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Time of India
4 days ago
- Entertainment
- Time of India
Eddie Palmieri, eight-time Grammy winner and Latin Jazz trailblazer, dies at 88: Who was he?
Eddie Palmieri , the avant-garde musician who was one of the most innovative artists of rumba and Latin jazz, has died. He was 88. Fania Records announced Palmieri's death Wednesday evening. Palmieri's daughter Gabriela told The New York Times that her father died earlier that day at his home in New Jersey after 'an extended illness.' Productivity Tool Zero to Hero in Microsoft Excel: Complete Excel guide By Metla Sudha Sekhar View Program Finance Introduction to Technical Analysis & Candlestick Theory By Dinesh Nagpal View Program Finance Financial Literacy i e Lets Crack the Billionaire Code By CA Rahul Gupta View Program Digital Marketing Digital Marketing Masterclass by Neil Patel By Neil Patel View Program Finance Technical Analysis Demystified- A Complete Guide to Trading By Kunal Patel View Program Productivity Tool Excel Essentials to Expert: Your Complete Guide By Study at home View Program Artificial Intelligence AI For Business Professionals Batch 2 By Ansh Mehra View Program Who was Eddie Palmieri? -Eddie Palmieri was the Grammy Award-winning pianist, bandleader, musician, and composer of Puerto Rican ancestry. He revolutionized Latin jazz and salsa over a more than seven decades career. ALSO READ: Lady Gaga to drop new song for 'Wednesday' Season 2. How can you watch all episodes of Jenna Ortega's Netflix show offline? -One of the most influential figures in Latin music history, Eddie Palmieri was born on December 15, 1936 in Spanish Harlem to Puerto Rican parents, according to Billboard. Live Events -He was greatly influenced by his older brother, the pioneering Latin pianist Charlie Palmieri. He started learning at the age of eight, and his brother Charlie, was a professional pianist. Charlie, known as the Giant of the Keyboards, died in 1988. -At the age of 13, he began playing timbales in his uncle's orchestra, overcome with a desire for the drums. Palmieri dabbled in tropical music as a pianist during the 1950s with the Eddie Forrester Orchestra. -Coined as the " Madman of Salsa ," was the first Latino artist to win a Grammy Award. He won his first Grammy Award in 1975 for his album The Sun of Latin Music. ALSO READ: Blue whales' mysterious silence leave scientists worried as it sends a dire warning to humanity -Palmieri worked with Tito Puente and their album Masterpiece saw the duo pick up two Grammy gongs. His final Grammy win came in 2007 for the album Simpatico, which means nice or friendly when translated into English. -Palmieri released the album Masterpiece in 2000, which teamed him with the legendary Tito Puente, who died that year. It was a hit with critics and won two Grammy awards. -During his long career, he participated in concerts and recordings with the Fania All-Stars and Tico All-Stars, standing out as a composer, arranger, producer and orchestra director. ALSO READ: ESPN adds WWE's WrestleMania, Royal Rumble as streaming service sets August 21 launch. Check details -Over his career, Palmieri worked with renowned musicians such as timbalero Nicky Marrero, bassist Israel 'Cachao' López, trumpeter Alfredo 'Chocolate' Armenteros, trombonist Lewis Khan and Puerto Rican bassist Bobby Valentín. -Eddie Palmieri's death comes more than 10 years after the passing of his doting wife Iraida. He's survived by their five children and four grandchildren.
