RIP

[Soft*Silver]

oh man...I verified it with two seperate articles before I posted this. Hahahah..they got me! But I am SO glad he is alive!!!

Originally Posted by Parker

The Adam Sandler snow boarding thing is actually a hoax. There are "reports" of it dating back into early 2012. It is unfounded and he is not dead.

Same goes for Mickey Roarke, George Clooney, and Jim Carey.

Please see:
Snopes.com: Snowboard Death Hoax

Adam Sandler is NOT Dead - 98FM Article

Adam Sandler Fake Snowboarding Death Story Returns, Actor Not Dead - LaLateNews Article

[Kobi]

LOS ANGELES (AP) — Eydie Gorme, a popular nightclub and television singer as a solo act and as a team with her husband, Steve Lawrence, has died. She was 84.

Gorme, who also had a huge solo hit in 1963 with "Blame it on the Bossa Nova," died Saturday. Gorme was a successful band singer and nightclub entertainer when she was invited to join the cast of Steve Allen's local New York television show in 1953.

She sang solos and also did duets and comedy skits with Lawrence, a rising young singer who had joined the show a year earlier. When the program became NBC's "Tonight Show" in 1954, the young couple went with it.

They married in Las Vegas in 1957 and later performed for audiences there.

"Eydie has been my partner on stage and in life for more than 55 years," Lawrence said in a statement. "I fell in love with her the moment I saw her and even more the first time I heard her sing. While my personal loss is unimaginable, the world has lost one of the greatest pop vocalists of all time."

Although usually recognized for her musical partnership with Lawrence, Gorme broke through on her own with the Grammy-nominated "Blame it on the Bossa Nova." The bouncy tune about a dance craze of the time was written by the Tin Pan Alley songwriting team of Barry Mann and Cynthia Weil. Her husband had had an equally huge solo hit in 1962 with "Go Away Little Girl," written by the songwriting team of Gerry Goffin and Carole King.

Gorme would score another solo hit in 1964, but this time for a Spanish-language recording. Gorme, who was born in New York City to Sephardic Jewish parents, grew up speaking both English and Spanish.

When she and her husband were at the height of their career as a team in 1964, Columbia Records President Goddard Lieberson suggested she put that Spanish to use in the recording studio. The result was "Amor," recorded with the Mexican combo Trio Los Panchos.

The song became a hit throughout Latin America, which resulted in more recordings for the Latino market, and Lawrence and Gorme performed as a duo throughout Latin America. "Our Spanish stuff outsells our English recordings," Lawrence said in 2004. "She's like a diva to the Spanish world."

Gorme and Lawrence, meanwhile, had an impressive, long-lasting career in English-language music as well, encompassing recordings and appearances on TV, in nightclubs and in concert halls.

Throughout it, they stuck for the most part with the music of classic composers like Berlin, Kern, Gershwin, Cole Porter, Rodgers and Hammerstein, and other giants of Broadway and Hollywood musicals. They eschewed rock 'n' roll and made no apologies for it.

Soon after their marriage, the pair had landed their own TV program, "The Steve Lawrence and Eydie Gorme Show," which was a summer replacement for Allen.

Not long after that, however, Lawrence entered the Army, and Gorme went on the nightclub circuit as a soloist until his return to civilian life two years later.

After his discharge, Lawrence and Gorme quickly reteamed, and their careers took off. They appeared at leading nightclubs in Los Angeles, Chicago, New York and Las Vegas, combining music with the comedy bits they had learned during their apprenticeship on Allen's show. With nightclubs dwindling in popularity in the 1980s, they moved their act to large theaters and auditoriums, drawing not only older audiences but also the Baby Boomers who had grown up on rock 'n' roll.

Gorme, who was born Aug. 16, 1928, began to seriously consider a music career while still a student at William Taft High School in New York City's borough of the Bronx, where she had been voted the "Prettiest, Peppiest Cheerleader."

After graduation, she worked as a Spanish interpreter for a time but also sang on weekends with the band of Ken Greenglass, who encouraged her and eventually became her manager.

Her first big break came when she landed a tour with the Tommy Tucker band, and she followed that up with gigs with Tex Beneke, Ray Eberle and on radio and television.

