Author Topic: Who's Next To Croak?  (Read 233957 times)

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Reinhold

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Re: Who's Next To Croak?
« Reply #810 on: August 10, 2008, 09:24:29 PM »
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issac hayes is gone too, age 65.

now that the duke is gone i guess i should finally get around to upping the escape from new york caps i did forever ago.

Soul icon Isaac Hayes dies at 65

A look back at the life of Isaac Hayes

US singer-songwriter Isaac Hayes has died at his home in Memphis, Tennessee, at the age of 65, police said.

Police were called to Mr Hayes' home after his wife found him unconscious. He was taken to hospital where he was pronounced dead at 1408 (1908 GMT).

Mr Hayes, a flamboyant, deep-voiced performer, won an Oscar for the 1971 hit Theme From Shaft.

He was perhaps better known to a younger audience as the voice of Chef from the hit cartoon show, South Park.

The cause of death was not immediately known.

"Family members believe at this point it is a medical condition that might have led to his death," a police spokesman said, adding Mr Hayes was being treated for "a number of medical issues".

Mr Hayes suffered a stroke in 2006.

Hayes the showman

Isaac Hayes - along with Al Green, James Brown and Stevie Wonder - was one of the dominant black artists of the early 1970s.

Hayes, a self-taught musician, was hired in 1964 by Stax Records as a back-up pianist and saxophone, working as a session musician for big names such as Otis Redding.

He established a songwriting partnership with David Porter, and in the 1960s, writing hits for Sam and Dave such as Hold On, I'm Coming and Soul Man. This success led on to a recording contract, and in 1969 he shot to fame with the release the groundbreaking album Hot Buttered Soul.

The theme from the film Shaft was a number one hit in 1971. He won an Academy Award for the song and was nominated for another one for the score. The song and score also won him two Grammys.

Isaac Hayes was also in several movies, including It Could Happen to You with Nicolas Cage, and Ninth Street with Martin Sheen.

He had success later in life as the voice of the South Park character, Chef. But he angrily quit the show in 2006 after an episode mocked Scientology, a religious movement to which he belonged.

He was married four times and has 12 children.
Obviously what you are doing right now is called (in my upcoming book of psychology at least) validation. I think it's a normal thing to do. People will reply, say anything, and then you're gonna do what you were subconsciently thinking of doing all along.

Reinhold

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Re: Who's Next To Croak?
« Reply #811 on: August 20, 2008, 12:22:10 PM »
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i'm not a fan of the band anymore, but this guy was a seriously great musician. though he's got a low profile on stage, his sax/flute/clarinet performances really contribute to a whole that is greater than the sum of its parts. as a lead on most of my favorite songs by the band, this man is responsible for 90% of the times i made out in high school.

Dave Matthews Band founder dies

LeRoi Moore, a founding member of the Dave Matthews Band, has died aged 46, his publicist has said.

The versatile saxophonist died after suffering complications from injuries sustained in a vehicle accident in June on his Virginia farm.

Publicist Ambrosia Healy said he died on Tuesday at Hollywood Presbyterian Medical Center, in Los Angeles.

A statement announcing the star's unexpected death on the band's website said: "We are deeply saddened".

Moore initially went to hospital in June after crashing an all-terrain vehicle on his farm outside Charlottesville, Virginia.

He was later discharged and had returned to his Los Angeles home to begin a physical rehabilitation program when complications forced him back to the hospital in July.

The musician was best known for donning dark sunglasses at live concerts.
He was classically trained but said jazz was his main musical influence, according to a biography on the band's web site.

The group formed in 1991 in Charlottesville, Virginia, when lead singer Dave Matthews was working as a bartender.

He handed a demo tape of his songs to Moore, who liked what he heard and recruited his friend and fellow jazzman Carter Beauford to play drums.

The group broke out of the local music scene with the album Under the Table and Dreaming.

They went on to win a Grammy award in 1997 for the hit song So Much to Say, from their second album Crash.

Other hits include What Would You Say, Crash Into Me and Satellite.

The band went on with its show Tuesday night at the Staples Center in Los Angeles, where lead singer Dave Matthews dedicated the entire show to Moore.

"It's always easier to leave than be left," Matthews told the crowd, according to Ambrosia Healy, the band's publicist.

"We appreciate you all being here."

Saxophonist Jeff Coffin had been sitting in for Moore during the band's summer tour.

