The New York Times – Film:
He exposed abuses in films like “Titicut Follies,” a once-banned portrait of a mental hospital, but ranged widely in subject matter, from a Queens neighborhood to a French restaurant.
Category: Deaths (Obituaries)
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Robert Duvall, ‘Godfather’ and ‘Apocalypse Now’ Actor, Dies at 95
The New York Times – Film:
The Oscar winner was known for his ability to disappear into roles, playing a wide range of characters in films such as “Apocalypse Now” and “The Godfather,” and in the television series “Lonesome Dove.”
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Jerry Kennedy, Who Helped Define Music in Nashville, Dies at 85
The New York Times – Music:
A guitarist and record producer, he played a role in creating hits by popular singers like Roger Miller, Roy Orbison, Tom T. Hall and Tammy Wynette.
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Ebo Taylor, Musical Innovator of Highlife and Afrobeat, Dies at 90
The New York Times – Music:
Borrowing from jazz and African rhythms, he forged a singular style that helped define music in his native Ghana — and West Africa — for a generation.
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Greg Brown, Guitarist Who Wrote Cake’s Biggest Hit, Dies at 56
The New York Times – Music:
His song “The Distance,” released in 1996, became an anthem for the disaffected members of Generation X.
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Helmuth Rilling, Who Recorded Huge Swaths of Bach, Dies at 92
The New York Times – Music:
He was the first to record all of J.S. Bach’s nearly 200 sacred cantatas, a project that stood out not only for its range but also for its steadfast style.
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Bud Cort, Who Starred in 1971’s ‘Harold and Maude,’ Dies at 77
The New York Times – Film:
The role, one of his first, made him a household name and a film idol of the anti-establishment 1970s. But it also limited his growth as an actor.
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Tamas Vasary, Pianist of Power and Sensitivity, Dies at 92
The New York Times – Music:
He bought technical brilliance and stylistic authority to Romantic-era music, particularly the works of Chopin and Liszt.
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Ken Peplowski, Who Helped Revive the Jazz Clarinet, Dies at 66
The New York Times – Music:
Also a saxophone standout, he served as stylistic bridge between the Benny Goodman swing era and the genre-blurring present.