Daily Mirror
4 days ago
- Entertainment
- Daily Mirror
Eddie Palmieri dead: Legendary rumba and Latin jazz artist passes away at 88
Eddie Palmieri - one of the most innovative rumba and Latin jazz artists - has died aged 88. The musician, a trailblazer in the rumba and Latin jazz genres, enjoyed a illustrious career which spanned 70 years and saw him win eight Grammy Awards. His original, in 1975, was the first time a Latino had ever won a Grammy Award. Yet, the height of Palmieri's career came in the 1980s when he was regarded as a global ambassador for Latin Jazz, having toured the world. The albums Palo pa' rumba (1984) and Solito (1985) won the musician two more Grammy Awards as Palmieri, from New York City, pioneered the genres. Founder of the bands La Perfecta, La Perfecta II, and Harlem River Drive, the dad continued to make music and entertain into his 80s, and determinedly performed through the coronavirus pandemic via livestreams. However, the star battled an illness in recent years, which got the better of him and he died at home in New Jersey on Wednesday, his daughter Gabriela confirmed. Fania Records also announced Palmieri's passing, describing the pianist, composer and bandleader as a music legend. Recalling his early days, the agent said Palmieri learned to play both the piano and the timbale drums in his teens. The Sun of Latin Music - the 1975 album for which Palmieri won his first Grammy - remains a salsa classic, a collection of soothing numbers with romantic undertones. Despite the gong, Palmieri maintained a humility and wit for which he will be remembered. In a 2011 interview, when asked if he had anything important left to do, the humble star responded: "Learning to play the piano well. ... Being a piano player is one thing. Being a pianist is another." Palmieri dabbled in tropical music as a pianist during the 1950s with the Eddie Forrester Orchestra. He later joined Johnny Seguí's band and Tito Rodríguez's before forming his own band in 1961, La Perfecta, alongside trombonist Barry Rogers and singer Ismael Quintana. Eddie's unconventional approach would surprise critics and fans again with the release of Harlem River Drive, in which he fused Black and Latin styles to produce a sound that encompassed elements of salsa, funk, soul and jazz. The album Eddie Palmieri & Friends in Concert, Live at the University of Puerto Rico is still considered by many fans to be a salsa gem. Decades later, the musician remained popular and was praised for the album Masterpiece in 2000, which teamed him with the legendary Tito Puente, who died months later. Masterpiece, released in 2000, was a hit with critics and won two Grammy Awards. The album was also chosen as the most outstanding production of the year by the National Foundation for Popular Culture of Puerto Rico. Yale University in 2002 awarded Palmieri the Chubb Fellowship Award, an award usually reserved for international heads of state, in recognition of his work in building communities through music. As a musical ambassador, he brought salsa and Latin jazz to places as far afield as North Africa, Australia, Asia and Europe, among others.
Chicago Tribune
30-07-2025
- Entertainment
- Chicago Tribune
Column: The Art Institute defends the title of ‘Gustave Caillebotte: Painting His World.' A catalog contributor is skeptical
Since it was acquired in 1964, Gustave Caillebotte's 'Paris Street; Rainy Day' has become all but synonymous with the Art Institute. It appears in the movie 'Ferris Bueller's Day Off,' and in Masterpiece, the Parker Brothers game. If visitors follow one of the most common routes into the galleries — through the Michigan Avenue entrance, up the stairs, and into the Impressionism gallery — it's the first painting they'll greet, trading one urban tableau for another. For the first time, the museum displayed Caillebotte's sketches for 'Paris Street; Rainy Day' as part of 'Gustave Caillebotte: Painting His World,' a new survey co-curated by the Art Institute alongside the Musée d'Orsay in Paris and the Getty Museum in Los Angeles. In his surviving sketch of the central couple, only the man is rendered in any detail. The figure looped around his arm is just a woman-shaped void. Two things set Caillebotte (1848-1894) apart from his Impressionist peers. One is that he was fabulously wealthy, the son of a textile manufacturer. The other is that he overwhelmingly trained his artistic eye on other men. Men walking down the street in his Paris neighborhood. Men he played cards with. Men he hired as contractors to work his family estate. Men toweling themselves off after a bath — like in one 1884 painting deemed so salacious that, upon completion, it was intentionally displayed in a far-flung corner of a Brussels gallery. Gloria Groom, an exhibition co-curator and the Art Institute's chair of European painting and sculpture, said she cannot think of 'any other artist' from the period who shared Caillebotte's predilection for painting working-class men, like those depicted in his 'Floor Scrapers' series. 