/ Stars that died in 2023

Thursday, February 24, 2011

Ruth Park, New Zealand-born Australian novelist died she was , 93

Ruth Park, AM [1][2][3][4] was a New Zealand-born author, who spent most of her life in Australia. Her best known works are the novels The Harp in the South (1948) and Playing Beatie Bow (1980), and the children's radio serial The Muddle-Headed Wombat (1951–1970), which also spawned a book series (1962–1982) died she was , 93.


(24 August 1917 – 14 December 2010)

Personal history

Park was born in Auckland on 24 August 1917 as Rosina Ruth Park, according to her obituary, which appeared in The Sydney Morning Herald of 17 December 2010. Her family later moved to the town of Te Kuiti further south in the North Island of New Zealand, living in isolated areas.[3]
During the Great Depression her working class father did various jobs. He laboured on bush roads and bridges, worked as a driver, did government relief work and found employment as a sawmill hand. Finally, he shifted back to Auckland where he joined the workforce of a municipal council. The family occupied public housing, known in New Zealand as a state house, and money remained a scarce commodity. After attending a Catholic primary school, Park won a partial scholarship to secondary school, but her high-school education was broken by periods of being unable to afford to attend.

Park's first break as a professional writer came when she was hired by the Auckland Star newspaper as a journalist but she found the assignments that she was given to be unchallenging. Wishing to expand her horizons, she accepted a job offer from the San Francisco Examiner but the United States' entry into the Second World War after the bombing of Pearl Harbour forced a change of plan. Instead, she moved to Sydney, Australia, in 1942, where she had lined up a job with another newspaper.
That same year she married the budding Australian author D'Arcy Niland (1917–1967), whom she had met on a previous visit to Sydney, and embarked on a career as a freelance writer. Park and Niland would have five children. The youngest of them, twin daughters Kilmeny and Deborah, went on to enjoy careers as book illustrators. (Park was devastated when Niland died in Sydney at the age of 49 from a heart ailment; Kilmeny also predeceased her—see Herald obituary.)

Writing career

When contracted in 1942 by Ida Elizabeth Osbourne to write a serial for the ABC Children's Session, she wrote the series The Wide-awake Bunyip. When the lead actor Albert Collins died suddenly in 1951, she changed its direction and The Muddle-Headed Wombat was born, with first Leonard Teale then John Ewart in the title role. The series ended when the radio program folded in 1970. Such was its popularity that between 1962 and 1982 she wrote a series of children's books around the character.[5]
Her first novel was The Harp in the South (1948) – a graphic story of Irish slum life in Sydney, which has been translated into 37 languages. Even though it was acclaimed by literary critics, the book proved controversial with sections of the public due to its candour, with some newspaper letter-writers calling it a cruel fantasy because as far as they were concerned, there were no slums in Sydney. However, the newly married Park and Niland did live for a time in a Sydney slum located in the rough inner-city suburb of Surry Hills and vouched for the novel's accuracy. It has never been out of print.
Park built on her initial success with the 1949 publication of a follow-up novel titled the Poor Man's Orange. During the 1950s, despite the demands of raising a family, she wrote tirelessly. According to a 2010 tribute article printed in The Sydney Morning Herald and written by her literary agent Tim Curnow, she produced more than 5000 radio scripts alone during this decade, as well as contributing numerous articles to newspapers and magazines and penning weightier works of fiction.
She subsequently wrote Missus (1985), among other novels, and created scripts for film and television. Her autobiographies, A Fence Around the Cuckoo (1992) and Fishing in the Styx (1993), deal with her life in New Zealand and Australia respectively. She also penned a novel set in New Zealand, One-a-pecker, Two-a-pecker (1957), about gold mining in Otago. (Later, it was renamed The Frost and The Fire.)
Park never remarried. Between 1946 and 2004, she received numerous awards for her contributions to literature in both Australia and internationally.[6] She was made a Member of the Order of Australia in 1987. (Her awards and honors are listed below.)
From 1974 to 1981 Park dwelt on Norfolk Island where she was the co-owner of a shop which sold books and gifts. Her later years, however, were spent living in the Sydney harbourside suburb of Mosman. She died in her sleep on 14 December 2010, at the age of 93.

Awards

Bibliography

Novels

Children's books

Non-fiction


To see more of who died in 2010 click here
at No comments:

Tuesday, February 22, 2011

Neva Patterson, American actress (An Affair to Remember, All the President's Men), died from complications from a broken hip he was , 90

 Neva Louise Patterson[1] was an American character actress died from complications from a broken hip he was , 90..

