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Geoff Wonfor, a Grammy-winning British filmmaker who directed the Beatles’ acclaimed “Anthology” documentary series and worked on the 1980s music program “The Tube” as well as several projects with Paul McCartney, has died at age 73.
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His death was confirmed Tuesday by daughter Sam Wonfor, who said he died in Newcastle, where he grew up. Additional details were not immediately available.
Released in the mid-1990s, “The Beatles Anthology” was an authorized, multimedia project that included an eight-part documentary, three double albums and a coffee table book. Wonfor spent 4 1/2 years on the film, which combined archival footage with new interviews with the then-three surviving Beatles (McCartney, Ringo Starr and George Harrison, who died in 2001). Wonfor’s challenges included weaving in commentary from John Lennon, who had been murdered in 1980.
“He was very vocal (in interviews),” Wonfor told the Los Angeles Times in 1995. “I hit on the idea of listening to his interviews that were done … getting all the pertinent questions and answers to any year we were doing (in the documentary) and then pose the exact same question to the other three Beatles, so it looked like the four of them were answering the same questions, which of course they were.”
The Anthology helped renew worldwide obsession in a band that had hardly been forgotten and brought Wonfor and co-director Bob Smeaton a Grammy in 1997 for best long form music video.
Wonfor also directed the McCartney videos “In the World Tonight” and “Young Boy” and a McCartney concert video from the Cavern Club, the Liverpool venue where the Beatles played many of their early shows. He was on hand, too, for a Beatles “reunion” from the 1990s — a video of “Real Love,” a song left unfinished by Lennon that the remaining Beatles completed and recorded.
His other credits included “Band Aid 20,” a documentary about the anniversary re-recording of the British charity song “Do They Know It’s Christmas?” and “Sunday for Sammy,” a tribute to the late British actor Sammy Johnson.
Wonfor had been prominent in British entertainment since the 1980s, when he directed a handful of episodes of “The Tube” and made a documentary about “Shanghai Surprise,” a feature film produced by Harrison and starring Madonna and Sean Penn. His work with Harrison would unexpectedly lead to the biggest undertaking of his career.
“I was at my dad’s and it was Paul McCartney who rang up and he says, ‘Hello there, you’re alright’? And I say, ‘Yeah, I’m fine,’” Wonfor explained during a 2018 appearance at the Newcastle Film Festival.
“He said, ‘I was talking to a mate of yours last night.’ I went, ‘Who the hell does he know that I know?’ He says, ‘A little guy called George Harrison.’ … And he says, ‘Anyway,’ and we talked long into the night and he says, ‘We want to do a history of the Beatles and you are that man.’”
Wilko Johnson, the longtime guitarist for British blues rockers Dr. Feelgood has died at 75. Johnson’s family confirmed the news of his passing on Wednesday morning (Nov. 23), writing, “This is the announcement we never wanted to make, & we do so with a very heavy heart: Wilko Johnson has died. He passed away at home on Monday 21st November. Thank you for respecting the family’s privacy at this very sad time. RIP Wilko Johnson.”
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Johnson (born John Wilkinson) was born in 1947 and raised on Canvey Island, a bleak industrial oil town in England’s River Thames estuary and he worked as a schoolteacher before forming the long-running group with some hometown friends who’d been performing as The Pigboy Charlie Band. After changing their name — inspired by a beloved Johnny Kidd and the Pirates cover of a Piano Red blues standard — Dr. Feelgood began playing gigs in 1971, earning early praise for Johnson’s distinctive choppy, chugging fingerpicking guitar sound and singer Lee Brilleaux’s growly vocals on such favorites as “Roxette,” “Back in the Night” and covers of blues standards “Bonie Moronie” and Willie Dixon’s “You’ll Be Mine.”
Though they bristled at the term “pub rock,” the band were known for their raucous, energetic performances, best captured on their UK No. 1 live album 1976’s Stupidity. The group — whose albums were a mix of covers and blues standards along with originals largely written by Johnson during his tenure — has released more than a dozen albums to date; Johnson only appeared on their first three studio efforts (Down By the Jetty (1975), Malpractice (1975) and Sneakin’ Suspicion (1977) and Stupidity, before splitting from the group in 1977 amid reported conflicts with singer Brilleaux.