Among her radio appearances was one on a Spanish language show, "Cita Con Eydie ("A Date with Eydie"), which was beamed to Latin America by Voice of America. Early in her career, Gorme considered changing her name, but her mother protested. "It's bad enough that you're in show business. How will the neighbors know if you're ever a success?" she told her, so Gorme decided to keep the family name but changed her given name from Edith to Edie. Later, having grown tired of people mistaking it for Eddie, she changed the spelling to Eydie.

[Parker]

Lee Thompson Young, a former Disney Channel star who appeared on "Rizzoli & Isles," was found dead this morning at the age of 29.

Police confirmed that the versatile young actor died in an apparent suicide of a gunshot wound. TMZ reports that Young’s landlord found him when he did not report to the set of the TNT drama this morning.

When officers arrived to his apartment at the 5000 block of Tujunga Avenue, they pronounced him dead at the scene. There is no word on whether Young left a note, and the coroner is taking over the case.

"It is with great sadness that I announce that Lee Thompson Young tragically took his own life this morning," said Young's long-time manager Jonathan Baruch in a statement.

"Lee was more than just a brilliant young actor, he was a wonderful and gentle soul who will be truly missed. We ask that you please respect the privacy of his family and friends as this very difficult time."

[Martina]

OH no! That's heartbreaking. I loved his character on Rizzoli and Isles. He was a good actor. He did a lot with a small but regular part. So appealing as an actor. I just hate to hear that.

Originally Posted by Parker

Lee Thompson Young, a former Disney Channel star who appeared on "Rizzoli & Isles," was found dead this morning at the age of 29.

Police confirmed that the versatile young actor died in an apparent suicide of a gunshot wound. TMZ reports that Young’s landlord found him when he did not report to the set of the TNT drama this morning.

When officers arrived to his apartment at the 5000 block of Tujunga Avenue, they pronounced him dead at the scene. There is no word on whether Young left a note, and the coroner is taking over the case.

"It is with great sadness that I announce that Lee Thompson Young tragically took his own life this morning," said Young's long-time manager Jonathan Baruch in a statement.

"Lee was more than just a brilliant young actor, he was a wonderful and gentle soul who will be truly missed. We ask that you please respect the privacy of his family and friends as this very difficult time."

[Kelt]

Marian McPartland, Jazz Pianist and NPR Radio Staple, Dies at 95



By PETER KEEPNEWS
Published: August 21, 2013

Marian McPartland, the genteel Englishwoman who became a fixture of the American jazz scene as a pianist and, later in life, hosted the internationally syndicated and immensely popular public radio show “Marian McPartland’s Piano Jazz,” died on Tuesday at her home in Port Washington, N.Y. She was 95.

Ms. McPartland was a gifted musician but an unlikely candidate for jazz stardom. She recalled in a 1998 interview for National Public Radio that shortly after she arrived in the United States in 1946, the influential jazz critic Leonard Feather, who himself was born in England and who began his career as a pianist, said, “Oh, she’ll never make it: she’s English, white and a woman.”

Mr. Feather, she added, “always used to tell me it was a joke, but I don’t think he meant it as a joke.”

The odds against any woman finding success as a jazz musician in the late 1940s and early ’50s were formidable, but Ms. McPartland overcame them with grace. Listeners were charmed by her Old World stage presence and captivated by her elegant, harmonically lush improvisations, which reflected both her classical training and her fascination with modern jazz.



By 1958 she was well enough known to be included in Art Kane’s famous Esquire magazine group photograph of jazz musicians, the subject of Jean Bach’s 1994 documentary, “A Great Day in Harlem.” One of the few women in the picture, she stood next to her friend and fellow pianist Mary Lou Williams.

Ms. McPartland’s contributions to jazz were not limited to her piano playing. An enthusiastic and articulate spokeswoman for the music, she lectured at schools and colleges and wrote for Down Beat, Melody Maker and other publications. (A collection of her essays, “All in Good Time,” was published in 1987 and reissued in 2003.) Most notably, for more than 30 years her “Piano Jazz” was one of the most popular jazz shows ever on the radio.

The show, produced by South Carolina’s public radio network, made its debut on NPR in 1978. The format was simple: an informal interview interspersed with extemporaneous duets.

“I didn’t have any idea I’d be good at something like this,” Ms. McPartland told The Associated Press in 2000. “I certainly never thought people would know me because of my voice.” But she proved a natural.

As its title suggests, “Marian McPartland’s Piano Jazz” was originally a show about piano players. But the guest list came to include vocalists, among them Mel Tormé, Tony Bennett and even Willie Nelson and Elvis Costello, as well as trumpeters, saxophonists and other instrumentalists.