(10 February 1920 – 14 December 2010) 

Born on a farm near Nevada in Story County in central Iowa, she and her parents moved to New York City in 1938. She made her Broadway debut in 1947's The Druid Circle. In 1952, she played "Helen Sherman" in The Seven Year Itch. Her first feature movie was the 1953 film Taxi; other film credits include The Buddy Holly Story, All of Me, and as Cary Grant's fiancee in An Affair to Remember.
Her television credits included Nichols, starring with James Garner, The Governor & J.J., with Dan Dailey, and as Eleanor Dupres in V, which she reprised in V: The Final Battle. She made guest appearances on Appointment with Adventure, The Defenders, Ironside, Barnaby Jones, The Dukes of Hazzard, and St. Elsewhere.
Patterson died from complications from a broken hip at age 90.[2]

Select filmography


To see more of who died in 2010 click here
at No comments:

Dale Roberts, English footballer (Rushden & Diamonds), died from suicide by hanging he was , 24

 Dale Roberts  was an English footballer who played as a goalkeeper  died from suicide by hanging he was , 24.
Roberts started his career in his native North-East with the academy sides at Sunderland and Middlesbrough before he moved to Nottingham Forest. He failed to make Forest's first team and had loans spells with Eastwood Town and Alfreton Town. He had two more loan spells both with Rushden & Diamonds before joining the Conference National side on a permanent deal in 2009. He won the club's player of the season in 2008–09. He also won six caps for the England C side, as well as the England C side 2009-2010 player of the year, before his death by suicide at the age of 24.

(22 October 1986 – 14 December 2010)

 Club career

Roberts was born in Horden, County Durham.[1] He played for Cleveland Juniors Football Club and attended Easington Comprehensive School with fellow academy footballer Adam Johnson.[2] He was with the Sunderland and Middlesbrough football academies,[3] joining the latter in 2003 as a scholar and was part of Boro's FA Youth Cup wining squad in 2004 as back-up to David Knight.[1]
Roberts began his senior career with Nottingham Forest after signing as a professional in 2005.[1] He joined local Northern Premier League First Division side Eastwood Town on loan in March 2006,[4] where he made 10 appearances.[5] He joined Conference North club Alfreton Town on a season-long loan for the 2006–07 season in July,[6] which he finished with 42 appearances.[7]
He joined Conference National team Rushden & Diamonds on a one-month loan on 24 January 2008,[8] which was extended for a second month in February.[9] He made 19 first team appearances for the club, including the Conference League Cup Final.[4] Roberts rejoined Rushden for a second loan spell in October 2008 as cover for Alan Marriott who was out with a stomach injury that needed surgery.[4] The loan was extended until January 2009 and he finished the spell with 18 appearances, keeping five clean sheets, and subsequently signed permanently at Nene Park on 2 January 2009.[4][10] He was named Rushden's player of the season in 2008–09.

International career

Roberts' performances for Rushden & Diamonds during the 2008–09 season earned him international recognition. He made his debut for the England C against Malta.[4]
During the 2009–10 season, Roberts played in all four England C games, and was voted the England C player of the season. His last appearance for England C, and in fact in all senior football, came against Wales on 14 September 2010.[11]

Personal life

Roberts was engaged to Lindsey Cowan, but the pair split in May 2010 after revelations she had been having an affair with Roberts' teammate Paul Terry.[12] Later in the year, Roberts and Cowan got back together and were still engaged at the time of Roberts' death.[13]

Death

On 14 December 2010, just hours before he was due to play in an FA Trophy match against his former club Eastwood Town, it was announced that Roberts had died. Rushden & Diamonds chairman Gary Calder released the following statement: "It is with great sadness that this afternoon our England-C goalkeeper Dale Roberts passed away, our thoughts and prayers at this time go to his parents, family and friends."[14] The FA Trophy game was postponed.[15] Roberts was found by Northamptonshire Police at his home in Higham Ferrers, Northamptonshire,[16] further commenting that they are not treating the circumstances as suspicious.[17] The club's FA Youth Cup tie the following day was postponed as was the following first team game against Eastbourne Borough.[17] The cause of death was reported to be suicide by hanging as Roberts struggled to cope with the split from his fiancée after she had been having an affair with Paul Terry.[16] At an inquest opened at the end of the week, deputy coroner Rodney Haig gave cause of death as asphyxia.[18] Following Roberts' death, Rushden retired their number one shirt.[19]