Johnson went on to form the bands the Solid Senders, as well as the Wilko Johnson Band, before briefly joining English pub punker Ian Dury’s band, the Blockheads, in 1980. He continued to perform and record with his eponymous band through the 2000s, releasing more a dozen albums and EPs, while also occasionally taking on acting roles, including a quirky slot as mute executioner Ser Ilyn Payne on four episodes of Game of Thrones. Between his signature slashing style and thousand-yard stare on stage, Johnson is credited with influencing a generation of performers in British punk and post-punk bands (Sex Pistols, Gang of Four, The Jam, The Clash) who sometimes mimicked his bug-eyed look and quirky style on stage.
After cancelling a show last minute in Nov. 2012 due to illness, Johnson shared that he was diagnosed with late stage pancreatic cancer in Jan. 2013, opting to skip chemotherapy after doctors told him he had less than a year to live. He released what was deemed his “final” album Going Back Home with the Who’s Roger Daltrey in March 2014 and then revealed that he had been misdiagnosed and was cancer-free later that year after undergoing a lengthy surgery to remove a massive tumor in his abdomen.
Among those paying tribute were fellow British rocker Billy Bragg, who said that Johnson was a “precursor of punk. His guitar playing was angry and angular, but his presence – twitchy, confrontational, out of control – was something we’d never beheld before in UK pop. Rotten, Strummer and Weller learned a lot from his edgy demeanour. He does it right RIP.” Blondie guitarist Chris Stein also weighed in, writing, “I frequently remind people how Dr Feelgood was an influence on the early New York and CBGBs music scene. Great guitarist and performer.”
Led Zeppelin guitarist Jimmy Page also paid homage to the player whose unique style was beloved among his fellow six-stringers. “I’m sad to hear today of the passing of Wilko Johnson, the Dr Feelgood guitarist and singer/songwriter. I saw Wilko perform at Koko in Camden in May 2013 and the atmosphere was electric. This show was originally billed as his farewell tour, but, thankfully, he continued performing and thrilling crowds until recently. I really admired him and we’ll all miss him. RIP Wilko.”
Johnson continued playing shows until just weeks before his passing and at press time no cause of death had been revealed.
Read the family’s death announcement and see some tributes to Johnson an d aclassic 1975 performance below.
This is the announcement we never wanted to make, & we do so with a very heavy heart: Wilko Johnson has died. He passed away at home on Monday 21st November. Thank you for respecting the family’s privacy at this very sad time. RIP Wilko Johnson.(Image: Leif Laaksonen) pic.twitter.com/1cRqyi9b9X— Wilko Johnson (@wilkojohnson) November 23, 2022
I’m sad to hear today of the passing of Wilko Johnson, the Dr Feelgood guitarist and singer/songwriter.I saw Wilko perform at Koko in Camden in May 2013 and the atmosphere was electric. This show was originally billed as his farewell tour pic.twitter.com/M1sQIEe4mm— Jimmy Page (@JimmyPage) November 23, 2022
Wilko Johnson was a precursor of punk. His guitar playing was angry and angular, but his presence – twitchy, confrontational, out of control – was something we’d never beheld before in UK pop. Rotten, Strummer and Weller learned a lot from his edgy demeanour. He does it right RIP pic.twitter.com/ukoJ69r41h— Billy Bragg (@billybragg) November 23, 2022
Very sad to hear Wilko Johnson has died. His unique, wired playing & stage presence thrilled & inspired many guitarists, myself included. When I interviewed him a few years ago, he was bright, thoughtful & an astonishing story teller. His presence will be felt for many more years pic.twitter.com/x6ZzQWojXp— Alex Kapranos (@alkapranos) November 23, 2022
Throwback Wednesday: For obvious sad reasons, a day early this week. Following today’s awful news of the passing of the legendary RnB guitar hero Wilko Johnson, here he is with his old friend & flatmate JJ a few years ago. Fly straight Wilko, fond adieu RIP x pic.twitter.com/bKmbxNhmuM— The Stranglers (Official) (@StranglersSite) November 23, 2022
Rest in Power Mr Wilko Johnson – you fought the good fight, and had a damn good run. when they said it was over, you came back stronger. cheers mate 🍻 pic.twitter.com/3vXuT8ixtk— anton newcombe (@antonnewcombe) November 23, 2022
Sixty-six years ago, Jerry Lee Lewis, who died Oct. 28 at the age of 87, shook America’s nerves and rattled its brains. The Dec. 22, 1956, issue of Billboard savored his debut single, “Crazy Arms,” as a “flavor-packed disk,” and the magazine went on to track the rise of “Whole Lot of Shakin’ Going On” and “Great Balls of Fire,” both of which scored on the country, R&B and pop charts all at once. And as Elvis Presley turned his attention to Hollywood and then to the U.S. Army, Lewis seemed poised to vie for The King’s throne until a British journalist learned that the girl accompanying him on his U.K. tour was his third wife — as well as his 13-year-old cousin.