'That's what makes him so distinct from his fellow Impressionists: his comfortableness in the social position that he was born into,' Groom said. 'He's a distinct artist; he has a very distinct way of showing his world.' Recently, some have claimed the Art Institute is bowdlerizing that world. In the past year, the exhibit 'Painting His World' appeared at the Musée d'Orsay and the Getty under the title 'Gustave Caillebotte: Painting Men.' That the Art Institute alone selected a different title has led some to accuse the Art Institute of queer erasure, reflecting broader fears of institutional self-censorship. Jonathan Katz, the lead curator of 'The First Homosexuals' at Wrightwood 659, sees similarities between the Caillebotte fracas and the one surrounding the Art Institute's changing of a placard text in 2022. The work it accompanied, Félix González-Torres' 'Untitled (Portrait of Ross in L.A.),' was named for González-Torres' partner Ross Laycock. The original placard noted that Laycock died of AIDS in 1991, the year the artwork was devised; the Art Institute's new placard, quickly replaced after public outcry, had removed mention of Laycock altogether. 'I'm always struck by the way this institution not only seems to be pathologically tied to a '50s mindset, but moreover, doesn't learn from its own stepping in it,' Katz said. Katz and his husband, fellow art scholar André Dombrowski, were invited to contribute an essay to the exhibition catalog — also titled 'Painting Men' — examining Caillebotte's work through a queer lens. On a recent walkthrough of the exhibition with the Tribune, Katz said he felt those contributions had been toned down significantly compared to the exhibition's first outing at the Musée d'Orsay, where 'Painting Men' had garnered a conservative backlash. In response, he said, the Musee d'Orsay held a conference inviting scholars to submit papers with competing views on the question of Caillebotte's sexuality. 'It was a model of curatorial transparency,' Katz said. 'That is not what this institution (the Art Institute) has ever done.' Johnny Willis, Katz's associate curator on 'The First Homosexuals,' confronted Groom about the exhibition's downplaying of queerness during an Art Institute Q&A in June. Groom declined to address Willis' concerns at length, saying it was common to change exhibition titles and that she would not 'speculate (about) something that was painted 140 years ago.' The following week, the Tribune published a letter to the editor objecting to Groom's response to Willis and to the Art Institute's title. 'It's disappointing to see the Art Institute — once a beacon for cultural leadership — kowtow to imagined donor discomfort or a conservative fear of thought-provoking conversation,' wrote attorney Matthew Richard Rudolphi. In an interview with the Tribune, Groom and a museum spokesperson provided more context on the title change. By their account, the Art Institute finalized the 'Painting His World' title nearly two years ago, based on feedback from a patron focus group that included that title, as well as 'Painting Men,' as options. The museum declined to provide materials from that audience survey, saying it considered the results proprietary. But Groom and a museum spokesperson, who both reviewed the feedback, said patrons overwhelmingly associated Caillebotte with 'Paris Street; Rainy Day,' which prominently features a heterosexual couple. 'The main thrust of the response was that ('Painting Men') was not what they think of, and it seemed limited when his work is not limited to just painting men,' Groom told the Tribune. Megan Michienzi, the museum spokesperson, said the Art Institute typically pursues such 'title testing' for its major exhibitions. For example, it title-tested 2023's 'Van Gogh and the Avant-Garde: The Modern Landscape,' as well as the forthcoming 'Bruce Goff: Material Worlds,' opening in December. 'While we do not consider title testing to be definitive, it is directional in helping us determine what resonates with audiences,' Michienzi said in an email. And just as exhibition titles sometimes change between host institutions — 'Myth and Marble,' for example, is now 'The Torlonia Collection: Masterpieces of Roman Sculpture' at the Montréal Museum of Fine Arts — Groom said it's standard museum practice for an institution to write its own exhibition texts, even if the exhibition is co-produced. That meant she and her team started from scratch rather than working from the Musée d'Orsay's or the Getty's wall texts, though she acknowledged that she was 'definitely aware' of what was written in both. 'I would never presume to copy someone else's text,' she said. 'We all know our audiences and Paris' are quite different; Getty's is different.' 'Painting His World' wall texts follow the general approach promised by its title. On this point, it breaks with the more frank discussion of gender and sexuality at the Musée d'Orsay and the Getty. 