Career statistics

Club Season League[A] FA Cup League Cup Other[B] Total
Apps Goals Apps Goals Apps Goals Apps Goals Apps Goals
Nottingham Forest 2005–06[20] 0 0 0 0 0 0 0 0 0 0
2006–07[21] 0 0 0 0 0 0 0 0 0 0
2007–08[22] 0 0 0 0 0 0 0 0 0 0
2008–09[23] 0 0 0 0 0 0 0 0 0 0
Total 0 0 0 0 0 0 0 0 0 0
Eastwood Town (loan) 2005–06[5] 10 0 0 0 0 0 0 0 10 0
Alfreton Town (loan) 2006–07[7] 42 0 0 0 0 0 0 0 42 0
Rushden & Diamonds (loan) 2007–08[24] 13 0 0 0 0 0 6 0 19 0
2008–09[25] 14 0 1 0 0 0 3 0 18 0
Rushden & Diamonds 20 0 0 0 0 0 1 0 21 0
2009–10[26] 33 0 0 0 0 0 4 0 37 0
2010–11[27] 8 0 0 0 0 0 0 0 8 0
Total 88 0 1 0 0 0 14 0 103 0
Career totals 140 0 1 0 0 0 14 0 155 0

To see more of who died in 2010 click here
at No comments:

Monday, February 21, 2011

James Dibble, Australian television news presenter, died from cancer he was , 87

James Edward Dibble AM MBE  was an Australian television presenter, best known as the presenter of the Australian Broadcasting Corporation's (ABC) Sydney news, reading the first news bulletin in 1956, and remaining with the ABC for 27 years up until his retirement in 1983 died from cancer he was , 87.

 

 

(4 February 1923[4] – 13 December 2010)

Career

Dibble joined the ABC after the end of World War II. He started as a clerk in the accounts department. His voice soon attracted attention, and in Canberra he gained his first ABC job in radio doing voice-overs.[3]

Dibble was best known as the senior newsreader for ABC-TV, beginning with the first televised news bulletin on ABN-2 Sydney on 5 November 1956. He reported the biggest news stories of the period, including the Soviet intervention in the Hungarian Revolution (in his very first bulletin; the events in Hungary caused the scheduled commencement of the ABC-TV news service to be brought forward), the assassination of John F. Kennedy (1963), the disappearance of Prime Minister Harold Holt (1967), the Apollo 11 Moon landing (1969), the destruction of Darwin by Cyclone Tracy (1974), and the dismissal of the Whitlam government (1975).[1]
He appeared as himself in episodes of the ABC-TV comedy series Our Man In Canberra and Our Man In The Company episodes, narrated segments of the radiophonic works 'What's Rangoon To You Is Grafton To Me'(1978) [5] and 'Hot Bananas', written by Russell Guy and originally broadcast on radio station 2JJ (Double Jay). Dibble also did voice-over work for many newsreels, documentaries[6] and educational films.[6]
Spanning almost 30 years, his career at the ABC ended with his retirement in 1983. His last broadcast was on 10 June of that year.[1]

Personal life

Dibble was the son of Roland and Vera Dibble.[1] He attended school in Marrickville at St Brigid's Primary School and then De La Salle College. He served in the Pacific with the Royal Australian Air Force during World War II as a wireless telegraphist.[1]
Dibble never married or had children, but was described as a family orientated man.[3]
He served as a director and chairman of the Peer Support Foundation, a president of the Rotary Club of Warringah, and a member of Rotary International District 9680 Public Relations Committee.[citation needed]

Awards

Dibble was appointed a Member of the Order of the British Empire (MBE) on 1 January 1972 for services to media,[7] and a Member of the Order of Australia on 26 January 1989 for community and media services.[8] He was also awarded a Centenary Medal in 2001.[9]
He was the first winner of the Better Hearing Australia Clear Speech Award in 1967, for his clear diction. He also received Clear Speech Awards in 1968 and 1981.[3][10]

Death

James Dibble died of cancer in Sydney on 13 December 2010, aged 87.[1][2]

To see more of who died in 2010 click here
at No comments:

Enrique Morente, Spanish flamenco singer did he was , 67

Enrique Morente Cotelo, known as Enrique Morente, was a flamenco singer and a controversial figure within the world of contemporary flamenco. After his orthodox beginnings, he plunged into experimentalism, writing new melodies for cante (flamenco singing) and jamming with musicians of all styles, without renouncing his roots in traditional flamenco singing, which he kept on cultivating  did he was , 67.[1][2] In spite of severe criticism from the most "purist" amongst the critics and public,[2][3] he was perhaps the most influential contemporary flamenco singer, who not only innovated, but it could also can be said that he create tradition: some of his cantes have been performed by other singers such as Camarón de la Isla, Mayte Martín, Carmen Linares, Miguel Poveda, Segundo Falcón and Arcángel.