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‘Balls’ Out
Lewis raised hair as well as hell. The Oct. 28, 1957, Billboard noted that his EP The Great Ball of Fire sported “a photo of the cat with the wild hair flying in the breeze” and predicted it would “sell fast.” That fire didn’t fizzle: The May 5, 1958, issue reported that “Shakin’ ” had remained a jukebox hit for months thanks to “current teeners who still flip over the music with the big beat.”
‘An Open Letter’
In May 1958, after word had spread that he had married his 13-year-old cousin, Lewis, 22, was forced to cancel his U.K. tour. In the June 9, 1958, Billboard, the singer bought a full-page ad to pioneer a pop culture tradition: the half-apology. “I confess that my life has been stormy. I confess further that since I have become a public figure, I sincerely wanted to be worthy of the decent admiration of all the people, young and old, that admired or liked what talent (if any) I have,” he wrote. “I can’t control the press or the sensationalism that these people will go to to get a scandal started to sell papers.” One big DJ backed him up. “Jerry’s a Southern boy,” Alan Freed said, “and Tennessee boys get married quite young.”
Sun Makes ‘Light’
A week later, Billboard reviewed Lewis’ New York club debut in less than glowing terms. “Showmanship is not simply a matter of banging a piano [and] stomping around stage,” griped the June 16, 1958, issue. The following edition (June 23, 1958) reported that Sun Records head Sam Phillips was servicing DJs a “cute” promotional disc, “The Return of Jerry Lee.” “It makes light of the whole British episode,” Phillips explained, “which is the way we think the whole thing should be treated anyway.”
The Killer Beats Death
Lewis found a second life in Nashville, scoring four country No. 1s between 1968 and 1972. His hard living caught up with him, however, and in 1981, he was put in intensive care and underwent stomach surgery in Memphis. Lewis pulled through and performed at the Grand Ole Opry on Dec. 3. Almost a quarter-century after Billboard panned his New York concert, the Dec. 25, 1981, issue called his return to action in Nashville “an occasion tinged with awe.” The verdict: “He’s nothing short of mesmerizing.”
Biopic Blues
A New York preview of the Dennis Quaid-starring biopic Great Balls of Fire! was followed by a midnight jam with punk purveyors John Doe and Mick Jones backing Lewis, according to the July 8, 1989, issue. Even as an elder statesman, though, Lewis stirred up trouble: In the June 24, 1989, Billboard, his own manager, Jerry Schilling, called him out for “negative and damaging” statements about Presley to another outlet.
Pablo Milanés, the Latin Grammy-winning balladeer who helped found Cuba’s “nueva trova” movement and toured the world as a cultural ambassador for Fidel Castro’s revolution, has died in Spain, where he had been under treatment for blood cancer. He was 79.
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One of the most internationally famous Cuban singer-songwriters, he recorded dozens of albums and hits like “Yolanda,” “Yo Me Quedo” (I’m Staying) and “Amo Esta Isla” (I Love This Island) during a career that lasted more than five decades.
“The culture in Cuba is in mourning for the death of Pablo Milanes,” Cuban Prime Minister Manuel Marrero Cruz tweeted Monday night (Nov. 21). Milanés’ representatives issued a statement saying he had died early Tuesday in Madrid. In early November, he announced he was being hospitalized and canceled concerts.
Pablo Milanés was born Feb. 24, 1943, in the eastern city of Bayamo, in what was then Oriente province, the youngest of five siblings born to working-class parents. His musical career began with him singing in, and often winning, local TV and radio contests. His family moved to the capital and he studied for a time at the Havana Musical Conservatory during the 1950s, but he credited neighborhood musicians rather than formal training for his early inspiration, along with trends from the United States and other countries.
In the early ’60s he was in several groups including Cuarteto del Rey (the King’s Quartet), composing his first song in 1963: “Tu Mi Desengano,” (You, My Disillusion), which spoke of moving on from a lost love. “Your kisses don’t matter to me because I have a new love/to whom I promise you I will give my life,” the tune goes.
In 1970 he wrote the seminal Latin American love song “Yolanda,” which is still an enduring favorite everywhere from Old Havana’s tourist cafes to Mexico City cantinas. Spanish newspaper El Pais asked Milanés in 2003 how many women he had flirted with by saying they inspired the song. “None,” he responded, laughing. “But many have told me: ‘My child is the product of ‘Yolanda.’”
