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Old 11-07-2024, 12:30 PM
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Quincy Jones, legendary composer who shaped Michael Jackson’s solo career, has died
By Steve Marble Nov. 4, 2024 Updated 8:45 AM PT


Ricardo DeAratanha / Los Angeles Times

Quincy Jones, who expanded the American songbook as a musician, composer and producer and shaped some of the biggest stars and most memorable songs in the second half of the 20th century, has died. He was 91.

Widely considered one of the most influential forces in modern American music, Jones died Sunday at his Bel-Air home surrounded by his children, siblings and close family, according to his publicist, Arnold Robinson. No cause of death was disclosed.

“[A]lthough this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him,” Jones’ family said in a statement to The Times. “He is truly one of a kind and we will miss him dearly; we take comfort and immense pride in knowing that the love and joy, that were the essence of his being, was shared with the world through all that he created. Through his music and his boundless love, Quincy Jones’ heart will beat for eternity.”

The arc of Jones’ long career stretched from smoky jazz clubs, where he collaborated with innovators such as Miles Davis, Charlie Parker and Dizzy Gillespie, to his Los Angeles power base, where, like a titan, he watched over his musical empire from a mansion atop Bel-Air.



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During his career, Jones helped mold Michael Jackson into a mega-star by producing a trilogy of albums that made the pop singer arguably the best-known musician in the world, raised tens of millions of dollars for Ethiopian famine victims by producing the bestselling song “We Are the World,” and won 28 Grammy Awards, more than any artist besides Beyoncé and George Solti.

If some stars reached a career cruising altitude where they were identified by just one name — Prince, Madonna, Sting — Jones boiled it down to a single letter: Q.

Harvard historian and literary critic Henry Louis Gates Jr. said he viewed Jones’ influence and career milestones as being on par with American innovators and big thinkers such as Henry Ford, Thomas Edison and Bill Gates.

“We’re talking about the people who define an era in the broadest possible way,” Gates told Smithsonian magazine in 2008. “Quincy has a lifeline into the collective consciousness of the American public.”

Oprah Winfrey, who worked with Jones when he helped produce and score the music for the 1985 movie “The Color Purple,” described him as a force of nature, unlike anything she’d encountered.

“Quincy Jones on a bad day does more than most people do in a lifetime,” she said in “The Complete Quincy Jones: My Journey and Passions.”

The late Davis put it another way: “Certain paperboys can go in any yard with any dog and they won’t get bit. He just has it.”

Director Steven Spielberg, in a statement to The Times on Monday, said that to those who value Jones’ contributions to art, society and the human race, “he was the world ... we are his children.”

When he was young and amid the legends of the day, Jones said he would “sit down, shut up and listen,” silently absorbing lessons he realized he couldn’t possibly get anywhere else. But fame and success ultimately released any reluctance to speak out, and seemed to loosen his ego as well.

Asked by The Times in 2011 to compare himself to Kanye West (now known as Ye), Jones seemed indignant.

“Did [West] write for a symphony orchestra? Does he write for a jazz orchestra? Come on, man ... I’m not putting him down or making a judgment or anything, but we come from two different sides of the planet.”

In testament to the respect Jones commanded, when Barack Obama was exploring a presidential bid, one of his first stops in Southern California was the producer’s Bel-Air estate.

Taking in the home’s king-of-the-universe views, Obama listened while Jones told stories of jamming with legends such as Gillespie or the surge of power he felt working the soundboard as one mega-star after another stepped forward to sing a verse for “We Are the World.”

“All of us who were lucky enough to be in his circle were given nicknames by Q,” said Spielberg, who directed “The Color Purple” and produced the 2023 remake. “Mine was ‘Carl,’ because in 1980 when we met, my answering machine had a voice message where you heard me doing a terrible impression of [scientist] Carl Sagan. He never called me by my first name again. He was deeply committed to family. Everyone close to him felt special and blessed just to listen and learn and laugh. Just yesterday, like he had for the past 33 years, he sent flowers to my wife Kate for her birthday. We will miss him, but there is so much of him surrounding us to keep him close.”

“The Color Purple” and “Euphoria” actor Colman Domingo, in a tribute on X, recalled his first time meeting Jones: “He asked, where are you from? Philly I replied, his eyes twinkled and he talked about the Uptown Theater. I was so thrilled to meet Mr. American Music himself. I literally kneeled because he was a King. Thank you Mr. Quincy Jones for giving us all the sound.”

“You were a father and example at a time when I truly needed a father and example,” wrote rapper and actor LL Cool J on Instagram. “Mentor. Role model. King. 👑You gave me opportunities and shared wisdom. Music would not be music without you. My condolences to the entire family. I love you. Rest in the sweetest music eternally. #ripquincyjones one of one”

Two-time Oscar winner Michael Caine, who shared Jones’ birthday and starred in the Jones-scored “The Italian Job” in 1969, remembered him as his “celestial twin.”

“[He] was a titan in the musical world. He was a wonderful and unique human being, lucky to have known him,” Caine wrote on X.

Quincy Delight Jones Jr. was born March 14, 1933, in Chicago. His father, Quincy Jones Sr., was a semiprofessional baseball player and a carpenter. His mother, Sarah Frances, was a bank officer and an apartment manager. His younger brother, Lloyd, died in 1998.

As a youth, Jones was exposed to Black roots and religious music and early jazz piano. His mother was an avid singer of spirituals, and a next-door neighbor, Lucy Jackson, helped Jones learn to tap out boogie-woogie on the keyboard.


Doug Pizac / Associated Press

When he was 10, Jones’ mother was committed to a mental institution. The impact was profound and Jones said he was left with painful memories of the trips to the psychiatric hospital, unsure exactly why his mother couldn’t come home with him.

With his mother institutionalized, Jones said, he began to run the streets. It was a tough, beaten-down neighborhood on the south side of Chicago and gangsters controlled every block. One day when Jones was walking home, a group of street toughs pinned him to a fence, plunged a knife blade into one of his hands and stabbed him in the temple with an ice pick.

That helped convince Jones’ father, who had divorced and remarried, that it was time to get out of Chicago.