Jazz pianists remained the focus, however, and over the years Ms. McPartland played host to some of the most famous, from the ragtime pioneer Eubie Blake to the uncompromising avant-gardist Cecil Taylor. She gamely played duets with all of them, even Mr. Taylor, whose aggressively dissonant approach was far removed from Ms. McPartland’s refined melodicism.

“I just did the kind of thing he does,” she said. “Or else I went in the opposite direction, and that sounded fairly interesting too.”

“Piano Jazz” was heard on more than 200 radio stations all over the world. It received a Peabody Award in 1983.

Ms. McPartland recorded her last show in September 2010, although she did not officially step down as host until November 2011; “Piano Jazz” has continued with reruns and guest hosts.

Marian McPartland was born Margaret Marian Turner in Windsor, England, on March 20, 1918. She began picking out melodies on the family piano when she was 3, and at 17 she entered the Guildhall School of Music in London.

In 1938, over her parents’ strong objections, she left school to go on tour with a four-piano vaudeville act. “My mother said, ‘Oh, you’ll come to no good, you’ll marry a musician and live in an attic,’ ” she recalled in 1998. “Of course, that did happen.”

While on a U.S.O. tour in 1944 she met the American jazz cornetist Jimmy McPartland in Belgium; they married in early 1946, and she moved with him to Chicago later that year.

Ms. McPartland worked for a while in her husband’s group, but he was a tradition-loving Dixieland musician and she was more interested in the harmonically sophisticated new sounds coming from New York City, where the McPartlands moved in 1949.

Encouraged by her husband, she formed a trio and found work at the Embers, an East Side nightclub, in 1950. Two years later she began what was supposed to be a brief engagement at the Hickory House, one of the last surviving jazz rooms on the city’s once-thriving 52nd Street nightclub row. That booking turned into an eight-year residency.

The McPartlands’ marriage ended after two decades, but they remained close friends and continued to work together occasionally. The divorce, she was fond of saying, did not take. She helped care for him when he had lung cancer, and they remarried shortly before he died in 1991.

Her survivors include two grandchildren.

Ms. McPartland recorded for Savoy, Capitol and other labels in the 1950s and ’60s, but in 1969, disenchanted with the business, she formed her own record company, Halcyon. “It was quite a job,” she told one interviewer. “I used to actually go to a record store like Sam Goody and tell them, ‘I need that money you owe me.’ ”

Halcyon released 18 albums in 10 years and had a roster that included her fellow pianists Teddy Wilson and Earl Hines as well as Ms. McPartland herself, but her career as an executive ended when she signed with Concord Jazz in 1979. She remained a Concord artist until she stopped recording, just a few years before her death.

The bare-bones accompaniment of bass and drums was always Ms. McPartland’s preferred format, but she also appeared in concert with symphony orchestras, and in 1996 she recorded an album of her own compositions, “Silent Pool,” on which she was accompanied by a string orchestra.

That album provided a rare showcase for an underappreciated aspect of her talent: although she told The New York Times in 1998 that she “never had all that much faith in myself as a composer,” she was a prolific songwriter whose work was recorded by Peggy Lee, Mr. Bennett, Sarah Vaughan and others. She performed her symphonic work “A Portrait of Rachel Carson” with the University of South Carolina Symphony Orchestra in 2007.

In her last years Ms. McPartland received numerous honors. She was named a National Endowment for the Arts Jazz Master in 2000, given a lifetime achievement Grammy Award in 2004, inducted into the National Radio Hall of Fame in 2007 and named a member of the Order of the British Empire in 2010.

And she continued playing almost to the end. Reviewing her appearance at Dizzy’s Club Coca-Cola in Manhattan the night before her 90th birthday in 2008, Nate Chinen wrote in The Times, “Ms. McPartland still has her pellucid touch and her careful yet comfortable style.”

Unlike some jazz musicians of her generation, Ms. McPartland never became set in her ways; her playing grew denser and more complex with time, and even late in life she was experimenting with new harmonic ideas. “I’ve become a bit more — reckless, maybe,” she said in 1998. “I’m getting to the point where I can smash down a chord and not know what it’s going to be, and make it work.”

[Kobi]

Julie Harris, 87, one of the great stage actresses of the last half-century who amassed five Tony awards and was also renowned for her film work, died Aug. 24 at her home in West Chatham, Mass.