Milanés supported the 1959 Cuban Revolution but was nevertheless targeted by authorities during the early years of Fidel Castro’s government, when all manner of “alternative” expression was highly suspect. Milanés was reportedly harassed for wearing his hair in an afro, and was given compulsory work detail for his interest in foreign music.
Those experiences did not dampen his revolutionary fervor, however, and he began to incorporate politics into his songwriting, collaborating with musicians such as Silvio Rodríguez and Noel Nicola. The three are considered the founders of the Cuban “nueva trova,” a usually guitar-based musical style tracing to the ballads that troubadours composed during the island’s wars of independence. Infused with the spirit of 1960s American protest songs, the nueva trova uses musical storytelling to highlight social problems.
Milanés and Rodríguez in particular became close, touring the world’s stages as cultural ambassadors for the Cuban Revolution, and bonding during boozy sessions. “If Silvio Rodríguez and I got together, the rum was always there,” Milanés told El Pais in 2003. “We were always three, not two.”
Milanés was friendly with Castro, critical of U.S. foreign policy and for a time even a member of the communist government’s parliament. He considered himself loyal to the revolution and spoke of his pride at serving Cuba.
“I am a worker who labors with songs, doing in my own way what I know best, like any other Cuban worker,” Milanés once said, according to The New York Times. “I am faithful to my reality, to my revolution and the way in which I have been brought up.”
In 1973, Milanés recorded “Versos Sencillos,” which turned poems by Cuban Independence hero José Martí into songs. Another composition became a kind of rallying call for the political left of the Americas: “Song for Latin American Unity,” which praised Castro as the heir of Martí and South American liberation hero Simon Bolívar, and cast the Cuban Revolution as a model for other nations.
In 2006, when Castro stepped down as president due to a life-threatening illness, Milanés joined other prominent artists and intellectuals in voicing their support for the government. He promised to represent Castro and Cuba “as this moment deserves: with unity and courage in the presence of any threat or provocation.”
Yet he was unafraid to speak his mind and occasionally advocated publicly for more freedom on the island. In 2010 he backed a dissident hunger striker who was demanding the release of political prisoners. Cuba’s aging leaders “are stuck in time,” Milanés told Spanish newspaper El Mundo. “History should advance with new ideas and new men.”
The following year, as the island was enacting economic changes that would allow greater free-market activity, he lobbied for President Raul Castro to do more. “These freedoms have been seen in small doses, and we hope that with time they will grow,” Milanés told The Associated Press.
Milanés disagreed without dissenting, prodded without pushing, hewing to Fidel Castro’s notorious 1961 warning to Cuba’s intellectual class: “Within the Revolution, everything; outside the Revolution, nothing.”
“I disagree with many things in Cuba, and everyone knows it,” Milanés once said.
Ever political even when his bushy afro had given way to more conservatively trimmed, gray, thinning locks, in 2006 he contributed the song “Exodo” (Exodus), about missing friends who have departed for other lands, to the album “Somos Americans” (We Are Americans), a compilation of U.S. and Latin American artists’ songs about immigration.
Rodríguez and Milanés had a falling out in the 1980s for reasons that were unclear and were barely on speaking terms, though they maintained a mutual respect and Rodríguez collaborated musically with Milanés’ daughter. Milanés sang in the 1980′s album Amo esta isla that “I am from the Caribbean and could never walk on terra firma;” nevertheless, he divided most of his time between Spain and Mexico in later years.
By his own count he underwent more than 20 leg surgeries.
Milanés won two Latin Grammys in 2006 — best singer-songwriter album for “Como un Campo de Maiz” (Like a Cornfield) and best traditional tropical album for AM/PM, Lineas Paralelas (AM/PM, Parallel lines), a collaboration with Puerto Rican salsa singer Andy Montanez.
He also won numerous Cuban honors including the Alejo Carpentier medal in 1982 and the National Music Prize in 2005, and the 2007 Haydee Santamaria medal from the Casa de las Americas for his contributions to Latin American culture.
George Lois, the hard-selling, charismatic advertising man and designer who fashioned some of the most daring magazine images of the 1960s and popularized such catchphrases and brand names as “I Want My MTV” and “Lean Cuisine,” has died. He was 91.
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Lois’ son, the photographer Luke Lois, said he died “peacefully” Friday (Nov. 18) at his home in Manhattan.
