledge, experience, and deep reflection flourished — might be worth preserving.”
“Welles lived in Spain in the 1960s, returning there throughout the last 20 years of his life, but became exasperated by what he saw as the touristic legacy of Hemingway’s work.”
“‘He traveled with this cloak of invisibility — nobody saw him,’ Mr. Guare said. ‘He just eradicated himself.'”
“She’ll be grieved in the public ways well-known writers are, but within the poetry community — on Facebook, Twitter, via text and email and phone — a kind of keening wail has sounded since the news of her death began to spread. Wright was beloved to many of us, a model poet and person.”
“Edward Hardy, who has dementia and lives in a care home in Wookey, Somerset, played for decades but had not touched the keyboard for nearly 25 years.”
“Consider the evidence: No Weisberg means, arguably, no Taste of Chicago. No Chicago Blues Festival. No Chicago Gospel Music Festival. No Cows on Parade (those cows were copied everywhere; I saw some in France last summer). No After School Matters, surely the most successful arts-education initiative in the history of the city. No Storefront Theatre. No South Shore Line. Maybe no Millennium Park.”
While he became world-famous as a velvet-voiced movie villain (Die Hard; the Harry Potter series), he had equal gifts as a romantic lead (Truly, Madly, Deeply; Sense and Sensibility; Love, Actually) and a classical stage actor of impressive range (Les Liaisons dangereuses; Private Lives; Antony and Cleopatra; John Gabriel Borkman).
“From the beginning, the doctors and nurses agreed that this feat seemed a near-impossibility. There was just not enough time. Not enough time between the Center City hit and run that took [Michael] Toner’s left leg in June and the role awaiting him: a starring spot in the Walnut’s three-week, 15-city tour of Eugene O’Neill’s A Moon for the Misbegotten.”
In 1972, he said he’d always been gay; by 1976, he was bi; in 1983, he said he’d only been experimenting; in 1993 he declared, “I was always a closet heterosexual.” J. Bryan Lowder considers how “we for whom queerness is not a phase seem to have two options in terms of how we deal with Bowie’s fraught relationship to our name and our stuff.”
“[He] trained at the Royal Academy of Dramatic Art in London, alongside such classmates as Peter O’Toole, Alan Bates and Albert Finney. He never attained the cinematic stardom of those three, but he arguably exceeding their achievements by leaps and bounds in the theatre, an art to which he devoted the lion’s share of his efforts” – most notably at Canada’s Stratford Festival, where he spend four decades playing everyone from Macbeth to Tartuffe to Trigorin to Lady Bracknell.
“I think that we architects too much tend to create exhibitions where the problems we are dealing with only interest other architects. The jargon that we use and the words that we use, nobody understands except other architects. So I wanted the starting point to be far away from architecture, in problems and challenges that every single citizen would like to see improved.”
“His humour, like that of many amusing people, is hard to recapture in written words. It depended on his twinkling eyes, his perfect timing, his infectious schoolboy giggle, and his reckless compulsion always to say what the other person would not expect. And, when speaking English, on his Inspector Clouseau accent, which he sometimes played to the hilt.”
“[He was] a versatile character actor who performed in scores of supporting stage, film and television roles but was most conspicuous as the common-sense mayor in Ghostbusters and as Tony Soprano’s sleazy lawyer.”
From the time Baryshnikov arrived in the U.S., he found in the Nobel-winning poet and essayist “a kind of older brother, and he needed one. Though a number of people were very kind to him, he did not, at this early point, have close friends in the United States, and he was slow in making them, because he had no time to study English. With Brodsky he could speak in Russian, and they had a city, a government – in some measure, a history – in common.”
Michael Idov, former editor of the Russian version of GQ: “I don’t have a good answer for how I got here. Not only have I blindly managed to write Russia’s most popular feature film and one of its most-talked-about TV series of the year, but I managed to do it in 2015, when relations between the United States and Russia were at their coldest point since [the 1960s].”
Rick Cluchey’s life “began to change for the better when the San Francisco Actors Workshop performed ‘Waiting for Godot,’ directed by Herbert Blau, at San Quentin State Prison in November 1957. Thus began the unlikely redemptive arc of Mr. Cluchey’s adulthood, one that led him out of jail and toward a career as an actor and playwright, most notably as a protégé of Samuel Beckett and an interpreter of his cryptic work.”
“‘David Bowie died peacefully today surrounded by his family after a courageous 18 month battle with cancer. While many of you will share in this loss, we ask that you respect the family’s privacy during their time of grief,’ read a statement posted on the artist’s official social media accounts.”
“Kully Thiarai is a breath of fresh air and exceptionally well placed to ensure that NTW is an arts organisation that is original, radical and relevant in the 21st century.”
And the first half of it goes like this: “I take no pride in keeping secrets that may be perceived as protecting criminals, nor do I have any gloating arrogance at posing for selfies with unknowing security men. But I’m in my rhythm. Everything I say to everyone must be true. As true as it is compartmentalized. The trust that El Chapo had extended to us was not to be fucked with.”
The studio has bought a pitch from Peter Glanz, who is writing the script. The project is based on Janis’ book “Chopin and Beyond: My Extraordinary Life in Music and the Paranormal.”
“[Her] experimental and socially searching pieces of musical theatre were a mainstay of 1970s and ’80s theatre in New York,” often at Joe Papp’s Public Theater. One of her works, Runaways, transferred to Broadway in 1979 and won her five Tony nominations.
“[He] released more than 100 albums, each of them vastly different from the one before … stretch[ing] the limits of the avant-garde with his innovative and continually changing musical styles.”