In search of a better job and a safer environment, Jones’ father moved his newly blended family to Bremerton, Wash., in 1943 and found work at Puget Sound Naval Shipyard. When the war ended, the family moved to Seattle.

The upheaval and family turbulence shaped Jones. “If I had a good family,” he once joked, “I might have been a terrible musician.”

When he was 14, he befriended a teenager named Ray Charles. The friendship, which lasted a lifetime, opened a new world for Jones.

In Charles, Jones found an emerging prodigy, a musician who played a blend of blues, gospel and R&B he’d never heard. The two started playing together, and Charles — blind since he was 7 — urged Jones to pursue arranging and composing.

“I met Ray Charles at 14 and he was 16,” Jones recalled “But he was like a hundred years older than me.”

After high school, Jones attended Seattle University and earned a scholarship to what’s now the Berklee College of Music in Boston. In the early 1950s he joined Lionel Hampton’s big band as a trumpeter and arranger and later toured South America and the Middle East with Gillespie’s big band.

Jones’ visibility escalated and, barely into his mid-20s, he was soon arranging and recording for Sarah Vaughan, Dinah Washington, Count Basie, Duke Ellington and, of course, Charles.

In the late ’50s, Jones relocated to Paris, where he studied composition with the highly regarded teacher Nadia Boulanger and composer Olivier Messiaen. But a European tour leading his own big band in the early ’60s ran into financial problems and came to an unceremonious end.

“We had the best jazz band on the planet,” Jones told Musician magazine, ”and yet we were literally starving. That’s when I discovered that there was music, and there was the music business.”


Chris Pizzello / Invision/AP

Another door opened when Mercury Records offered Jones a position as musical director of the company’s New York division. In 1964, he was promoted to vice president of Mercury Records, the first Black person to hold an executive position at a major U.S. record company.

Jones’ successes continued. In the mid-’60s, he produced four million-selling singles and 10 Top 40 hits for Lesley Gore, including “It’s My Party.” He also arranged Frank Sinatra’s iconic “Fly Me to the Moon.”

In 1964, he agreed to compose the music for director Sidney Lumet’s “The Pawnbroker.” It was the first of more than 30 films that Jones would score, a list that included “The Deadly Affair,” “In the Heat of the Night,” “Bob & Carol & Ted & Alice,” “They Call Me Mr. Tibbs!” and “The Getaway.”

While the jobs came quickly, the undertow of racism in the industry was always there, tugging at him.

When Jones was asked to write the soundtrack for “In Cold Blood,” he said Truman Capote, who wrote the bestselling book the film was based on, tried to block him from working on the film.

“He said, ‘I just don’t understand why you want a colored man’s music in a film with no Negroes,’” Jones told the San Francisco Chronicle in a 2008 interview. “I knew it was going to be hard for a Black guy to break into movies.”

The musical score for “In Cold Blood,” though, earned him an Academy Award nomination in 1967, the first of seven.

Jones was equally productive for television, composing the theme music for “Sanford and Son,” “The Bill Cosby Show,” “Banacek” and “Ironside.”

His busy schedule also included the founding of his own company, Qwest Productions, and stints providing arrangements for Peggy Lee, Vaughan, Billy Eckstine and Ella Fitzgerald, Sinatra and his own bands.

After producing the soundtrack for the 1978 film “The Wiz” — which featured Diana Ross and Michael Jackson — Jones was approached by Jackson, who wondered if he would produce his next album.

Jackson’s record label initially stood in the way, worried that Jones was a jazz guy. Jackson pushed back, insisting he wanted to work with Jones.

“Everybody said, ‘You can’t make Michael any bigger than he was in the Jackson 5,’” Jones recalled. “I said, ‘We’ll see.’”

The album, “Off the Wall,” was a critical success, but the follow-up, “Thriller,” released in 1982, became the bestselling album of all time and earned eight Grammy Awards. Suddenly, Jackson’s career was kicked into the stratosphere, and Jones was regarded as the high priest of pop music.

Five years later, Jackson released “Bad,” the third and final collaboration between the two. It yielded five No. 1 hits.

Jackson, Jones said, was the hardest-working performer he’d ever seen. To fully harness the emotional might that Jackson seemed to possess, Jones said he transformed the recording studio into a concert stage by dimming the lights and urging Jackson to dance while he recorded, as if an entire audience were bearing witness. Decades later, Jones was awarded $9.4 million after a Los Angeles jury determined he’d been shortchanged millions in royalties by Jackson’s estate.

After the 1985 American Music Awards, Jones assembled a star-studded team of musicians, from Ross to Bruce Springsteen, to record “We Are the World.” The song became one of the bestselling singles of all time and raised nearly $70 million to assist victims of the famine in Ethiopia.

But the workload, the stress and the weight of a crumbling marriage had taken a toll, and Jones broke.

He postponed all ongoing projects, canceled his scheduled appearances and flew to Tahiti. Alone.

“I stayed for 31 days,” he told The Times in 1989. “It was the most heavy 31 days of my life. I went all the way down. I just wandered from island to island. I was really in trouble.”

As he put the pieces back together, Jones said he felt oddly renewed, as if he’d undergone a spiritual cleansing. “Sometimes you need God to just slap you and say, ‘Let’s take a look and see what’s going on here.’”

Back in L.A., he briskly resumed his career. He formed Quincy Jones Entertainment, a partnership with Time Warner, produced NBC’s “Fresh Prince of Bel-Air,” staged an inauguration concert for President Clinton and began recording “The Q Series,” an ambitious anthology of Black American music. He also formed Qwest Broadcasting, which then was the largest minority-owned broadcasting company in the U.S.

In 1996, he produced the 68th Academy Awards telecast. Three years later, U2 lead singer Bono, singer-songwriter Bob Geldof and Jones met with Pope John Paul II as part of an effort to erase the debt load shouldered by Third World nations. And in 2008, he was named an artistic advisor to the 2008 Summer Olympics in Beijing, a post some urged him to reject in protest over China’s dismal human rights record.