Obviously what you are doing right now is called (in my upcoming book of psychology at least) validation. I think it's a normal thing to do. People will reply, say anything, and then you're gonna do what you were subconsciently thinking of doing all along.

pete

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Re: Who's Next To Croak?
« Reply #812 on: August 21, 2008, 10:06:02 PM »
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http://www.variety.com/article/VR1117990885.html?categoryid=13&cs=1&nid=2562


Character actor Julius Carry dies at 56
Veteran thesp played Sho'nuff in 'Last Dragon'
By VARIETY STAFF

Character actor Julius Carry died Aug. 19 in Los Angeles of pancreatic cancer. He was 56.

He had recurring roles on TV shows including "Two Guys And Girl," "Boy Meets World," "Grown Ups," "The District," "Cosby," "Murphy Brown," "It's A Living" and "Duet."

Carry appeared in more than 100 guest roles including "Hill Street Blues," "Jag," "Spin City" and "Moesha."

He also appeared as the villain Sho'nuff in the cult pic "The Last Dragon." Other feature credits included "The New Guy," "Moving," "World Gone Wild," "The Man With The Red Shoe" and "The Fish That Saved Pittsburgh."

Born in Chicago, his first screen credit was in "Disco Godfather."

Carry is survived by his wife Naomi.

Donations may be made to The Pancreatic Cancer Action Network.
“Tragedy is a close-up; comedy, a long shot.”
- Buster Keaton

MacGuffin

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Re: Who's Next To Croak?
« Reply #813 on: September 02, 2008, 09:43:49 AM »
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Don LaFontaine Dies at 68

Voiceover Master Don LaFontaine has died. He was 68.

LaFontaine, known as the "King of Voiceovers," died Monday afternoon at Cedars-Sinai Medical Center in Los Angeles. LaFontaine's agent, Vanessa Gilbert, tells ET that he passed away following complications from Pneumothorax, the presence of air or gas in the pleural cavity, the result of a collapsed lung. The official cause of death has not yet been released.

Over the past 25 years, LaFontaine cemented his position as the "King of Voiceovers." Aside from being the preeminent voice in the movie trailer industry, Don also worked as the voice of Entertainment Tonight and The Insider, as well as for CBS, NBC, ABC, Fox and UPN, in addition to TNT, TBS and the Cartoon Network. By conservative estimates, he voiced hundreds of thousands of television and radio spots, including commercials for Chevrolet, Pontiac, Ford, Budweiser, McDonalds, Coke, and many other corporate sponsors.

He recently parodied himself on a series of national television commercials for Geico. At last count, he has worked on nearly 5000 films, including appearances as the in-show announcer for the Screen Actors Guild and Academy Awards. Based on contracts signed, he has the distinction of being perhaps the single busiest actor in the history of SAG. Don is survived by his wife -- singer/actress Nita Whitaker, and three children: Christine, Skye and Elyse.

“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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picolas

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Re: Who's Next To Croak?
« Reply #814 on: September 02, 2008, 02:17:55 PM »
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NOOOOOOOOOO

Ravi

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Re: Who's Next To Croak?
« Reply #815 on: September 02, 2008, 06:26:30 PM »
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In a world where there's no Don LaFontaine...


squints

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Re: Who's Next To Croak?
« Reply #816 on: September 02, 2008, 07:23:46 PM »
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“The myth by no means finds its adequate objectification in the spoken word. The structure of the scenes and the visible imagery reveal a deeper wisdom than the poet himself is able to put into words and concepts” – Friedrich Nietzsche

Ravi

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Re: Who's Next To Croak?
« Reply #817 on: September 04, 2008, 10:54:51 AM »
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http://www.hollywoodreporter.com/hr/content_display/television/news/e3i666fc0408ab465aaaa3c27625a84282e

'Peanuts' animator Bill Melendez dies
Responsible for 'Charlie Brown Christmas,' 'Great Pumpkin'
By Mike Barnes
Sept 3, 2008, 02:26 PM ET

Bill Melendez, best known for bringing the Peanuts characters to life with such classics as "A Charlie Brown Christmas" and "It's the Great Pumpkin, Charlie Brown," died Tuesday at St. John's Hospital in Santa Monica. He was 91.

Melendez, the only animator permitted by Charles M. Schulz to work with the Peanuts characters, earned eight Emmy Awards, 17 Emmy nominations, one Oscar nomination and two Peabody Awards. He began his career at Disney and Warner Bros., working on classic characters at those studios, and spent more than 70 years in the entertainment industry.

In 1948, the Mexican native left Warner Bros. and for more than a decade served as a director and producer on more than 1,000 commercials and films for United Productions of America, Playhouse Pictures and John Sutherland Prods.

It was at UPA that Melendez started doing work for the New York-based J. Walter Thompson ad agency, whose client included Ford. The carmaker expressed interest in using the Peanuts characters to sell its cars on TV, and in 1959 Melendez prepared his animation work and showed it to Peanuts creator Schulz.