Nicknamed the “Golden Greek” and later (to his displeasure) an “Original Mad Man,” George Lois was among a wave of advertisers who launched the “Creative Revolution” that jolted Madison Avenue and the world beyond in the late 1950s and ’60s. He was boastful and provocative, willing and able to offend, and was a master of finding just the right image or words to capture a moment or create a demand.
His Esquire magazine covers, from Muhammad Ali posing as the martyr Saint Sebastian to Andy Warhol sinking in a sea of Campbell’s tomato soup, defined the hyper spirit of the ’60s as much as Norman Rockwell’s idealized drawings for the Saturday Evening Post summoned an earlier era. As an ad man, he devised breakthrough strategies for Xerox and Stouffer’s and helped an emerging music video channel in the 1980s by suggesting ads featuring Mick Jagger and other rock stars demanding, with mock-petulance, “I Want My MTV!”
Lois boiled it down to what he called the “Big Idea,” crystallizing “the unique virtues of a product and searing it into people’s minds.” He was inducted into numerous advertising and visual arts halls of fame, and in 2008 his Esquire work was added to the permanent collection of the Museum of Modern Art. Martin Scorsese, Tina Brown and Graydon Carter were among his admirers.
His legacy was vast, although the actual dimensions are disputed. His claims to developing the 1960s “I Want My Maypo” breakfast ads and to inspiring the creation of New York magazine have been widely contradicted. Some former Esquire colleagues would allege that he exaggerated his role at the expense of other contributors, such as Carl Fischer, who photographed many of the magazine’s famous covers. But his overpowering energy and confidence were well recorded.
In her memoir Basic Black, former USA Today publisher Cathie Black recalled bringing in Lois in the early 1980s to propose a new advertising approach for a publication that struggled at first over how to identify itself. Lois’ idea was to champion USA Today’s dual appeal as a newspaper and magazine, proposing the slogan, “A lot of people are saying USA Today is neither fish nor fowl. They’re right!” Before a gathering of the publication’s, including founder Al Neuharth, Lois gave an Oscar-worthy performance, Black wrote, “bounding in like a 6-foot-3 teenager hopped up on Red Bull.”
“He flung his jacket to the floor, tore off his tie, then flashed one prototype ad after another, prancing around the room and keeping up a running monologue sprinkled with jokes and profanity. It was epic, almost scary. I was thrilled. When he was finished, the room sat absolutely silent.” All eyes turned to Neuharth, who sat “absolutely still, his expression hidden behind his dark aviator glasses.” Neuharth paused, removed his glasses and smiled. “We’ve got it,” he said.
Lois’ longtime wife, Rosemary Lewandowski Lois, died in September. A son, Harry Joseph Lois, died in 1978.
Lois, the son of Greek immigrants, was born in New York City in 1931 and would cite the racism of his Irish neighborhood for his drive “to awaken, to disturb, to protest.” He liked to say that a successful advertiser absorbed as many influences as possible, and he prided himself on his knowledge of everything from sports to ballet. He was a compulsive drawer and for much of his life made weekly visits to the Metropolitan Museum of Art.
He enrolled in Pratt Institute, soon met his future wife and eloped with her before either had graduated. After serving in the Army during the Korean War, he joined the advertising and promotion department of CBS and in 1960 helped found the advertising agency Papert Koenig Lois. Two years later he was recruited by Esquire editor Harold Hayes and remained until 1972, the same year Hayes left.
Esquire was a prime venue for the so-called New Journalism of the 1960s, nonfiction stories with a literary approach, and the magazine would publish such celebrated pieces as Gay Talese’s portrait of Frank Sinatra and Tom Wolfe’s “The Last American Hero Is Junior Johnson. Yes!” But to read the words, you had to buy the magazine, and Lois’ covers launched countless conversations.
For a cover story on “The New American Woman,” he featured a naked model folded into a garbage can. A notorious 1970 cover showed a grinning Lt. William Calley, the serviceman later found guilty of murdering unarmed civilians in the My Lai Massacre, with his arms around a pair of Vietnamese children, two other kids behind him.
In the mid-1970s, Lois was among the public figures who led efforts to free the boxer Rubin “Hurricane” Carter from prison. Carter’s conviction for murder was later overturned, and he was released in 1985. Lois also wrote several books and was featured in the 2014 documentary about Esquire titled Smiling Through the Apocalypse.