(25 December 1942 – 13 December 2010)

 Biography

Beginnings

Enrique Morente, born in the traditional quarter of Albaicín in Granada, started to sing as a seise (a member of a group of children who sing, dance and play castanets on certain religious festivals)[3] He started to feel attracted to flamenco singing as a child, and had the opportunity to learn at family gatherings and to listen to established figures from Granada like Cobitos, the family of the "Habichuelas", or Aurelio Sellés (Aurelio de Cádiz):
"The cante begins inside you when you listen to the villager’s singing, to people in their birthplace. Groups of people that meet in a tavern and start singing, and then you listen to them and start singing as well: you learn that at family parties where everybody sings and everybody drinks, and everybody dances and... Apart from that, it turns out that, of course, you need a technique, you need a school, you need to learn. In order to achieve this, what you need... the main help you can get is to have a liking for it; and then the skill to know who to learn from, and from what sources, where to find the good. Then you are on."[4]
However, this appreciation for the popular side of flamenco does not mean that he considers flamenco as just "an art of the people". A flamenco artist, for him, needs technique and dedication:
"It is us, the professional artists of flamenco, who have to make cante flamenco, and nobody else, Flamenco, like any other art, is an art of professionals, although there are many people who peer at us, with a look as if to say: What interesting little creatures! or maybe: Oh! What music the people are playing! and so on. And people often think that maybe you have to have fingers swollen from picking potatoes to be able to play the guitar with feeling. Look, picking potatoes is every bit as worthy as playing a guitar. But I can tell you that a man -with fine, sensitive fingers is not going to be able to make a go of picking potatoes: and I can also tell you that a man with fingers swollen from picking potatoes is not going to be able to play a guitar because he hasn't got the manual dexterity and he hasn't got the dedication. This is a profession like any other which you have to dedicate yourself to completely. It is an art of professionals." [5]

Still in his teens, Morente went to live in Madrid to start a professional career as a singer. There he was able to meet some old masters like Pepe de la Matrona and Bernardo el de los Lobitos, and learned as much as he could from them. Pepe de la Matrona took special interest in teaching the young singer: "This interest was raised not so much by Enrique Morente’s intonation, by his registers or by his melismatic as by his attitude towards things, his respect and his learning capacity."[4] In Madrid, he started singing at peñas flamencas (clubs for flamenco fans). In 1964, he signed a contract with the Ballet de Marienma, with whom he then performed at the Spanish Pavilion at the New York Worlds Fair and at the Spanish Embassy in Washington DC. Later he took part in a flamenco festival at Teatro de los Alcázares de los Reyes Cristianos, sharing the bill with Juan Talega, Fernanda and Bernarda de Utrera, Gaspar de Utrera, Tomás Torre and Antonio Mairena. During that year and the following one, he also toured Europe and Japan with different flamenco dance companies, and was employed at several tablaos (flamenco venues) in Madrid, such as Las Cueva de Nemesio, Zambra and El Café de Chinitas.

First recordings

Morente made his first recording, Cante flamenco in 1967 with guitarist Félix de Utrera. The recording received a special mention award from the Cátedra de Flamencología, and was followed by Cantes antiguos del flamenco (1969), with guitarist Niño Ricardo. His first recordings were strictly orthodox and showed deep knowledge of traditional flamenco, a rare quality for singers of his generation.[3] During this period he also made his first contact with guitarist Manolo Sanlúcar, with whom he would cooperate on several occasions. Sanlúcar accompanied him in his concert in Ateneo de Madrid, the first occasion in which a flamenco singer performed in that prestigious cultural institution.
His next record, Homenaje flamenco a Miguel Hernández (Flamenco Homage to Miguel Hernández, 1971), initiated his frequent use of lyrics by outstanding poets. Later on, he would record flamenco songs with lyrics by Federico García Lorca, John of the Cross, Lope de Vega, Al-Mutamid, Antonio Machado and Manuel Machado, Jorge Guillén, and others. Soon later, an illegal live recording was published in Holland.
"The thing that most calls your attention in his first productions is how much care he devotes to the lyrics of his cantes. This is probably the first step in his future career as as an innovator in flamenco. The poems by Miguel Hernández, for example, became immortal in his impressive 'Nana de la Cebolla' or 'El Niño Yuntero'. With the attitude he showed, in these poems, against the francoist regime, he became the favourite flamenco singer for the left-wing opposition in the country, as well as one of the first innovators." [6]
In 1971 and 1972, he toured Mexico with guitarist Parrilla de Jerez and dancer Ana Parrilla, a tour which included his presentation at the Auditorium of the Universidad de las Américas, and performed at Lincoln Center (to which he would return to perform at again in 1973) and the Spanish Institute in New York. In 1972, he was also awarded the Premio Nacional del Cante (National Award for Flamenco Singing) by the Cátedra de Flamencología in Jerez.