The awards and honors bestowed on Jones were nearly mind-bending. He was nominated for a Grammy 80 times, winning 28. He received eight Academy Award nominations. He was the first musician whom France honored as both Commandeur de l’Ordre des Arts et des Lettres and Commandeur de la Légion d’Honneur. He was inducted into the Rock & Roll Hall of Fame and he received Kennedy Center Honors.

Jones’ Quincy Jones Foundation distributed millions of dollars in Los Angeles and abroad to advance humanitarian causes and encourage arts education. Quincy Jones Elementary School in South L.A. was named in his honor. When he attended the ribbon-cutting in 2011, he said it brought back memories of when he first arrived in L.A.

Late in life, Jones reflected on his mortality, telling The Times that he had deleted the names of 188 friends and associates from his iPhone in a single year. All dead.

“You start out playing in bands and doing duets,” he said. “And then you worry that in the end it’s all going to be a solo.”

Jones was married three times, the longest to actress Peggy Lipton. He is survived by seven children, including actor Rashida Jones.

Marble is a former Times editor. Times staff writer Nardine Saad and former Times jazz critic Don Heckman contributed to this story (Heckman died in 2020).

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Hall of Famer Rickey Henderson, baseball's stolen base king, has died at 65

Baseball Hall of Famer and stolen base king Rickey Henderson has died
ByJOSH DUBOW AP sports writer
December 21, 2024, 11:19 PM



OAKLAND, Calif. -- Hall of Famer Rickey Henderson, the brash speedster who shattered stolen base records and redefined baseball's leadoff position, has died. He was 65.

Henderson died on Friday. The Athletics said Saturday they were “shocked and heartbroken by his passing," but did not specify a cause of death.

Known as baseball's “Man of Steal,” Henderson had a lengthy list of accolades and accomplishments over his nomadic 25-year career — an MVP, 10 All-Star selections, two World Series titles and a Gold Glove award.

“Rickey was simply the best player I ever played with. He could change the outcome of a game in so many ways," said Don Mattingly, Henderson's teammate with the New York Yankees from 1985-89. "It puts a smile on my face just thinking about him. I will miss my friend.”

It was stealing bases where Henderson made his name and dominated the sport like no other.

He broke through with 100 steals in his first full season in the majors in 1980, topping Ty Cobb's AL single-season record with Billy Martin's “Billy Ball” Oakland Athletics. He barely slowed playing for nine franchises over the next two decades. He broke Lou Brock's single-season record of 118 by stealing 130 bases in 1982 and led the league in steals for seven straight seasons and 12 overall.

Henderson surpassed Brock's career record when he stole his 939th base on May 1, 1991, for Oakland, and famously pulled third base out of the ground and showed it off to the adoring crowd before giving a speech that he capped by saying: “Lou Brock was a great base stealer, but today I am the greatest of all time.”

Henderson finished his career with 1,406 steals. His 468-steal edge over Brock matches the margin between Brock and Jimmy Rollins, who is in 46th place with 470.

“He’s the greatest leadoff hitter of all time, and I’m not sure there’s a close second,” former A's executive Billy Beane said of Henderson.

In September, Henderson insisted he would have had many more steals in his career and in the record-breaking 1982 season if rules introduced in 2023 to limit pickoff throws and increase the size of bases had overlapped with his career.

“If I was playing today, I would get 162, right now, without a doubt," he said. "Because if they had had that rule, you can only throw over there twice, you know how many times they would be throwing over there twice and they’d be going, ‘Ah, (shoot), can y’all send him to third? Give him two bases and send him to third.’ That would be me.”

He even predicted how he could still be stealing more bases than the current major leaguers even 20-plus years post-retirement: "If they’re stealing 40-50 bases right now I’d lead the league.”

Henderson’s accomplishment that record-breaking day in 1991 was slightly overshadowed that night when Nolan Ryan threw his record seventh career no-hitter. Henderson already had been Ryan’s 5,000th career strikeout victim, which led him to say, “If you haven’t been struck out by Nolan Ryan, you’re nobody.”

That was clearly not the case for Henderson. He is also the career leader in runs scored with 2,295 and in leadoff home runs with 81, ranks second to Barry Bonds with 2,190 walks and is fourth in games played (3,081) and plate appearances (13,346). He finished his career with 3,055 hits over 25 seasons spent with Oakland, the Yankees, Toronto, San Diego, Anaheim, the New York Mets, Seattle, Boston and the Los Angeles Dodgers.

He fittingly finished his career with the Dodgers at age 44 in 2003 by scoring a run in his final play on a major league field.

Henderson is the third prominent baseball Hall of Famer with ties to the Bay Area who died this year, following the deaths in June of former Giants stars Willie Mays and Orlando Cepeda.

Henderson was the rare position player who hit from the right side and threw with his left arm — but then again, everything about Henderson was unique.

He batted out of an extreme crouch, making for a tighter strike zone that contributed to his high walk total. He struck fear in opponents with his aggressive leads off first, his fingers twitching between his legs inside his batting gloves as he eyed the pitcher and the next base.

Born on Christmas Day in 1958 in Chicago in the back of his parents' Chevy, Henderson grew up in Oakland and developed into a star athlete. He played baseball, basketball and football at Oakland Tech High School and was a highly sought-after football recruit who could have played tailback at Southern California — where he likely would have eventually had the chance to run alongside football Hall of Famer Marcus Allen.

But Henderson said his mother loved baseball and thought it would be the safer career in a decision that proved to be prescient.

“She didn’t want her baby to get hurt,” Henderson told the San Francisco Chronicle in 2019. “I was mad, but she was smart. Overall, with the career longevity and the success I had, she made the right decision. Some of the players in football now have short careers and they can barely move around when they’re done.”

Henderson was selected in the fourth round of the 1976 amateur draft by the hometown A's and made his big league debut in 1979 with two hits — and, of course, one stolen base.

He became a star for the A's the following season and remained in Oakland through 1984 before being traded to the Yankees. Henderson was part of some talented teams in New York that never made the postseason. In 1985, he scored 146 runs in 143 games to go along with a league-leading 80 steals and 24 homers, helping start the "80-20 club" that season with Cincinnati's Eric Davis.