Interest in Lois was renewed through the popularity of the AMC series Mad Men, but he was not flattered, writing in his book Damn Good Advice that the show was “nothing more than a soap opera set in a glamorous office where stylish fools hump their appreciative, coiffured secretaries, suck up martinis, and smoke themselves to death as they produce dumb, lifeless advertising.”
“Besides,” he added, “when I was in my 30s, I was better-looking than Don Draper.”
Ned Rorem, the prolific Pulitzer- and Grammy-winning musician known for his vast output of compositions and for his barbed and sometimes scandalous prose, died Friday (Nov. 18) at 99.
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The news was confirmed by a publicist for his longtime music publisher, Boosey & Hawkes, who said he died of natural causes at his home on Manhattan’s Upper West Side.
The handsome, energetic artist produced a thousand-work catalog ranging from symphonies and operas to solo instrumental, chamber and vocal music, in addition to 16 books. He also contributed to the score for the Al Pacino-starring film Panic in Needle Park.
Time magazine once called Rorem “the world’s best composer of art songs,” and he was notable for his hundreds of compositions for the solo human voice. The poet and librettist J.D. McClatchy, writing in The Paris Review, described him as “an untortured artist and dashing narcissist.”
His music was mostly tonal, though very much modern, and Rorem didn’t hesitate to aim his printed words at other prominent contemporaries who espoused the dissonant avant-garde, like Pierre Boulez.
“If Russia had Stalin and Germany had Hitler, France still has Pierre Boulez,” Rorem once wrote.
He had a basic motto for songwriting: “Write gracefully for the voice — that is, make the voice line as seen on paper have the arched flow which singers like to interpret.”
Rorem won the 1976 Pulitzer for his “Air Music: Ten Etudes for Orchestra.” The 1989 Grammy for outstanding orchestral recording went to The Atlanta Symphony for Rorem’s “String Symphony, Sunday Morning, and Eagles.”
His 1962 “Poems of Love and the Rain” is a 17-song cycle set to texts by American poets; the same text is set twice, in a contrasting way.
Born in Richmond, Indiana, Rorem was the son of C. Rufus Rorem, whose ideas in the 1930s were the basis for the Blue Cross and Blue Shield insurance plans and who turned to Quaker philosophy, raising his son as a pacifist.
The younger Rorem went to day school at the elite University of Chicago Laboratory Schools. By the time he was 10, his piano teacher introduced him to Debussy and Ravel, which “changed my life forever,” said the composer whose music was tinged with French lyricism.
He went on to study at the American Conservatory of Music in Hammond, Indiana, and Northwestern University in Evanston, Illinois, then the Curtis Institute in Philadelphia and the Juilliard School in New York.
As a young composer in the 1950s, he lived abroad for eight years, mostly in Paris but with two years in Morocco.
The Paris Diary covers his stay there and is filled with famous names of people he met — Jean Cocteau, Francis Poulenc, Balthus, Salvador Dali, Paul Bowles, John Cage, Man Ray, and James Baldwin. The late writer Janet Flanner called it “worldly, intelligent, licentious, highly indiscreet.” Rorem himself said his text was “filled with drunkenness, sex, and the talk of my betters.”
His literary self-portrait continued through 1985, contained in The New York Diary, The Later Diaries and The Nantucket Diary.
“His essays are composed like scores,” McClatchy once wrote of him. “The same hallmarks we listen for in Rorem’s music will be found in his essays a well: indirection, instinctive grace, intellectual aplomb, a lyrical line.”
Some were appalled by Rorem’s notorious accounting of his relationships with four big-name men in music: Leonard Bernstein, Noel Coward, Samuel Barber, and Virgil Thomson. He also outed a few others.
But most of his private life was centered around James Holmes, an organist and choir director with whom he lived for three decades in New York City. Holmes died in 1999. A statement from Boosey & Hawkes said Rorem died surrounded by friends and family and is survived by six nieces and nephews and eleven grandnieces and grandnephews.
Drawing on his upbringing, Rorem based his Quaker Reader — a collection of pieces for organ — on Quaker texts.
As for his non-musical writings, he said: “My music is a diary no less compromising than my prose. A diary nevertheless differs from a musical composition in that it depicts the moment, the writer’s present mood which, were it inscribed an hour later, could emerge quite otherwise.”
Rorem’s essays on music appear in anthologies titled Setting the Tone, Music from the Inside Out, and Music and People.
“Why do I write music?” he once asked. “Because I want to hear it — it’s as simple as that.”