Alternating tradition

Morente arrived back to orthodox flamenco singing with his recording Homenaje a Don Antonio Chacón (Homage to Antonio Chacón, 1977, which obtained the National Award for best folk music album, granted by the Ministry of Culture. In this recording, Morente vindicated the figure of singer Antonio Chacón the creator of the granaína and a fundamental figure of flamenco in the first decades of the 20th century, who had been, nevertheless, relegated by the views of the 1950s-1970s flamencology, as a representative of the non-Romani (Gypsy) flamenco which that generation considered impure. However, in an alternation between tradition and innovation typical of Morente, the recording was immediately followed, in 1978, by Despegando ("Taking off"), this time in an innovative mood: the title itself is, in fact, a declaration of intentions.
In 1981 he toured a new show, Andalucía hoy ("Andalusia Today"), which he would later performed at the Paris Olympia in Paris, France. In 1982, some of his recordings were chosen by flamencologist José Blas Vega to take part in the flamenco anthology Magna Antología del Cante (a complete collection of traditional styles of cante) to illustrate songs such as the tarantas from Almería, several types of cartageneras, the fandangos by Frasquito Yerbabuena, and all the malagueñas and granaínas created by Antonio Chacón.
In 1990 in another comeback to orthodoxy, he recorded Morente-Sabicas, with guitarist Sabicas, who was already in his eighties. In the following year, he created and recorded a flamenco mass, a type of creation that already had some precedents, like the one recorded by Antonio Mairena, Luis Caballero, and Naranjito de Triana in 1968. However Morente's mass is totally different from any previous examples. Whereas earlier flamenco masses basically tried to use traditional flamenco singing for the liturgy, Morente's does not even have a liturgic purpose, and mixes flamenco with other genres like Gregorian chant. About this mass, in one of his touches of humour, Morente said:
"At a given point, I thought I could dedicate it to Pope Clement, the one of El Palmar de Troya, but then I remembered that he had canonized Franco, Primo de Rivera, Carrero Blanco and all those guys and, while on the one hand I thought it was funnier, on the other hand I thought the joke could be interpreted in a strange way and I didn't do it, though I was about to do it. But the record was made with a sincerity and a true intention, no matter the results, and I thought it was like ruining it a bit because of the joke.. and that was too much!"[7]