Henderson was traded back to Oakland in June 1989, leading to his greatest successes. He topped the AL that season with 113 runs, 126 walks and 77 steals, was named the ALCS MVP and helped lead the A's to the World Series title in the earthquake-interrupted Bay Bridge series by sweeping the Giants.

Henderson then won the AL MVP the following season for Oakland before the A's lost the World Series to Cincinnati.

“I traded Rickey Henderson twice and brought him back more times than that,” former A's general manager Sandy Alderson said. "He was the best player I ever saw play. He did it all — hit, hit for power, stole bases, and defended — and he did it with a flair that enthused his fans and infuriated his opponents. But everyone was amused by his personality, style, and third-person references to himself. He was unique in many ways.

“Rickey stories are legion, legendary, and mostly true. But behind his reputation as self-absorbed was a wonderful, kind human being who loved kids. His true character became more evident over time. Nine different teams, one unforgettable player.”

Henderson set the career steals record in 1991 and then was traded two years later to Toronto, where he won his second World Series. He spent the final decade of his career bouncing around the majors and still led the AL with 66 steals and 118 walks at age 39 with Oakland in 1998.

In 2017, the A's named their playing surface “Rickey Henderson Field” at the Oakland Coliseum in his honor.

“When you’re old and grey, sitting around with your buds talking about your career in baseball, you are going to talk about Rickey," said Ron Guidry, another of Henderson's former Yankees teammates. "He was just amazing to watch. There were great outfielders. There were great base stealers. There were great home run hitters. Rickey was a combination of all of those players. He did things out there on the field that the rest of us dreamed of.”

___

AP Baseball Writer Janie McCauley contributed to this report.

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Supermodel and actress Dayle Haddon dead at 76 from apparent carbon monoxide leak
By Dan Heching, CNN
Updated 6:06 PM EST, Sat December 28, 2024


[SIZE]Andrea Renault/AFP/Getty[/size]

Dayle Haddon, a model who graced magazine covers and appeared in ’70s and ’80s TV shows and films including “North Dallas Forty,” “Max Headroom” and “The Hitchhiker,” died in an apparent carbon monoxide leak in Solebury, Pennsylvania on Friday, authorities said. She was 76.

According to the Solebury Township Police Department website, Haddon “was discovered deceased in a second-floor bedroom” of the “detached office/in-law suite” of a residence on Friday morning, while a 76-year-old male, Walter J. Blucas, was found “lying down, passed out.” The statement said he is “currently hospitalized in critical condition.”

Walter J. Blucas is the father of actor Marc Blucas. CNN has reached out to representatives for the younger Blucas for comment.

On her verified Instagram, Haddon’s daughter Ryan Haddon remembered her mother as “a woman in her power, yet soft and attentive to all. Deeply creative and curious, gifted with beauty inside and out. Always kind and thoughtful.”

The post included several of the late Haddon’s magazine cover work as a model, including Vogue, Harper’s Bazaar and Cosmopolitan, along with an image of one of her books, 2003’s “The Five Principles of Ageless Living.”

Police said that their investigation “indicates a faulty flue and exhaust pipe on a gas heating system caused the carbon monoxide leak.”

“The officers and members of the Solebury Township Police Department wish to extend our sincere condolences to the Haddon and Blucas families,” the statement continued. “This tragic incident serves as a stark reminder of the importance of carbon monoxide safety precautions in our homes.”

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Jimmy Carter, former president and Nobel Peace Prize winner, dies at age 100
Updated on: December 30, 2024 / 10:23 AM EST / CBS News


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Jimmy Carter, the 39th president of the United States, died Sunday at the age of 100. Though he served only one term in office, he went on to a distinguished second act of humanitarian work, and he lived long enough to become the oldest former president in U.S. history.

Carter "died peacefully Sunday, Dec. 29, at his home in Plains, Georgia, surrounded by his family," the Carter Center announced in a statement.

"My father was a hero, not only to me but to everyone who believes in peace, human rights, and unselfish love," said Chip Carter, the former president's son, in a statement provided by the Carter Center. "My brothers, sister, and I shared him with the rest of the world through these common beliefs. The world is our family because of the way he brought people together, and we thank you for honoring his memory by continuing to live these shared beliefs."

There will be public observances in Atlanta and Washington, D.C., followed by a private interment in Plains, Georgia, the Carter Center said. In a proclamation Sunday night, President Biden declared Jan. 9 a national day of mourning for Carter and ordered that flags at federal facilities be flown as half-staff for 30 days.

Mr. Biden said Carter was "a man of character, courage, and compassion, whose lifetime of service defined him as one of the most influential statesmen in our history. He embodied the very best of America: A humble servant of God and the people. A heroic champion of global peace and human rights, and an honorable leader whose moral clarity and hopeful vision lifted our Nation and changed our world."

In televised remarks Sunday evening, Mr. Biden said Carter "lived a life measured not by words, but by his deeds."

"We would all do well to be a little more like Jimmy Carter," the president said.

Carter had been receiving hospice care at his home for nearly two years following a series of short hospital stays. The Carter Center said in February 2023 that he had "decided to spend his remaining time at home with his family and receive hospice care instead of additional medical intervention."

Carter remained active well into his 90s, continuing his work with Habitat for Humanity and the Carter Center and teaching Sunday school at his church in Plains, Georgia, even as his health began to falter.

"He really never forgot where he came from and that's why he went back to Plains," Stuart E. Eizenstat, Carter's chief White House domestic policy adviser, said in an interview on Monday with "CBS Mornings."

Both in and out of office, Carter built a legacy as a tireless champion for peace and humanitarian causes. He brokered the landmark Camp David Accords in 1978, establishing a framework for peace in the Middle East, and he was awarded the Nobel Peace Prize in 2002 for his decades of work in advancing international peace, democracy and human rights.

"I think that he won a Nobel Peace Prize, which represents for him all of the work he did at stopping civil wars around the world, of monitoring free and fair elections, combatting river blindness, guinea worm disease, tuberculosis, leprosy, you name it," said presidential historian Douglas Brinkley. "It's interesting, Carter as ex-president wanted to destroy a disease. He wasn't somebody that was going into cancer research and finding new ways and more improved technology. He just wanted to wipe it out."

