RIP

[starryeyes]

Originally Posted by DapperButch

I can't help but wonder if his suicide was a function of losing too much of his identity when he retired in 2009. It can be intolerable for athletes who are used to the limelight and being revered. For that matter, it can be hard for anybody who identifies greatly with their career.

He had some weird stuff going on lately. He drove his car off a cliff in Carlsbad last year, and was accused of abusing his girlfriend. I think some of this restaurants closed too. Who knows. Sad tho.

[Novelafemme]

RIP Adam Yauch. My music world will never be the same.

Oh ya, and FUCK CANCER!

[DapperButch]

Originally Posted by Novelafemme

RIP Adam Yauch. My music world will never be the same.

Oh ya, and FUCK CANCER!

http://www.theboombox.com/2012/05/04...6pLid%3D158138

[Kobi]

NASHVILLE, Tenn. (AP) — George Lindsey, who made a TV career as a grinning service station attendant named Goober on "The Andy Griffith Show" and "Hee Haw," has died. He was 83.

Lindsey was the beanie-wearing Goober on "The Andy Griffith Show" from 1964 to 1968 and its successor, "Mayberry RFD," from 1968 to 1971. He played the same jovial character on "Hee Haw" from 1971 until it went out of production in 1993.


Really bumming me out to see the folks from my childhood dying off.

[Miss Scarlett]

"Where the Wild Things Are" author Maurice Sendak died this morning at age 83.

My favorite author/illustrator...

[Kobi]

Originally Posted by Miss Scarlett

"Where the Wild Things Are" author Maurice Sendak died this morning at age 83.

My favorite author/illustrator...

Fascinating man. So much more than just an author. And, funny, they dont mention he was queer.


Sendak didn't limit his career to a safe and successful formula of conventional children's books, though it was the pictures he did for wholesome works such as Ruth Krauss' "A Hole Is To Dig" and Else Holmelund Minarik's "Little Bear" that launched his career.

"Where the Wild Things Are," about a boy named Max who goes on a journey — sometimes a rampage — through his own imagination after he is sent to bed without supper, was quite controversial when it was published, and his quirky and borderline scary illustrations for E.T.A. Hoffmann's "Nutcracker" did not have the sugar coating featured in other versions.

Sendak also created costumes for ballets and staged operas, including the Czech opera "Brundibar," which he also put on paper with collaborator Pulitzer-winning playwright Tony Kushner in 2003.

He designed the Pacific Northwest Ballet's "Nutcracker" production that later became a movie shown on television, and he served as producer of various animated TV series based on his illustrations, including "Seven Little Monsters," ''George and Martha" and "Little Bear."

But despite his varied resume, Sendak accepted — and embraced — the label "kiddie-book author."

When director Spike Jonez made the movie version of "Where the Wild Things Are," Sendak said he urged the director to remember his view that childhood isn't all sweetness and light. And he was happy with the result.

"In plain terms, a child is a complicated creature who can drive you crazy" Sendak told the AP in 2009. "There's a cruelty to childhood, there's an anger. And I did not want to reduce Max to the trite image of the good little boy that you find in too many books."

Sendak's own life was clouded by the shadow of the Holocaust. He had said that the events of World War II were the root of his raw and honest artistic style.

Born in 1928 and raised in Brooklyn, Sendak said he remembered the tears shed by his Jewish-Polish immigrant parents as they'd get news of atrocities and the deaths of relatives and friends. "My childhood was about thinking about the kids over there (in Europe). My burden is living for those who didn't," he told the AP.

"Kids don't know about best sellers," he said. "They go for what they enjoy. They aren't star chasers and they don't suck up. It's why I like them."

------------------

Sendak mentioned in a September 2008 article in The New York Times that he was gay and had lived with his partner, psychoanalyst Eugene Glynn, for 50 years before Dr. Glynn’s death in May 2007. Revealing that he never told his parents, he said, "all I wanted was to be straight so my parents could be happy. They never, never, never knew." Sendak's relationship with Glynn had been mentioned by other writers before (e.g., Tony Kushner in 2003). In Glynn's 2007 New York Times obituary, Sendak was listed as Dr. Glynn's "partner of fifty years".

Sendak donated $1 million to the Jewish Board of Family and Children's Services to memorialize Glynn, who had treated young people there.