Later works



In 1995 he appeared singing a siguiriya in Carlos Saura's film Flamenco and recorded his most controversial recording: Omega, together with the alternative rock group Lagartija Nick, with the participation of guitarists such as Tomatito, Vicente Amigo, Juan Manuel Cañizares or Miguel Ángel Cortés and percussionists like Tino di Geraldo. Flamenco and punk rock are mingled with recreations of songs by Leonard Cohen, and lyrics by Federico García Lorca's book Poeta en Nueva York ("A Poet in New York"), together with traditional flamenco lyrics. The work was performed at the 2008 Festival Internacional de Benicàssim, under the stage name Morente Omega con Lagartija Nick.[8]
The year 2001 saw the publishing of a very much sought for record by Morente, "Enrique Morente en la Casa Museo de García Lorca de Fuentevaqueros", a collection of songs based on the poetry of Federico García Lorca. The recording had been made in studio in Madrid, in 1990, and it had been commissioned by the Diputación de Granada (a government institution). Only a limited edition was made and the copies were sent as gift to particular persons. In the second hand marked, those copies reached 25,000 pesetas (150 euros).[9]
Another interesting release of Morente, El Pequeño Reloj, saw the light in 2003. Whereas the second half of the CD a more or less random collection of songs, the first half of the record comprises a surprising series of songs which are broken in two parts: in the first part of the song, Morente's voice is superimposed on top of old 78 r.p.m recordings of old masters of the flamenco guitar like Ramón Montoya, Sabicas or Manolo de Huelva, while the second part is a modern development of the same palo, with the side guitar of the young and innovative guitarist Niño Josele.
Although Morente could not read musical notation he composed music for theatre plays, films and television, such as the work Las Arrecogidas del Beaterio de Santa María Egipcíaca", the music for Oedipus the King with José Luis Gómez.
He has tried the mixture between flamenco and classical music in works like Fantasía de cante jondo para voz y orquesta (Cante jondo Fantasy (music) for voice and orchestra, together with pianist Antonio Robledo, guitarists Juan Habichuela and Gerardo Núñez and the Madrid Symphony Orchestra, conducted by Luis Izquierdo, 1986) or with Allegro Soleá, which he presented at Seville's Flamenco Biennal in 1990. Along the lines of the mixture of flamenco with other types of music, he collaborated in the show Macama Jonda by José Heredia Maya, together with the Tetuan Andalusian Orchestra and Abdessadeq Cheqara, or with the Bulgarian Voices choir Angelite. In Morente's aforementioned recording Omega, he mixed flamenco singing with punk rock, music by Leonard Cohen, and lyrics by Federico García Lorca. In the show África-Cuba-Cai he mixed flamenco with music from Senegal, and Cuba (Cai is the way Cádiz is pronounced in Andalusian Spanish). The show also underlinks the historic links between Cuban and flamenco music: "That's always been close to flamenco, since way back, because the ships in Cádiz went to Cuba, some came and others stayed over there, we've always had that.".[10] It is difficult to think of any kind of music which has not interested Morente. After one of his concerts with Cheqara Orkesta of Tetuan, he declared: "…if I had to put out a CD for every culture I mixed with I'd be putting out about 7 or 8 CDs a year. It wouldn't be bad - if I got paid for it by the record company then I could build myself a home."[11]
Owing to his innovative approach, Morente was widely criticized by the more extreme traditionalist sectors of flamenco's critical faculty and public, though it had been said that "Needless to say, all this cost Morente a real torment, since flamenco is still a very closed world, in which the slightest attempt for novelty is taken as a deadly sin of heresy.".[12] Although Morente's work is now widely recognized by most critics, and has inspired many singers of the young generation like Mayte Martín or Arcángel, there is still a section of traditionalist critics and public that still disparage his work:
"Aficionados were scratching their heads after the show, trying to figure out exactly, which forms--if any--Morente was working in much of the time. 'Remember the old days when you could actually recognize what flamenco forms were being performed?'"[13]
Ethnic bias is often not alien to these criticisms. A good number of flamenco critics and public were introduced into flamenco at the time of the "reappraisal period" led by singers like Antonio Mairena and critics like González Climent or Ricardo Molina, in whose views, pure flamenco singing would be a patrimony of Romanis, which non-Romanis could only try to imitate in vain without ever reaching its essence. In the same review quoted above we can read: "And once you have experienced truly great Romani singing of this sort, the erudition of an artist like Morente pales like a candle flame next to a blazing torch." [13] These views on Morente,though very common in the seventies and eighties, have almost died down. The controversy between tradition and innovation, Romani and non-Romani singing and other topics, so common twenty years ago, is now relatively confined to a limited section of the public, while most flamenco fans and critics acknowledge Morente's deep artistic intelligence and commitment:
"This comes from the man who never sings the same way twice, who tirelessly seeks that new inflection, that unheard-of scale, the change of tone that best matches the desired feeling and intentions at a given moment. The easy option would be the other one. To do what Enrique does you need extreme intellectual abilities and extreme emotional commitment. He takes the perfectly-laid, common foundations, defined by tradition, and on them builds with all the conceivable potential of flamenco."[14]
In December 2010 it was reported that Morente had fallen into a coma after an ulcer operation, and had been declared brain dead.[15] He died in Madrid on December 13, 2010.[16]

Awards

First prize at the contest Málaga Cantaora (1967)
Premio Nacional de Cante (Flamenco Singing National Award) granted by Cátedra de Flamencología y Estudios Folklóricos Andaluces de Jerez de la Frontera (1972)
National Award for best folk recording, awarded by the Ministry of Culture (1978)
En 1989 es nombrado Socio de Honor del Club de Música y Jazz San Juan Evangelista
Honorary Membership of the San Juan Evangelista Jazz and Music Club (1989)
Premio Nacional de Música (Music National Award), Ministry of Culture, awarded to a flamenco singer for the first time (1994)
Golden medal of the Cátedra de Flamencología de Jerez de la Frontera (1995) Compás del Cante (1995)
“Galardón de Honor de los Premios de la Música”, awarded by the Ministry of Culture (1998)
Pastora Pavón ("Niña de los Peines") Award, awarded by the autonomous government of Andalusia (2004)
Medal of Andalusia, awarded by the autonomous government of Andalusia (2005)
National Critics award for best DVD and best flamenco singing record for Morente sueña la Alhambra (2006)
National Award of Music for best flamenco recording for Morente sueña la Alhambra (2006)
Morato de Oro, awarded by Peña El Morato (2006)
Best flamenco recording, Deflamenco.com Awards (2006)

Filmography

  • Flamenco. Directed by Carlos Saura (1995)
  • Morente sueña La Alhambra. Directed by José Sánchez-Montes (2005)
  • Iberia. Directed by Carlos Saura (2005)