While Carter had his share of accomplishments as president, his time in the White House, from 1977 to 1981, was tumultuous. His one term in office included the U.S. energy shortage and the Iran hostage crisis.

Carter rose on the national stage after Watergate, at a time when voters were looking for a change in politics.

"They didn't want Ed Muskie or Hubert Humphrey or Scoop Jackson or George Wallace," Brinkley said. "They were tired of those people that had been in the national spotlight for so long. So, he came at America as a fresh new face."

James Earl Carter Jr. was born on Oct. 1, 1924, in Plains. The son of a peanut farmer, he loved books and his Baptist faith.

At the U.S. Naval Academy, he studied nuclear science and graduated with distinction in 1946. That same year, he married a young woman named Rosalynn Smith — a marriage that would last for more than seven decades. They celebrated their 77th anniversary on July 7, 2023, the longest-married presidential couple in American history. She died months later, on Nov. 19, 2023, at age 96.

Carter completed submarine training and served in the Navy for seven years before moving home to Georgia to run the family peanut farm. He and Rosalynn raised four children while his career focus shifted from farming to politics.

After eight years in state offices, Carter, a Democrat, was elected governor of Georgia in 1970. It was clear he was a new kind of Southern leader, one who emphasized racial equality and traditional values, at a time when the nation was in need of stability.

In 1976 — America's bicentennial year — he defeated President Gerald Ford to become the 39th president of the United States. The Carters conveyed that they were of the people when they marched in the open air on the inaugural parade route.

"His greatest asset as a candidate was his outsider status," Brinkley said. "And his greatest failing as a president was the fact that he remained an outsider, when you must be an insider in Washington if you're going to be an effective president."

He struggled to cultivate relationships in Washington and feuded openly with Democratic leaders in Congress. As oil prices and inflation soared, his popularity sank.

But there were accomplishments along the way. Carter created the departments of Energy and Education. He established formal diplomatic ties with China and returned control of the Panama Canal to the Panamanians.

Perhaps his greatest achievement was a historic peace treaty between Israel and Egypt, known as the Camp David Accords.

"Let history record that deep and ancient antagonism can be settled without bloodshed and without a staggering waste of precious lives," Carter said at the signing of the peace treaty on March 26, 1979.

On Nov. 4, 1979, Iranian militants stormed the U.S. Embassy in Tehran, taking 52 Americans hostage. A U.S. military attempt to free them ended in disaster, with eight American servicemen killed in a crash. The crisis dominated Carter's reelection campaign, while the economy continued to struggle and inflation topped 18%.

In the final days of his administration, the president and his team negotiated freedom for the hostages. They were released on Ronald Reagan's Inauguration Day.

In the years after leaving the White House, the Carters established The Carter Center in Atlanta, with a mission to work toward advancing peace and global health.

"We can choose to alleviate suffering. We can choose to work together for peace. We can make these changes — and we must," he said in 2002 as he formally accepted the Nobel Peace Prize for his decades of humanitarian work.

He and Rosalynn built houses with Habitat for Humanity, dedicating their efforts to the group for more than 30 years, and he penned more than 20 books.

He sparked controversy with his 2006 book "Palestine: Peace Not Apartheid," in which he characterized Israel's treatment of Palestinians as oppression. He later issued an open apology to the Jewish community, saying that suggestions for improvement should not stigmatize Israel.

In 2007, Carter spoke at the funeral of his former political rival turned close friend and confidante, former President Ford.

"One of my proudest moments was at the commemoration of the 200th birthday of the White House, when two noted historians both declared that the Ford-Carter friendship was the most intensely personal between any two presidents in history," Carter said.

Carter announced in August 2015 that he had been diagnosed with cancer, a form of melanoma that had spread to his liver and his brain. Though he curtailed his activities with The Carter Center, he continued to fundraise for the organization, and also continued teaching Sunday school classes in Plains, a tradition he started in his teens.

Carter was treated with a new immunotherapy drug and made a remarkable recovery, sharing the news six months later that an MRI showed no signs of cancer.

In May 2019, he suffered another health setback, falling and breaking his hip. He went home from the hospital to recover and was soon back to teaching his Sunday school class. Carter suffered two more falls in October 2019 and was hospitalized for a fractured pelvis. A month later, he was admitted to a hospital in Atlanta for a surgical procedure to relieve pressure on his brain.

The Carter Center said in May 2023 that Rosalynn had been diagnosed with dementia; she continued to live at home with her husband until her death that November.

They are survived by their four children and many grandchildren and great-grandchildren.

During his many years after the White House, Carter planted seeds of peace, and sometimes seeds of controversy. But as one of the most active former presidents in history, many believe he defined the role for those who would follow.

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‘Mr. Baseball’ Bob Uecker, Brewers announcer, dies at 90
BY* STEVE MEGARGEE
Updated 5:34 PM PST, January 16, 2025


AP

MILWAUKEE (AP) — Bob Uecker, who parlayed a forgettable playing career into a punch line for movie and TV appearances as “Mr. Baseball” and a Hall of Fame broadcasting tenure, has died. He was 90.

The Milwaukee Brewers, whose games Uecker had broadcast for over half a century, announced his death Thursday morning while calling it “one of the most difficult days in Milwaukee Brewers history.” In a statement released by the club, Uecker’s family said he had battled small cell lung cancer since early 2023.

“Bob was the genuine item: always the funniest person in any room he was in, and always an outstanding ambassador for our national pastime,” baseball Commissioner Rob Manfred said in a statement. “We are grateful for this baseball life like no other, and we will never forget him.”

Uecker was best known as a colorful comedian and broadcaster whose sense of humor and self-deprecating style earned him fame and affection beyond his .200 batting average.

Born and raised in Milwaukee, Uecker was a beloved member of the community and a pillar of the sport. He broadcast Brewers games for the last 54 seasons.

“George Steinbrenner tried to hire him, I think more than once,” Brewers principal owner Mark Attanasio said of the longtime New York Yankees owner. “He could have left for an acting career. He could have left for a comedy career. … He was a Wisconsin guy. He was true blue to Wisconsin.”