[Kobi]

LOS ANGELES (AP) — Vidal Sassoon used his hairstyling shears to free women from beehives and hot rollers and give them wash-and-wear cuts that made him an international name in hair care.

When he came on the scene in the 1950s, hair was high and heavy — typically curled, teased, piled and shellacked into place. Then came the 1960s, and Sassoon's creative cuts, which required little styling and fell into place perfectly every time, fit right in with the fledgling women's liberation movement.

My idea was to cut shape into the hair, to use it like fabric and take away everything that was superfluous," Sassoon said in 1993 in the Los Angeles Times, which first reported his death Wednesday. "Women were going back to work, they were assuming their own power. They didn't have time to sit under the dryer anymore."

His wash-and-wear styles included the bob, the Five-Point cut and the "Greek Goddess," a short, tousled perm — inspired by the "Afro-marvelous-looking women" he said he saw in New York's Harlem.

Sassoon opened his first salon in his native London in 1954 but said he didn't perfect his cut-is-everything approach until the mid-'60s. Once the wash-and-wear concept hit, though, it hit big and many women retired their curlers for good.

His shaped cuts were an integral part of the "look" of Mary Quant, the superstar British fashion designer who popularized the miniskirt.

He also often worked in the 1960s with American designer Rudi Gernreich, who became a household name in 1964 with his much-publicized (but seldom-worn) topless bathing suit.

"While Mr. Gernreich has dressed his mannequins to look like little girls," The New York Times wrote after viewing Gernreich's collection for fall 1965, "Vidal Sassoon has cut their hair to look like little boys with eye-level bangs in front, short crop in back. For really big evenings, a pin-on curl is added at the cheek."

In 1966, he did a curly look inspired by 1920s film star Clara Bow for the designer Ungaro. He got more headlines when he was flown to Hollywood from London, at a reputed cost of $5,000, to create Mia Farrow's pixie cut for the 1968 film "Rosemary's Baby."

Sassoon opened more salons in England and expanded to the United States before also developing a line of shampoos and styling products bearing his name. His advertising slogan was "If you don't look good, we don't look good."

The hairdresser also established Vidal Sassoon Academies to teach aspiring stylists how to envision haircuts based on a client's bone structure. In 2006 there were academies in England, the United States and Canada, with additional locations planned in Germany and China.

"Whether long or short, hair should be carved to a woman's bone structure," he told the Los Angeles Times in 1967. "Actually short hair is a state of mind ... not a state of age."

Sassoon's hair-care mantra: "To sculpt a head of hair with scissors is an art form. It's in pursuit of art."

He wrote three books. The first was an autobiography, "Sorry I Kept You Waiting, Madam," published in 1968. "A Year of Beauty and Health," which he wrote with his second wife, Beverly, was published in 1979. In 1984 he released "Cutting Hair the Vidal Sassoon Way."

He sold his business interests in the early 1980s to devote himself to philanthropy. The Boys Clubs of America and the Performing Arts Council of the Music Center of Los Angeles were among the causes he supported through his Vidal Sassoon Foundation. He later became active in post-Hurricane Katrina charities in New Orleans.

He had moved to Los Angeles in the early 1970s in search of a chemist to formulate his hair-care products and had decided to make the city his home.

A veteran of Israel's 1948 War of Independence, Sassoon also had a lifelong commitment to eradicating anti-Semitism. In 1982, he established the Vidal Sassoon International Center for the Study of Antisemitism at the Hebrew University of Jerusalem.

Growing up very poor in London, Sassoon said that when he was 14, his mother declared he was to become a hairdresser. After traveling to Palestine and serving in the Israeli war, he returned home to fulfill her dream.

"I thought I'd be a soccer player but my mother said I should be a hairdresser, and, as often happens, the mother got her way," he told the AP in 2007.

He told the Chicago Tribune in 2004 that he was proud to have entered the field.

"Hairdressers are a wonderful breed," he said. "You work one-on-one with another human being and the object is to make them feel so much better and to look at themselves with a twinkle in their eye. Work on their bone structure, the color, the cut, whatever, but when you've finished, you have an enormous sense of satisfaction."

http://news.yahoo.com/hairstyling-pi...--finance.html