Keith Levene, the innovative guitarist who was a founding member of the Clash and Public Image Ltd, has died in Norfolk, U.K. He was 65.
His death was announced through social media on Saturday (Nov. 12) by former Public Image Ltd bandmates Martin Atkins and Jah Wobble. Levene passed away following a battle with liver cancer, The Guardian reports.
Billboard has reached out to Public Image Ltd’s representatives for comment.
“A sad time to learn of the passing of guitar giant Keith Levene,” Atkins wrote on Twitter. “We had our ups and downs that had mellowed over time. My respect for his unique talent never will.”
“RIP KEITH LEVENE,” Wobble said.
Author Adam Hammond, a friend of Levene, wrote on Twitter that he died on Friday (Nov. 11) and noted, “There is no doubt that Keith was one of the most innovative, audacious and influential guitarists of all time.”
Levene, who was born in London in 1957 and as a teenager was a roadie for Yes, was a co-founder of the Clash but left the band before their first album was even released.
He teamed up with guitarist Mick Jones in the mid-1970s to form an early version of the Clash. Along with the band’s manager Bernard Rhodes, Levene convinced Joe Strummer to join the group. Levene departed before the act started recording, but co-wrote the song “What’s My Name,” which appears on the Clash’s 1977 debut album.
After leaving the Clash, Levene briefly formed the band the Flowers of Romance with Sid Vicious, who later left to join the Sex Pistols. When the Sex Pistols disbanded in 1978, Levene and singer John Lydon joined forces with bass player John Wardle (aka Jah Wobble) and drummer Jim Walker to form Public Image Ltd.
Levene contributed to Public Image Ltd’s earliest albums — First Issue (1978), Metal Box (1979) and Flowers of Romance (1981) — and left the group in the mid-1983.
Later in his career, Levene worked on a handful of solo projects, including 1989’s Violent Opposition, featuring members of Red Hot Chili Peppers.
“Music is important to me because I’m a composer. It turns out that I really am a good musician and composer. I can’t read music, I’m self-taught … I was never really enamoured with punk, it just came at the right time,” Levene said in an interview with the publication Gimmie Gimmie Gimmie Zine.
He recalled his early years as a musician: “When I came off tour with Yes I realized I wanted to be in a band. Having a band was a big f—ing thing for a 15-year-old. I’m looking at this cherry red guitar in my little bedroom, I remember like it was yesterday, I’m looking at this thing and thought I had to get a real Gibson. I knew me well enough by then to know that I wasn’t going to allow myself to have a Gibson unless I could play really, really well, proper.”
Gallagher, the long-haired, smash-’em-up comedian who left a trail of laughter, anger and shattered watermelons over a decadeslong career, has died at age 76.
Craig Marquardo, in a statement identifying himself as Gallagher’s “longtime former manager,” said that he died Friday (Nov. 11) at his home in Palm Springs, California, after a brief illness. Gallagher had numerous heart attacks over the years, including one right before a scheduled show in Texas in 2012.
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With a beret on his head and a few simple props, from a can of oil to a bull whip, the man born Leo Anthony Gallagher Jr. built a nationwide following in the 1970s and ’80s, appearing on The Tonight Show with Johnny Carson and starring in numerous Showtime specials. His act included observational humor (“What about Easter? Whose idea was it to give eggs to an animal that hops?”), political commentary (“They don’t call a tax a tax. They call it a revenue enhancer”), invented sports (synchronized Ping-Pong) and his trademark Sledge-O-Matic destruction.
“Ladies and gentlemen! I did not come here tonight just to make you laugh. I came here to sell you something, and I want you to pay particular attention!” he would call out in his best rapid-fire impersonation of a late-night television pitchman. “The amazing Master Tool Corporation, a subsidiary of Fly-By-Night Industries, has entrusted who? Me! To show you! The handiest and the dandiest kitchen tool you’ve ever seen.”
Sledgehammer in hand, he would then apply his full muscle to apples, grapes, lettuce and other produce, most famously the inevitable watermelon, with audience members in front showered in food bits.
Gallagher was a Fort Bragg, North Carolina, native who started out in 1960 as road manager for the comedian/musician Jim Stafford and soon began performing himself, honing his act at the Comedy Store and other clubs. He was not the only funnyman in the family: His younger brother Ron became a comedian, received Leo’s initial blessing and looked and acted enough like his better-known sibling that some audiences were unsure who they had come to see. Leo Gallagher eventually secured a court injunction barring his brother from using his routines.