As news of Uecker’s death spread, numerous fans converged at his statue outside American Family Field. They paid their respects by leaving flowers, Brewers caps and even cans of the Miller Lite beer he endorsed at the base of the statue.

“He’s the narrator to all the best times of a couple of generations’ lives,” said Shawn Bosman of Franklin, Wisconsin, who visited the statue with his mother.

Kairee Larson, a longtime Brewers season-ticket holder who lives just down the road from the stadium, said after leaving flowers by the statue that Uecker’s call of Ryan Braun’s homer in a 2008 playoff-clinching victory over the Chicago Cubs remains her ringtone to this day.

“One of the things I thought today was my baby that’s due any day is not going to hear that iconic voice,” Larson said.

Uecker signed his first professional contract with the Milwaukee Braves in 1956 and reached the majors in 1962. He’d last six seasons in the big leagues as a backup catcher, finishing with a .200 average and 14 homers.

He won a World Series ring with St. Louis in 1964 and also played for Atlanta and Philadelphia.

“Career highlights? I had two,” Uecker often joked. “I got an intentional walk from Sandy Koufax and I got out of a rundown against the Mets.”

Uecker also befriended former Brewers owner and baseball Commissioner Bud Selig, who initially hired him as a scout. Selig liked to joke about how Uecker’s initial scouting report was stained with mashed potatoes and gravy.

Selig eventually brought Uecker to the broadcast booth. Uecker became the voice of the Brewers in 1971, in the second year after the team moved from Seattle.

“Bob had the easiest way of making others feel at ease, share a laugh and always left people feeling a little better,” Selig said in a statement released by the Brewers. “Nobody was his equal.”

Uecker remained with the club from that point on.

He got his big break off the field after opening for Don Rickles at Al Hirt’s nightclub in Atlanta in 1969. That performance caught Hirt’s attention, and the musician set him up to appear on “The Tonight Show” with Johnny Carson. He became one of Carson’s favorite guests, making more than 100 appearances.

Carson was the one who dubbed Uecker “Mr. Baseball.” And the name stuck.

Even as his celebrity status grew nationwide, Uecker savored the opportunity to continue calling games in his hometown.

“To be able to do a game each and every day throughout the summer and talk to people every day at 6:30 for a night game, you become part of people’s families,” Uecker once said.

Uecker was honored by the Hall of Fame with the Ford C. Frick Award in 2003 and spent nearly 20 minutes keeping the Cooperstown, New York, crowd of about 18,000 in stitches.

“I still — and this is not sour grapes by any means — still think I should have gone in as a player,” he quipped.

Uecker’s comedy was just a part of his abilities. His warm storytelling and delivery made him a natural to become one of the first color commentators on network TV broadcasts in the 1970s with ABC. In the ’90s, he teamed up with Bob Costas and Joe Morgan for the World Series.

From there, Uecker reached most households as one of the Miller Lite All-Stars in popular commercials for the beer brand based out of Milwaukee and Uecker later launched his TV acting career in 1985 on the ABC sitcom “Mr. Belvedere.”

Uecker played George Owens during the successful 122-episode run of the series that lasted six years, as the head of the family and sports writer in a home that brings in a butler who struggles to adapt to an American household.

In a bit of casting that kept things pretty close to home, Uecker also played a prominent role in the movies “Major League” (1989) and “Major League II” (1994) as crass announcer Harry Doyle for a down-and-out Cleveland Indians franchise that finds a way to become playoff contenders.

“I’m part of American folklore, I guess,” Uecker told The Associated Press in 2003. “But I’m not a Hollywood guy. Baseball and broadcasting are in my blood.”

His wry description of a badly wayward pitch — “Juuuust a bit outside!” — in the movie is still often-repeated by announcers and fans at ballparks all over.

Uecker’s acting left some to believe he was more about being funny than a serious baseball announcer, but his tenure and observations with the Brewers were spot on, especially when games were tight. Equally enjoyable were games that weren’t, when Uecker would tell stories about other major leaguers, his own career and his hobbies as an avid fisherman and golfer.

“I don’t think anyone wants to hear somebody screwing around when you got a good game going,” Uecker said. “I think people see ‘Major League’ and they think Harry Doyle and figure that’s what Bob Uecker does. I do that sometimes, I do. But when we’ve got a good game going, I don’t mess around.”

Uecker presided over the stirring ceremony that closed Milwaukee County Stadium in 2000. When the Brewers’ new stadium opened as Miller Park in 2001, the team began selling “Uecker seats” high in the upper deck and obstructed for a $1.

The stadium, now known as American Family Field, has two statues in Uecker’s honor. There’s one outside the stadium and another in the back of Section 422, a nod to the Miller Lite commercial in which he famously said “I must be in the front row!” while getting taken to one of the worst seats in the ballpark.

Uecker was a regular presence in the Brewers clubhouse throughout his broadcasting career. Players who were well over a half-century younger than Uecker loved being around him, whether they were seeking advice or just wanted to hear his anecdotes.

“Anytime you went to dinner with him or sat down with him for lunch at the stadium or anything, you never knew what you were going to hear,” Brewers outfielder Christian Yelich said. “Everybody was well aware of how special those times were.”

Those times were particularly poignant last year as Uecker continued broadcasting games while fighting cancer. Yelich said Uecker would just be “the same old Bob” during his clubhouse visits and considered the stadium his refuge.

“There were days he’d go have radiation treatment and then come to the ballpark and broadcast a game,” Attanasio said. “It was unbelievable.”

When the Brewers clinched the NL Central title, manager Pat Murphy threw an arm around Uecker in the locker room, pulling him in tight as players white-knuckled their bottle corks, ready to shower “Mr. Baseball” in champagne.

“There is no one — there is no one — who epitomizes a champion the way this man does right here,” Murphy proclaimed as the players chanted “UUUUUECK.”

After the Brewers were eliminated from the playoffs, Uecker made sure to visit the locker room and offer support to players in a way only he could. Yelich said afterward the toughest part of the night was talking to Uecker because the Brewers knew how badly the longtime broadcaster wanted to see Milwaukee win a World Series.