In a career of durability, longevity and versatility, time and her own gifts transmuted her roles from troubled tomboy to appealing ingénue to scheming older woman. Presidential wife Mary Todd Lincoln, poet Emily Dickinson and Shakespeare’s Ophelia were all portrayed with panache and verve by Julie Harris.

She was the wistful, lonesome pre-adolescent Frankie in Carson McCullers’s “The Member of the Wedding” on Broadway and in Hollywood. The film performance more than 60 years ago earned her an Academy Award nomination.

The year the movie came out, 1952, she created the devil-may-care Sally Bowles on Broadway in “I Am a Camera,” winning the first of her Tony awards.

Broadway appearances also included “The Lark” in 1955, in which she played Joan of Arc and appeared as Joan on the cover of Time magazine. She was in “Forty Carats” in 1968 and “The Last of Mrs. Lincoln” in 1972. She played Mrs. Lincoln in the stage and film versions.

In the movies, her work on “East of Eden” with James Dean was credited by director Elia Kazan with bringing out the best in her often difficult co-star. She was in “Requiem for a Heavyweight,” and she and Paul Newman acted in “Harper,” a private-eye drama. She was also known for “Reflections in a Golden Eye.”

A Tony recognized her portrayal of the reclusive New England poet Emily Dickinson in “The Belle of Amherst.” An audio recording of that role won her a Grammy Award for best spoken-word recording.

She was a recipient of the Kennedy Center Honors in 2005.

At a ceremony in the White House, President George W. Bush said: “It’s hard to imagine the American stage without the face, the voice and the limitless talent of Julie Harris. She has found happiness in her life’s work, and we thank her for sharing that happiness with the whole world.”

That work also included many television appearances, most notably in “Knots Landing,” in which she was a scheming Southern belle.

Known for her sensitivity, she was quoted as saying that “God comes to us in theater in the way we communicate with each other. . . . It’s a way of expressing our humanity.” She was also a gritty survivor of surgery after a backstage fall, of at least one stroke, and of breast cancer. Chemotherapy continued while she played in the long-running “Knots Landing.”

In the Ken Burns series “The Civil War,” she gave voice to diarist Mary Boykin Chesnut.

Julia Ann Harris was born in the prosperous Detroit suburb of Grosse Pointe, Mich., on Dec. 2, 1925. Her father, William Pickett Harris, was an investment banker. Her mother, Elsie, was a nurse. She was impressed by plays they saw in Detroit, and in her teens , unwilling to remain at home and do what was expected of a young woman of her background, she enrolled in the Yale School of Drama. In 1945 she left in mid-semester for a role in a Broadway show, which flopped, sending her back to New Haven.

She made her home on Cape Cod. Reference works indicated that three marriages ended in divorce. She had one son.

[Kobi]

Muriel Siebert, who became a legend on Wall Street as the first woman to buy a seat on the New York Stock Exchange and the first woman to head one of the exchange’s member firms, died on Saturday in Manhattan. She was 80.

Ms. Siebert, known to all as Mickie, cultivated the same brash attitude that characterized Wall Street’s most successful men. She bought her seat on the exchange in 1967, but to her immense anger, she remained the only woman admitted to membership for almost a decade.

She was one of the pioneers in the discount brokerage field, as she transformed Muriel Siebert & Company (now a subsidiary of Siebert Financial) into a discount brokerage in 1975, on the first day that Big Board members were allowed to negotiate commissions.

She also was the first woman to be superintendent of banking for New York State, appointed by Gov. Hugh Carey in 1977. She served five years during a rocky time when banks were tottering and interest rates were skyrocketing.

Ms. Siebert was known, to her delight, as a scrapper who refused to acknowledge defeat. She donated millions of dollars from her brokerage and securities underwriting business to help other women get their start in business and finance.

When she was honored for her efforts in 1992, Ms. Siebert used the luncheon celebration to warn that it was still too soon for women to declare victory in the battle for equality on Wall Street.

“Firms are doing what they have to do, legally,” she said. “But women are coming into Wall Street in large numbers — and they still are not making partner and are not getting into the positions that lead to the executive suites. There’s still an old-boy network. You just have to keep fighting.”

She continued fighting the old-boy network all her life. She was one of the first women, in the early 1970s, to fight to end the sexist practices then prevalent in Manhattan social clubs, spurred by an experience she had at the Union League Club. She had arrived there for a board luncheon meeting of the Sales Executive Club and was not allowed in the elevator.