Discography

  • Cante flamenco (1967)
  • Cantes antiguos del flamenco (1969)
  • Homenaje flamenco a Miguel Hernández (1971)
  • Se hace camino al andar (1975)
  • Homenaje a Don Antonio Chacón (1977)
  • Despegando (1977)
  • Morente en vivo, Díscolo, (1981), illegal recording live
  • Sacromonte (1982)
  • Cruz y Luna (1983)
  • Esencias flamencas (1988)
  • Morente - Sabicas (1990)
  • Enrique Morente en la Casa Museo de Federico García Lorca de Fuentevaqueros (1990); Republished (2001)
  • Misa flamenca (1991)
  • Negra, si tú supieras (1992)
  • Alegro, Soleá y Fantasía del Cante Jondo (1995)
  • Omega (1996)
  • Morente – Lorca (1998)
  • El pequeño reloj (2003)
  • Morente sueña la Alhambra (2005), Mute Records
  • Pablo de Málaga (2008)

To see more of who died in 2010 click here
at No comments:

Woolly Wolstenholme British progressive rock musician (Barclay James Harvest), committed suicide.he was , 63,

Stuart John Wolstenholme, usually known as Woolly Wolstenholme  was vocalist and keyboard player with the British progressive rock band Barclay James Harvest.[1]

(15 April 1947 - 13 December 2010) 

 Biography

Wolstenholme was born in Chadderton, Lancashire on 15 April 1947, and went to school at North Chadderton Secondary Modern. His first instrument was a tenor banjo, which he took up at the age of twelve, and he also played tenor horn for the Delph band. He met John Lees at Oldham School of Art and Woolly played tambourine and sang with John in The Sorcerers, then The Keepers, where Woolly played whatever instrument was required, such as harmonica and twelve-string guitar.[2]
The pair then founded Barclay James Harvest, together with Les Holroyd and Mel Pritchard, in 1967. Woolly taught himself keyboards, first the Mellotron and then adapting to organ, piano and synthesisers. His musical influences range from Love and Vanilla Fudge through Mahler to UK and Radiohead. Woolly remained with Barclay James Harvest until 1979, when he became frustrated and unhappy at the direction their music was taking.[3]
He recorded a solo album, Mæstoso, in 1980, and toured as support to Judie Tzuke and Saga, as well as writing film and TV music. A projected second album, Black Box, was shelved and Woolly lost interest in the music business, preferring instead to farm, initially in Lancashire and later in west Wales. Tapes from the sessions for his second album were finally issued in 1994, along with the complete Mæstoso album, as Songs From The Black Box.
Woolly returned to the music business in 1998 after meeting John Lees again,[3] and this resulted in the Eagle Records album Nexus credited to Barclay James Harvest Through The Eyes Of John Lees. The album was followed by live shows in Germany, Switzerland, Austria, Greece and the UK, the first English concerts by any members of Barclay James Harvest for nine years, and Eagle released a live album called Revival. A studio follow-up with the working title North was planned and recording began at John's Friarmere Studios, but after only a few days the project was shelved because John felt that due to a number of factors, the timing was not right to do justice to a new album.
A new CD of the Black Box sessions with previously unreleased material (including a brand new demo) was released in February 2004 as Black Box Recovered, and a new studio set, One Drop In A Dry World, followed in May 2004. A short UK tour was planned to promote the CD, but in the event only one concert, at London's Mean Fiddler, went ahead, on 12 May. The live set, including rarely heard BJH classics as well as Mæstoso material, was captured for posterity and released on a limited, warts and all live CD, Fiddling Meanly, released in February 2005. On 27 November 2004 Mæstoso played again in London, this time as support to Caravan at the Bloomsbury Theatre. At this show John Lees also made a surprise guest appearance for two songs.
This proved to be one of Woolly's most creative periods, with another Mæstoso studio album, Grim, appearing in October 2005, and a brand new album, Caterwauling, released in November 2007. Most of the Maestoso band also found time between recording commitments to perform as part of John Lees' Barclay James Harvest, including a full-scale UK tour in October and November 2006.
Woolly committed suicide on 13 December 2010, after a battle with mental illness. From his website: "It is with profound sorrow that we have to announce the passing of Woolly Wolstenholme. In recent weeks Woolly's mental health had taken a turn for the worse and sadly he took his own life on Monday 13th December 2010. In this difficult time our thoughts are with Woolly's partner, Sue. We would ask all of Woolly's fans to remember his incredible contribution to popular music and his unique presence on stage."[4]



Discography

  • Maestoso Polydor 1980 (Released twice on CD (once in 2000) and Remastered and Re-released in 2006) Brimstone Records, Eclectic Discs
  • Songs From the Black box 1994 Voiceprint Records
  • One drop in a dry world 2004 Eclectic Discs
  • Fiddling meanly 2004 Eclectic Discs
  • Black Box Recovered 2004 Eclectic Discs
  • Grim 2005 Eclectic Discs
  • Caterwauling 2007 Esoteric Recordings (formerly Eclectic Discs)
  • Uneasy Listening 2009 Esoteric Recordings, Compilation

To see more of who died in 2010 click here
at No comments:

Helen Roberts British singer and actress.died she was , 98,

Helen Florence (Betty) Roberts , later known by her married name, Betty Walker, was an English singer and actress, best known for her performances in soprano roles of the Savoy Operas with the D'Oyly Carte Opera Company .died she was , 98,.