'Painting His World' views Caillebotte's homosociality as one interpretive frame of many — class, leisure, urbanity, family. Neither the d'Orsay nor the Getty assert that Caillebotte was gay or bisexual, noting, as does the Art Institute, that he had a live-in female 'companion.' (That said, we know little about her: Caillebotte rarely painted her, and census records refer to her only as Caillebotte's 'amie,' or 'friend.') But by leaning into his works' provocativeness and, occasionally, sensuality, both go further than the Art Institute in nodding to the possibility. To Katz, the Art Institute's approach leads to missed insights. Class tension is discussed in the room with Caillebotte's famous 'Floor Scrapers' — the workers' muscles rippling, their skin glistening like the varnish of the floor. But he believes the Art Institute's wall texts leave too much unspoken. 'While French law permitted homosexuality, it did not permit any form of public solicitation,' Katz said. 'If you were a man of a certain social class, you had a network of others who could provide entertainment for you that didn't entail public exposure. We wouldn't expect to find any kind of smoking gun there, because class protected them.' Elsewhere, the Art Institute's curatorial approach appeared more evasive. Most rooms in the exhibition flow sequentially — that is, you can only access one room via the previous, predetermining visitors' progression through the galleries. Unlike the Getty and Musée d'Orsay iterations, the gallery with the portraits and nudes, where the question of Caillebotte's sexuality is pointedly addressed for the first and only time, is the exception, sequestered in an area visitors can bypass completely if they choose. Groom said the placement of the three nudes in the space's gallery-within-a-gallery — featuring two men and one woman — was meant to evoke greater intimacy, as though we ourselves were entering the privacy of the subjects' quarters. Plus, in a clear break from the 19th-century squeamishness surrounding 'Man at His Bath,' the subject is placed so that his buttocks confront viewers from yards away. They could beckon you into that section — or they could drive you away. 'At the same time they deny an erotic reading, they enforce a kind of an erotic reading by creating a strip show in the middle of the exhibition,' Katz said. Near 'Man at His Bath' hangs 'Self-Portrait at the Easel' (1879-80), one of four self-portraits in the exhibition. Despite its name, that painting does not depict Caillebotte alone. Behind him is another man, lounging on a couch. The man's features are indistinct, but he's lazily reading a newspaper, leading scholars to identify him as Richard Gallo, a journalist in Caillebotte's wealthy bachelor circle. Gallo is one of the most frequently identifiable subjects in Caillebotte's paintings. He appears in six other pieces in 'Painting His World' alone. Unlike the Musée d'Orsay and the Getty, however, the Art Institute placard doesn't acknowledge Gallo's presence in the 'Self-Portrait.' Instead, it cites the artwork that hangs behind Gallo — Renoir's 'Dance at Le Moulin de la Galette' — as a launchpad to discuss Caillebotte's vast art collection, which eventually became the basis for the Musée d'Orsay. When I brought up the omission to Groom, she said visitors should consult the catalog — which acknowledges the significance of Gallo's presence early on, in the introduction — if they were curious about the second figure. 'You can only have 120 words in a label, and you have to determine what is most essential. And that was the time when we could talk about Caillebotte the collector,' she said. Katz doesn't buy that. 'Nobody is asking Gloria or any art historian to speak definitively about anything here. We can't,' he said. 'What we can do is problematize, ask, point out and let viewers draw their own conclusion. What we don't want is the institution to mediate for us in a single voice.' Policing visitors' impressions is the last thing a museum should do, but how light a touch is too light? On one of my two visits to the exhibition, I entered the gallery with a family who concluded, after reading the anteroom's introductory text, that Caillebotte must have been a misogynist. On the same visit, I watched a couple scour the gift shop for the exhibition catalog; after finding a book called 'Gustave Caillebotte: Painting Men' but not 'Gustave Caillebotte: Painting His World,' they left in empty-handed confusion. Revisiting the portraits and nudes section with Katz, I overheard a teasing tête-à-tête between a security guard and visitors about how they'd found the exhibition's 'adult section.' Seconds after I turned off my recorder during my walkthrough with Katz, a 20-something visitor, overhearing our conversation, approached us and timidly asked if we knew, perchance, whether Caillebotte was queer. Katz and I exchanged glances. The answer isn't the point. Being unafraid to pose the question is.