“He brought out the best in all of us,” Attanasio said. He’s really the heart of Milwaukee baseball — Mr. Baseball. He’ll forever be in our hearts.”

___
Former AP Sports Writer Colin Fly contributed to this report.

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David Lynch, Auteur Drawn to the Dark and the Dreamlike, Dies at 78

With such hallucinogenic masterworks as 'Eraserhead,' 'Blue Velvet,' 'Mulholland Drive,' 'Twin Peaks' and 'The Elephant Man,' he often left more questions than answers.
BY STEPHEN GALLOWAY
JANUARY 16, 2025 10:23AM


Everett Collection

David Lynch, the writer-director whose films and TV series including Blue Velvet, Mulholland Drive and Twin Peaks portrayed a seemingly bucolic America, only to reveal it as teeming with the mysterious and macabre, has died. He was 78.

Lynch’s death was announced on his Facebook page:

“It is with deep regret that we, his family, announce the passing of the man and the artist, David Lynch.* We would appreciate some privacy at this time. There’s a big hole in the world now that he’s no longer with us. But, as he would say, ‘Keep your eye on the donut and not on the hole.’ … It’s a beautiful day with golden sunshine and blue skies all the way.”

In August, he revealed that he was suffering from emphysema after many years of smoking and that he couldn’t leave home for fear that he would get COVID-19.

Nobody who saw Lynch’s works could mistake them for anyone else’s. Unlike other leading auteurs, he didn’t belong to a movement or fit easily into a genre; while his pictures echoed the mindset of a Luis Buñuel or a Salvador Dalí — critic Pauline Kael called him “the first populist surrealist” — and were influenced by such film noir landmarks as Billy Wilder’s Sunset Blvd., they were sui generis; his creations, in fact, appeared timeless, strangely disconnected from any particular era or place, which made them all the more startling and disturbing.

These were horror stories that mixed the monstrous with the mundane, that emerged from a landscape of dreams or nightmares, their happy endings doing nothing to erase the discomfort they left behind. They were as perplexing as any drawing of M.C. Escher, as haunting as any Grimms fairy tale, only far harder to decipher — which sometimes led skeptics to wonder whether even Lynch had the key to unlocking them. Few doubted the power of his vision and imagination, though naysayers questioned his logical thread.

While the filmmaker could occasionally descend into self-parody, critics’ groups included his major pictures on lists of the most important movies of the past century. In a 2012 poll of nearly 900 experts, Sight & Sound magazine ranked Mulholland Drive (2001) at No. 28 and Blue Velvet (1986) at No. 69.

There was, however, a notable discrepancy between Lynch’s international standing and his domestic reputation: none of his films is featured in the American Film Institute’s most recent ranking of the 100 greatest movies, published in 2007.

Nor was the Academy always supportive: nominated for four Oscars (as director for Blue Velvet, Mulholland Drive and 1980’s The Elephant Man, which also garnered him an adapted screenplay nom), Lynch was finally accorded an honorary Academy Award in 2019.

Like the only other modern American filmmaker to rank above him on the Sight & Sound list, Francis Ford Coppola (whose Apocalypse Now ranked 14th while The Godfather came in 21st), Lynch was that rarity in Hollywood: an artist who eventually turned his back on the art form he had mastered.

While he revisited his celebrated 1990-91 ABC series Twin Peaks with 2017’s Twin Peaks reboot for Showtime, his filmic output sputtered in the final decades and seemed to halt for lengthy stretches following his last feature, Inland Empire (2006).

Later in his life, Lynch drew more attention for a 17-minute short, 2017’s What Did Jack Do?, in which he played a detective interrogating a monkey, than for anything else he had done recently on film. That endeavor seemed as much a sly joke as an artistic statement.

Instead, after the panned Inland Empire, he devoted himself to his paintings (an interest that had preceded film) and two other primary endeavors: a coffee-making business and transcendental meditation, the Buddhist practice he had embraced in his late 20s.

“Everything in me changed when I started meditating,” he reflected in his unusual 2018 memoir, Room to Dream (co-written with Kristine McKenna), which alternated third-person and first-person chapters. “Within two weeks of starting, Peggy [his first wife, Peggy Lentz] comes to me and says … ‘Your anger. Where did it go?'”



David Keith Lynch was born in Missoula, Montana, on Jan. 20, 1946. His father, Donald, was a research scientist and his mother, Edwina, an English teacher; their work led them to move frequently, from Montana to Idaho to Washington state to Virginia.

Never a stellar student, Lynch was shaped by the Boy Scouts, and in later years, many of those who knew him expressed surprise at the contradiction between his mild manners and the eruptions of violence and profanity in his art.

Anyone searching to explain Lynch’s work through his upbringing would have trouble. “My parents were so loving and good,” he wrote in his memoir. “They’d had good parents, too, and everybody loved my parents. They were just fair.” He added that “a lot of who we are is just set when we get here. They call it the wheel of birth and death, and I believe we’ve been around many, many times.”

After dropping out of several colleges (including Boston’s School of the Museum of Fine Arts and New York’s Cooper Union), Lynch was working as an artist and printmaker in 1966 when he made his first film, the four-minute short Six Men Getting Sick (Six Times). That and other early efforts led him to win a place at the AFI, which had just opened a Los Angeles-based conservatory that would subsequently rank among America’s finest film schools.

Enrolled alongside an unrivaled collection of students that also included Terrence Malick and Paul Schrader, Lynch spent the next several years making his first feature, Eraserhead (1977), a dystopian vision shot in black and white. Adored and abhorred in equal measure, the movie became a cult favorite, playing at midnight screenings in art houses across the country; no less a figure than Stanley Kubrick proclaimed it one of his favorite films.

Eraserhead improbably landed Lynch his first feature proper, The Elephant Man, when Mel Brooks (its equally improbable producer) fell in love with the director’s esoteric work. Based on the true story of Joseph Merrick (renamed John Merrick in the picture), Elephant Man told the story of a grotesquely deformed 19th century freak show performer (played by John Hurt) who’s discovered and cared for by an enlightened surgeon (Anthony Hopkins).