Melendez went on to bring Charlie Brown and his pals to the screen in more than 63 half-hour specials, five one-hour specials, four feature films and more than 372 commercials. In addition to perennial favorites "A Charlie Brown Christmas" (1965) and "It's the Great Pumpkin, Charlie Brown" (1966), Melendez produced the Oscar-nominated "A Boy Named Charlie Brown" (1971), "A Charlie Brown Thanksgiving" (1973), "She's a Good Skate, Charlie Brown" (1980) and "You're a Good Sport, Charlie Brown" (1975). He also provided the voices for Snoopy and Woodstock through the years.

Melendez also animated TV specials "Garfield on the Town," "Cathy," "Babar Comes to America" and "The Lion, the Witch & the Wardrobe," among others. He shared an Emmy in 1987 for outstanding animated program with three others for "Cathy."

His last credit was as a producer for 2006 TV special "He's A Bully, Charlie Brown."

Melendez, who sported a handle bar mustache for decades, began his career at Walt Disney Studios and worked on Pinocchio, Fantasia, Bambi, Dumbo and classic Mickey Mouse and Donald Duck cartoons. He then moved to Warners to animate Bugs Bunny, Daffy Duck, Porky Pig and others. He worked under the monikers C. Melendez or J.C. Melendez.

Bill Melendez Prods., its sister studio Melendez Films in London and Sopwith Prods. (Melendez's art distribution unit) will continue to animate, direct and produce features and commercials.

Melendez is survived by his wife of 68 years, Helen; two sons, Steven Melendez and (Ret.) Navy Rear Admiral Rodrigo Melendez; six grandchildren; and 11 great grandchildren. A memorial service will take place for family only.

Donations can be made in Melendez's name to Children's Hospital Los Angeles.

cinemanarchist

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Re: Who's Next To Croak?
« Reply #818 on: September 14, 2008, 07:51:12 PM »
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Source: Salon.com
 :yabbse-cry:In memory of David Foster Wallace, 1962-2008

A tribute to the great American novelist who left us all a little less alone.
By Laura Miller

Sep. 14, 2008 | He talked about how difficult it was to be a novelist in a world seething with advertisements and entertainment and knee-jerk knowingness and facile irony. He wrote about the maddening impossibility of scrutinizing yourself without also scrutinizing yourself scrutinizing yourself and so on, ad infinitum, a vertiginous spiral of narcissism -- because not even the most merciless self- examination can ignore the probability that you are simultaneously congratulating yourself for your soul-searching, that you are posing. He tried so hard to be sincere and to attend to the world around him because he was excruciatingly aware of how often we are merely "sincere" and "attentive" and all too willing to leave it at that. He spoke of the discipline and of the abrading, daily labor such efforts require because the one imperative that runs throughout all of his work is the intimate connection between humility and wisdom.

Perhaps someday we'll be offered an explanation for why David Foster Wallace took his life on Sept. 12, but any reader can see how his fiction had, in recent years, moved into greater darkness. "Infinite Jest," though "sad" in accordance with its author's stated intentions, bubbled with humor and the sort of creative energy that is a kind of hope, the belief that, in the telling, the tale might redeem what is told. The story collection "Oblivion," the last book of fiction Wallace published before his death, shows character after character flailing away at the impossible task of making life endurable. While Don Gately and Hal Incandenza, the heroes (more or less) of the novel "Infinite Jest," fight to stay on the road through the desert, the men and women of "Oblivion" mostly can't manage to convince themselves that such a road exists.

None of them more so than Neal, the suicidal narrator of "Good ol' Neon," a man who, we learn at the end, is based on a former classmate of Wallace's. The story's final paragraph sums up the preceding 40 pages as the thoughts flickering through Wallace's mind as he glimpses the dead man's photo while flipping through his high school yearbook. It's impossible to resist the idea that the fictional Neal's motivations in ending his life -- he regards himself as utterly "calculating" and "fraudulent" -- were Wallace's own, but such conclusions would only have multiplied the author's despair.

Wallace believed, I think, that one way out of Neal's labyrinthine artificiality, out of his preoccupation with selling "a certain image" of himself to every person he met, was to practice a rigorous, imaginative compassion. If Wallace could persuade himself that he was able to conjure even an inkling of Neal's inner life, then he, at least, might feel a little less alone. By getting it down on paper, he could further subdue that loneliness in other people, as other writers had subdued it in him. This was, in part, literature's purpose, a task to which it was uniquely suited. Perhaps, at times, it also became Wallace's purpose, and kept him alive a little longer as a result. So if we decide that "Good ol' Neon" is primarily about Wallace's own suffering, we betray him. That would amount to insisting that no matter how hard he tried to escape, he remained trapped in himself, concerned only with himself.