“I had to go through the kitchen and walk up the back stairs,” she recalled. She was so angry during the meeting that her male colleagues asked what was wrong. When the lunch was finished, they tried to take her down in the elevator with them. When she was again rebuffed, they joined her in walking down the stairs and through the kitchen.

That experience, and other similar episodes, led her to testify before government bodies about the discriminatory policies of many New York clubs. In time, women were permitted to become members. This was particularly important because of the deal-making and networking done at these clubs.

Ms. Siebert also successfully lobbied in 1987 to get a ladies’ room on the seventh floor of the New York Stock Exchange, near the entrance to the luncheon club she frequented. She accomplished this in her typical fashion. She warned the exchange’s chairman that if a ladies’ room was not on the floor by the end of the year, she would arrange for a portable toilet to be delivered. The room was installed, and women no longer had to trek down a flight of stairs.

She once explained her strategy for dealing with obstacles: “I put my head down and charge.”

Muriel Faye Siebert was born in Cleveland on Sept. 12, 1932, the second of two daughters of Irwin Siebert, a dentist, and his wife, Margaret. She attended Western Reserve University for two years but left in 1952 before graduating because her father became ill.

She came to New York in 1954, she once said, “with $500, a Studebaker and a dream.” She was hired as a $65-a-week trainee in the research department at Bache & Company.

“The way it worked, everybody who was already there got to give the new kid one of their junk industries,” she told The New York Times in 1992. “I got airlines, I got motion pictures — things nobody wanted in those days.”

She changed jobs three times because she said men doing the same work were being paid more than she was. She also discovered when job hunting that when the New York Society of Security Analysts sent out her résumé under the name Muriel Siebert, she received no inquiries, but when the society later distributed it under the name M.F. Siebert, the results were quite different.

She eventually decided to strike out on her own and become the first woman to purchase a seat on the New York Stock Exchange. She was turned down by the first nine men she asked to sponsor her application before a 10th agreed.

The exchange told her that if she was admitted, her seat would cost $445,000, and in an unprecedented move, the exchange insisted that she get a bank to lend her $300,000 of the total price. The banks, in turn, refused to lend her the money unless the exchange admitted her. “There would be no loan until I was accepted, and I couldn’t be accepted without the loan,” she said.

After nearly two years she got the loan, from Chase Manhattan, and she was elected to the New York Stock Exchange on Dec. 28, 1967. It proved to be a historic day but one that was not soon repeated. “For 10 years,” Ms. Siebert said, “it was 1,365 men and me.”

She continued to encounter resistance, and not only because she was a woman. Ms. Siebert also encountered anti-Semitism, which at the time, she said, was not uncommon in the trust departments she dealt with.

In 1969, she founded Muriel Siebert & Company, becoming the first woman to own and operate a brokerage firm that was a member of the New York Stock Exchange. On May 1, 1975, after the federal government did away with fixed commissions for brokers, Ms. Siebert declared her company a discount brokerage firm.

Two years later she put her company in a blind trust and accepted Governor Carey’s appointment as state superintendent of banking. Her five-year term was controversial, as she took the lead in engineering mergers and acquisitions. But in the end she liked to say that no New York bank failed during her tenure.

In addition to the Albany post, she directed New York City’s Municipal Credit Union, its Urban Development Corporation and its Job Development Authority.

In 1983, Ms. Siebert returned to Muriel Siebert & Company after losing a bid for the Republican nomination for the United States Senate; she was beaten by Assemblywoman Florence M. Sullivan, who was then defeated by Daniel Patrick Moynihan, the Democratic candidate.

In 1996, she took her firm public through an unorthodox merger with J. Michaels, a Brooklyn chain of furniture stores. As part of the arrangement, she liquidated the assets of J. Michaels and named the holding company the Siebert Financial Corporation, of which she owned a 97.5 percent share; the remaining 2.5 percent was former J. Michaels stock and was publicly held.

Ms. Siebert, who never married or had children, is survived by a sister, Elaine Siebert.

Ms. Siebert, who was often sought out for pungent quotes as a market pundit and occasional critic of Wall Street practices, produced an autobiography in 2002, “Changing the Rules: Adventures of a Wall Street Maverick.”

In 2007, she celebrated the 40th anniversary of buying a seat on the New York Stock Exchange by ringing the closing bell.

http://www.nytimes.com/2013/08/26/bu...ewanted=2&_r=0