Lynch was still new to the profession of director and quirky enough that at one point the mercurial Hopkins allegedly tried to have him fired. “Hopkins wasn’t openly hostile, but he was aloof,” remembered producer Jonathan Sanger, “and one day he called me into his dressing room and said, ‘Why is this guy getting to direct a movie? What has he done? He did one little movie. I don’t understand this.'”

When Hopkins flew at Lynch and demanded, “Just tell me what you want!,” Lynch recalled that “this anger comes up in me in a way that’s happened just a couple of times in my life. It rose up like you can’t fuckin’ believe — I can’t even imitate the way I was yelling, because I’d hurt my voice. I screamed some stuff at him, then screamed what I wanted him to do, and [actress] Wendy Hiller turns to Tony and quietly says, ‘I would do what he says.’ So he did.”

On-set difficulties were forgotten when the movie proved a terrific critical hit, earning eight Oscar nominations (though it failed to win a single one).



That was as close to mainstream Hollywood acceptance as Lynch would ever get, and he was burned by his next venture, a big-budget adaptation of Frank Herbert’s sci-fi novel Dune. After a year and a half of production in Mexico, editing got underway in Los Angeles.

“It was horrible, just horrible,” he explained. “It was like a nightmare what was being done to the film to make this two-hour-and-17-minute running time that was required. Things were truncated, and whispered voice-overs were added because everybody thought audiences wouldn’t understand what was going on.”

Lynch didn’t so much blame producer Dino De Laurentiis as himself. “I always knew Dino had final cut on Dune,” he wrote, “and because of that I started selling out before we even started shooting … It was pathetic is what it was, but it was the only way I could survive.”

The movie was panned by critics when it opened in 1984 and seemed likely to bring a sudden end to Lynch’s meteoric rise, only for him to be redeemed by his fourth feature, Blue Velvet.

Taking its title from the classic Bobby Vinton song, Blue Velvet used one of Lynch’s favorite narrative tropes — the detective story — to follow a naive young man (Kyle MacLachlan) as he sets out on a voyage of discovery triggered by a cut-off ear. His exploration leads him to a sexually abused lounge singer (Isabella Rossellini, cast after Helen Mirren turned down the role) and the deadly, perverse and menacing thug who keeps her under his control (Dennis Hopper).

Hopper’s villain, Frank Booth, a man driven to paroxysms of sexually fueled rage made all the more terrifying by the oxygen mask with which he covers his face, heightening his desires as he chokes off his air supply, remains arguably the most petrifying bad guy ever to grace an American film, one on the same iconic level as Hopkins’ own Hannibal Lechter in the more mainstream horror-thriller The Silence of the Lambs.

When Hopper first discussed the part, he told Lynch, “I have to play Frank Booth because I am Frank Booth.” Answered Lynch, “That’s good news and bad news.”

But it wasn’t just Hopper who made the movie so memorable; it was also the director’s sheer skill at narrative, not least when he has his over-curious lead break into the singer’s home and hide in her closet, where his voyeurism matches the director’s own — only to be upended when the singer, whom he has observed naked, holds him at knifepoint and makes him disrobe, too.

This was the kind of virtuoso filmmaking Lynch had never displayed before and perhaps would never do again (with the arguable exception of Mulholland Drive). It made stars of MacLachlan, Rossellini and Laura Dern (as MacLachlan’s wholesome girlfriend) and became the most talked-about movie of 1986.

The New York Times‘ Janet Maslin called it “an instant cult classic. With Eraserhead, Elephant Man and Dune to his credit, Mr. Lynch had already established his beachhead inside the realm of the bizarre, but this latest venture takes him a lot further. Kinkiness is its salient quality, but Blue Velvet has deadpan humor too, as well as a straight-arrow side that makes its eccentricity all the crazier. There’s no mistaking the exhilarating fact that it’s one of a kind.”

That one-of-a-kindness may have won plaudits, but it also led to a puritan backlash, especially for Rossellini, who was lambasted for taking the kind of role that would have shamed her mother, Ingrid Bergman — an ironic critique, given that Bergman had been equally condemned when she left her husband and ran off with Roberto Rossellini.

Adding to the layers of irony, Lynch in turn left his own wife, Mary Fisk, for Rossellini, with whom he would have a yearslong liaison. (Married four times, he is survived by his last wife, Emily Stofle, and four children, including filmmaker Jennifer Lynch.)

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Taiwanese actor Barbie Hsu dies of flu-related illness at age 48
By Hassan Tayir and Eric Cheung, CNN
Published 3:05 AM EST, Mon February 3, 2025



Hong Kong CNN — Taiwanese actor Barbie Hsu, one of the most prominent stars in the Chinese-speaking world, has died of a flu-related illness at age 48, Taiwan’s official Central News Agency reported Monday, citing her sister.

Hsu died of pneumonia after catching the flu during a family holiday in Japan, her younger sister Dee Hsu said in a statement shared by her agent, CNA reported.

“I am grateful that I could be her sister in this life, to take care and accompany each other,” Dee Hsu said. “I will always be grateful to her and miss her.”

The star had faced poor health in recent years, her sister previously said on television.

Widely known as “Big S,” Hsu rose to fame at age 17 in the mid-1990s alongside her younger sister in Mandapop duo S.O.S. The siblings were known for their sharp sense of humor, underscored when both became popular talk show hosts.

But it was Hsu’s lead role in the iconic 2001 television drama “Meteor Garden” that catapulted her to fame across the region as her portrayal of an ordinary girl who finds love with a rich boy resonated with millions of fans.

On Monday, “Big S passed away” became the top trending topic on China’s Weibo social media platform, amassing over 1.5 billion views, as shocked fans mourned the star.

“This is really hard to believe,” a top comment with more than 54,000 likes said.

“It was so sudden, life is too short,” said another.

Many Chinese celebrities also expressed shock over Hsu’s death.

“What a bolt from the blue,” her “Meteor Garden” co-star Ken Chu wrote on Weibo.

Hsu retired from the entertainment industry in 2022 following the end of her 11-year marriage to Chinese businessman Wang Xiaofei, a hot topic on social media on both sides of the Taiwan Strait.

She is survived by her husband, Korean rapper Koo Jun-yup, and two children from her previous marriage.

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