Express Tribune
08-07-2025
- Entertainment
- Express Tribune
Grantchester heads for one last adventure as production begins on final season
The beloved British period drama Grantchester will wrap up after its 11th season, as confirmed by PBS Masterpiece and ITV. The show, which has captivated audiences for a decade, will conclude its run on both networks, marking the end of a remarkable journey. Starring Robson Green as Geordie Keating, the series features an ensemble cast including Rishi Nair as Alphy Kottaram, Al Weaver as Leonard Finch, Tessa Peake-Jones as Mrs. C, and Kacey Ainsworth as Cathy Keating, among others. The show, known for its exploration of friendship, love, and mystery, has maintained a dedicated fanbase since its debut in 2015. Series creator and executive producer Daisy Coulam shared her gratitude in a statement: "At its heart, Grantchester is a show about the power of friendship and love. We've been so lucky over the last 11 series to experience that on and off-screen. For over a decade now, cast and crew, many of whom have been with us since the beginning, have come together every summer to film, and it's been an absolute joy." The series first aired as an ITV original before expanding to PBS Masterpiece, quickly becoming a staple of the channel's programming. In its early seasons, Grantchester featured James Norton as the vicar Sidney Chambers. However, from Season 4, Tom Brittney's Will Davenport became the central character, with Rishi Nair joining the cast in Season 9 as Alphy Kottaram, who will also close out the show. Susanne Simpson, Masterpiece's Head of Scripted Content, praised the show's unique blend of warmth, humor, and community. "It has been a joy to work with the brilliant team behind Grantchester," Simpson said. "We are proud to have been part of this extraordinary partnership for so long." Masterpiece is presented on PBS by GBH Boston.
Hindustan Times
22-06-2025
- Entertainment
- Hindustan Times
‘Housefull 5 banake ye attitude?': Riteish Deshmukh breaks internet's heart with rude behaviour towards young fan
Actors Riteish Deshmukh and Genelia D'Souza have been counted among Bollywood's most-loved couples for decades now. They have been praised for their sweet love story, funny couple videos and humble, down-to-earth attitude. So, it was quite the shock for his fans when they came across a not-very-sweet video of him. A young fan's selfie request denied by Riteish Deshmukh, At the recent premiere of Genelia's Sitaare Zameen Par, paparazzi caught Riteish on video as he took his wife by the hand and guided her to the screening hall, navigating through a crowd of fans. In between all this, a young boy approached the couple and pulled out his phone for a selfie with them. Riteish promptly pushed the boy's hand down, denying him a picture. The actors walked away, and the boy was seen looking sad about what had happened. Fans are disappointed As the video made its way online, people left thousands of comments, expressing disappointment at Riteish's rude attitude. 'First time mujhe Ritesh ka attitude pasand nhi aaya (For the first time, I did not appreciate Riteish's attitude),' wrote a person. 'Not expected from Ritesh very wrong attitude sorry unfollow you now,' said another. A person even tagged Riteish in their message and wrote, 'Imagine his parents would have sent him to you for a pic and politely he came and tried to take a selfie, wat was wrong in that? Stay humble bhai and you will lose nothing out of it.' 'That was incredibly rude. Are these your true colours? Your facial expressions and attitude say a lot—and not in a good way. I expected a grown man to show more self-control and maturity. It wouldn't hurt to stay grounded and respectful,' read another message. Another person felt bad for the boy. 'His face looks like he is crying on the spot,' they wrote. A few people even brought up Riteish's last movie, Housefull 5 and how he should not have such starry airs after delivering a film like that. 'Proud moment after the success of Masterpiece - HOUSEFULL 5,' wrote one. 'Housefull jaise movie banake aisa attitude hai bhai (Such attitude after a movie like Housefull 5),' wrote another. Riteish was last seen in Housefull 5 with Akshay Kumar, Abhishek Bachchan and several others. Genelia's Sitaare Zameen Par released this Friday and stars her opposite Aamir Khan.