The elder Gallagher became increasingly controversial in recent years, chastised for racist and homophobic remarks. Gallagher even cut short an interview in 2011 with Marc Maron after the WTF podcast host confronted him about his statements.
“I’m the problem?!” Gallagher said at one point. “Do you think when I’m dead, gays will finally have an opportunity in America? Have I really been holding them down?”
In 2003, Gallagher was among more than 100 candidates running in the recall election for California governor, won by Arnold Schwarzenegger. Over the past decade, Gallagher appeared in a Geico commercial and in the movie The Book of Daniel.
Singer Gal Costa, an icon in the Tropicalia and Brazilian popular music movements who enjoyed a nearly six-decade career, died on Wednesday. She was 77.
Her death was confirmed by a press representative, who provided no further information.
The soprano with wild curls of dark hair was best known for lending her unique voice to compositions such as Ary Barroso’s “Aquarela do Brasil” (Watercolor of Brazil), Tom Jobim’s “Dindi,” Jorge Ben Jor’s “Que Pena” (What a Shame) and Caetano Veloso’s “Baby.”
“Gal Costa was among the world’s best singers, among our principal artists to carry the name and sounds of Brazil to the whole planet,” President-elect Luiz Inácio da Silva wrote on Twitter alongside a photo of him hugging her. “Her talent, technique and courage enriched and renewed our culture, cradled and marked the lives of millions of Brazilians.”
Gal Costa foi das maiores cantoras do mundo, das nossas principais artistas a levar o nome e os sons do Brasil para todo o planeta. Seu talento, técnica e ousadia enriqueceu e renovou nossa cultura, embalou e marcou a vida de milhões de brasileiros.📸 @ricardostuckert pic.twitter.com/4jU2SBcHuq— Lula (@LulaOficial) November 9, 2022
Costa was born Maria da Graça Penna Burgos in the northeastern state of Bahia and came onto the scene alongside future legends Veloso, Gilberto Gil, and Maria Bethânia.
All were already successful solo artists when they formed the band Doces Bárbaros. Their joint side project became an important counterculture reference during Brazil’s two-decade military dictatorship, inspiring a record, tour and documentary.
In 2011, Costa was awarded a Latin Grammy Lifetime Achievement Award.
She remained an active performer until nearly the end, having recently suspended shows to undergo a surgery on one of her nostrils. Her next concert had been scheduled for Dec. 17, in Sao Paulo.
Dan McCafferty, original lead singer for Scottish hard rockers Nazareth, has died at age 76. The vocalist’s passing was announced by founding bassist/backing vocalist Pete Agnew, who revealed in an Instagram post that McCafferty died on Tuesday afternoon; at press time no cause of death had been announced.
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“This is the saddest announcement I ever had to make,” Agnew wrote. “Maryann and the family have lost a wonderful loving husband and father, I have lost my best friend and the world has lost one of the greatest singers who ever lived. Too upset to say anything more at this time.”
McCafferty, born on Oct. 14, 1946 in Dunfermline, Scotland was a co-founder of Nazareth, which came together in 1968 with guitarist Manny Charlton and drummer Darrell Sweet joining McCafferty and Agnew. The band released their self-titled debut in 1971, which was followed by 1972’s Exercises and 1973’s Razamanaz.
But it wasn’t until their sixth album, 1975s Hair of the Dog, that the group broke out beyond their European success, thanks to their rocked-up cover of the Everly Brothers’ 1960 song “Love Hurts.” The showcase for McCafferty’s muscular vocals rose to No. 8 on the Billboard Hot 100. Hair of the Dog also marked the band’s highest charting album on the Billboard 200 charts, where it rose to No. 17 in March 1976, according to data provided by Luminate.
Nazareth’s “Love Hurts” was the highest-charting version of the tune — also famously covered by Cher as the title track of her 1991 album of the same name — and it has become a go-to power ballad in dozens of movies, including Wayne’s World, This is Spinal Tap, Dazed and Confused, Rock Star, Empire Records, Bill & Ted’s Excellent Adventure and many more.
McCafferty fronted the band until his retirement from touring in 2013 due to unspecified health issues and appeared on 23 studio albums through 2014’s Rock ‘n’ Roll Telephone; he was replaced by Linton Osborne in 2014, who in turn was swapped out for current singer Carl Sentance. McCafferty also released a pair of solo albums during his time with the group, a self-titled 1975 collection and 1987’s Into the Ring, as well as his final solo effort, 2019’s Last Testament.
See Agnew’s tribute and watch a live version of “Love Hurts” below.