Perhaps in the end, that's what he thought, but he was wrong. He was my favorite living writer, and I know I have plenty of company in that. His detractors accused him of being show-offy, of calling attention to his own cleverness, but they, too, were wrong. He meant, with his footnotes and his digressions, to acknowledge the agonies of self-consciousness and the "difference between the size and speed of everything that flashes through you and the tiny inadequate bit of it all you can ever let anyone know." Point taken. Still, I read about his characters, each tennis prodigy and recovering addict and transvestite hooker and yuppie and ad exec and game show contestant and closeted political aide, and thought: Hey, I know you. Maybe it was an illusion -- Wallace would have been the first to admit as much -- but it made me feel less alone, too.

I interviewed Wallace once, in 1996, and communicated with him occasionally over the intervening years. A reader once asked me to ask him to write a letter to a gravely ill friend, and he did. I don't doubt that those who knew him better, including his many students, can further testify to his kindness and generosity. Really, though, I knew him as a reader knows a writer. I thought I could see him, even if he couldn't see me, even if he couldn't (clearly) see himself. Again, less alone.

Every author wants to sell books, to please his or her publisher, to reap critical accolades and to bask in the admiration of colleagues, and Wallace did want those things, at the same time that he was more than a little embarrassed by such desires and acutely aware of the fact that none of it could make him happy. However, all great writers -- and I have no doubt that he was one -- have a preeminent purpose: to tell the truth. David Foster Wallace's particular vocation was to allow us to see just how fraught and complicated, how difficult yet how necessary, that telling had become -- not just for him, but for all of us. What will we do without him?
My assholeness knows no bounds.

New Feeling

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Re: Who's Next To Croak?
« Reply #819 on: September 14, 2008, 07:59:52 PM »
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what the fuck?   :(

cinemanarchist

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Re: Who's Next To Croak?
« Reply #820 on: September 14, 2008, 08:37:10 PM »
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My assholeness knows no bounds.

mogwai

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Re: Who's Next To Croak?
« Reply #821 on: September 15, 2008, 12:21:26 PM »
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FUCK  :(

Pink Floyd's keyboardist and occasional singer and songwriter Rick Wright has died aged 65.

The musician, who formed the influential band with Nick Mason, Roger Waters and Syd Barrett in 1965, passed away today (September 15) after battling with cancer.

A spokesman said: "The family of Richard Wright, founder member of Pink Floyd, announce with great sadness that Richard died today after a short struggle with cancer.

"The family have asked that their privacy is respected at this difficult time."

As well as playing keyboards, Wright contributed a number of songs to the band in their early years, including 'Paintbox', 'Remember A Day' and 'Summer '68', and also contributed prominent vocals to the band's 1971 23-minute classic 'Echoes'.

He will most likely be remembered primarily for 'The Great Gig In The Sky', his stately song on 1973's million-selling 'Dark Side Of The Moon'.

Although his influence in the band declined, and he was eventually forced to leave as a full-time member during sessions for 1979's 'The Wall', Wright returned as a session musician and rejoined the band when Roger Waters left, performing on hit albums including 1994's 'The Division Bell'.

After the '70s line-up reunited for a one-off gig at 2005's Live 8, Wright has recently been seen regularly performing with Pink Floyd singer and guitarist David Gilmour.

The keyboardist also released a handful of solo albums and worked on albums by founding member Syd Barrett, who died in 2006.

Stay tuned to NME.COM for a full obituary, plus see our sister site Uncut.co.uk for more.

Fernando

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Re: Who's Next To Croak?
« Reply #822 on: September 15, 2008, 12:24:25 PM »
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fuck indeed  :yabbse-sad:

New Feeling

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Re: Who's Next To Croak?
« Reply #823 on: September 15, 2008, 03:14:08 PM »
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I just want to take another moment to acknowledge the passing of David Foster Wallace, a true genius of our time.  Losing him seems equivalent to losing PTA or something to me.  It was actually through a PTA friend on a community much like this that I was first turned on to this man back in 2000, and I have forever been grateful.  I would really like to take this opportunity to strongly recommend everyone hunt down a copy of INFINITE JEST and commit to making your way through it.  It's the Magnolia of novels, in my opinion, only twice a dense.  You will not regret it.  Unless you suck.  It's a book that the film obsessed need to read.

Pozer

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Re: Who's Next To Croak?
« Reply #824 on: September 15, 2008, 03:42:14 PM »
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FUCK  :(

see, Coen bros. use of the word isn't always funny.

 

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