After beginning her career touring in Italy and then England in grand opera, Roberts joined the D'Oyly Carte Opera Company as a principal soprano in 1938. She remained with that company for ten years, marrying another company member, the baritone Richard Walker, in 1944.
After four more years of theatre in Britain, the couple moved to Australia in 1948, where they joined the J. C. Williamson Gilbert and Sullivan Opera Company. They toured with Williamson throughout the 1950s and early 1960s. They also appeared in musicals, including a four-year engagement in the original Australian production of My Fair Lady. They also presented Gilbert and Sullivan in two-person entertainments throughout North America. After her husband died in 1989, Roberts returned to England.

(15 July 1912 – 12 December 2010)

Early life and career

Roberts was born in Cleethorpes, Lincolnshire. She was educated at the Bruton School for Girls, then studied music first in London and later in Italy. She toured in Italy with the Milan Opera Company, singing the role of Norina in Don Pasquale by Donizetti. After returning to England, she toured in Offenbach's The Tales of Hoffman as the Doll and Antonia and also sang briefly with the Glyndebourne Festival Opera.[1]
In September 1938, Roberts was engaged by the D'Oyly Carte Opera Company as a principal soprano.[2] She began to perform there under the name Betty Roberts, but Rupert D'Oyly Carte soon asked her to change it to something more fitting to a leading lady, and she returned to her birth forename.[1] During her decade of performing with the D'Oyly Carte company, she appeared regularly as Josephine in H.M.S. Pinafore, Mabel in The Pirates of Penzance, the title character in Princess Ida, Elsie Maynard in The Yeomen of the Guard, and Gianetta in The Gondoliers. She soon added the role of Phyllis in Iolanthe to her repertoire. She sometimes also played as Yum-Yum in The Mikado and briefly played the title character in Patience.[3] This was the longest continuous D'Oyly Carte career of any of the company's principal sopranos.[4] The Times repeatedly praised her singing and appearance,[5] and The Manchester Guardian, reviewing the company's 1941 tour, wrote, "One of the chief pleasures of last night's performance was the lovely voice of Miss Helen Roberts."[6]
Roberts married fellow company member Richard Walker on 31 July 1944.[1] Earlier that month, the two found themselves very close to an exploding German rocket near Piccadilly Circus, as they approached a restaurant. They were not seriously hurt, but just before they went on stage that evening as Wilfred and Elsie in The Yeomen of the Guard, Walker proposed marriage.[7]

Later years

At the end of July 1948, Roberts and her husband, seeing some of their roles being given to new talent, left the D'Oyly Carte Opera Company. After a year playing in other theatre in Britain (he returned for part of that time to D'Oyly Carte), they joined J. C. Williamson Limited to tour Australia and New Zealand. They continued to appear with this company throughout the 1950s and early 1960s. The Williamson company played Gilbert and Sullivan for extended tours every few years, and Roberts reprised her D'Oyly Carte roles in these, adding the new roles of Plaintiff in Trial by Jury and Rose Maybud in Ruddigore.[1] Roberts and Walker also performed in musical comedies in Australia under other management, including touring for more than four years in the original Australian production of My Fair Lady, beginning in 1959, in which she played Mrs. Eynsford-Hill (the mother of Eliza's suitor Freddy), and he played Eliza's father, Alfred P. Doolittle. She would later return to the role.[8]
Roberts and Walker also gave two-person concert tours of Gilbert and Sullivan throughout North America beginning in the 1950s.[9] President Eisenhower asked them to give their concert programme at his pre-inauguration party at the White House following his re-election in 1956, but they were unable to travel from Australia to attend.[8]
After her husband's death in 1989, Roberts returned to England and lived first at Blandford Forum and, in her last years, at Gillingham, Dorset, in a retirement home where her two sisters also lived. She died at The Malthouse, Gillingham, in December 2010, aged 98.[10] Her remains were cremated at Salisbury Crematorium.[11]

To see more of who died in 2010 click here
at No comments:
Subscribe to: Posts (Atom)

Dickey Betts died he was 80

Early Career Forrest Richard Betts was also known as Dickey Betts Betts collaborated with  Duane Allman , introducing melodic twin guitar ha...