Category: Новини

George Wein, an impresario of 20th century music who helped found the Newport Jazz and Folk festivals and set the template for gatherings everywhere from Woodstock to the south of France, died Monday. Wein, 95, died “peacefully in his sleep” in his New York City apartment, said Carolyn McClair, a family spokesperson. A former jazz club owner and aspiring pianist, Wein launched the Newport Jazz Festival in 1954 under pouring rain and with a lineup for the heavens — Billie Holiday and Dizzy Gillespie, Ella Fitzgerald and Lester Young. Louis Armstrong was there the following year and Duke Ellington made history in 1956, his band’s set featuring an extraordinary, 27-chorus solo from saxophonist Paul Gonsalves that almost single-handedly revived the middle-aged Ellington’s career. Wein led the festival for more than 50 years, and performers would include virtually every major jazz star, from Miles Davis and Thelonious Monk to Charles Mingus and Wynton Marsalis. Just in 1965, the bill featured Frank Sinatra, Count Basie, John Coltrane, Ellington, Gillespie, Davis and Monk.  FILE – Wynton Marsalis performs at the Newport Jazz Festival in Newport, Rhode Island, on August 6, 2011.The success of Newport inspired a wave of jazz festivals in the U.S., and Wein replicated his success worldwide, his other projects including the New Orleans Jazz & Heritage Festival and the Grande Parade du Jazz in Nice, France. His multiday, all-star gatherings were also a model for rock festivals, whether Woodstock in 1969 or the Lollapalooza tours of recent years.  Critic Gene Santoro observed in 2003 that without Wein, “everything from Woodstock to Jazz at Lincoln Center might have happened differently — if it happened at all.” Wein “can justifiably claim to have invented, developed and codified the contemporary popular music festival,” Santoro wrote. The idea for Newport came in part from locals Louis and Elaine Lorillard, who urged Wein to organize a jazz festival in their resort community in Rhode Island. Elaine Lorillard, a socialite, complained that the summer scene was “terribly boring.” Her tobacco-heir husband backed her up with a $20,000 donation. Wein had never known of a large-scale jazz festival, so, in the spirit of the music, he improvised — seeking to combine the energy and musicality of a Harlem jazz club with the ambience of a summer classical concert in Tanglewood. “What was a festival to me?” Wein later said. “I had no rulebook to go by. I knew it had to be something unique, that no jazz fan had ever been exposed to.” FILE – In this 1963 file photo, Joan Baez and Bob Dylan perform at the festival in Newport, Rhode Island.In 1959, Wein joined with Pete Seeger and began a companion folk festival that would feature early performances by Joan Baez and Jose Feliciano among others and track the evolution of Bob Dylan from earnest troubadour to rule-breaking rock star.  Dylan’s show in 1963 helped establish him as the so-called “voice of his generation,” but by 1965 he felt confined by the folk community and turned up at Newport with an electric band. The response was mostly positive, but there were enough boos from the crowd and conflicts backstage — Wein rejected the legend that Seeger tried to cut the power cables to Dylan’s amps — to make Dylan’s appearance a landmark in rock and folk history. In his memoir, “Myself Among Others,” Wein remembered confronting Dylan as he left the stage and insisted he return to play something acoustic. Years later, Wein remained moved by memories of hearing Dylan sing “It’s All Over Now, Baby Blue,” a farewell ballad in more ways than one. “It was a farewell to the idealism and purity of the folk revival,” Wein wrote. “There was no turning back — not for Dylan, not for anyone.” The Newport festivals have led to numerous films and concert albums, notably Murray Lerner’s Oscar-nominated 1967 documentary “Festival!” with Dylan, Johnny Cash and Howlin’ Wolf among the performers. Wein would later bring in Led Zeppelin, Sly and the Family Stone and James Brown and other rock and rhythm and blues acts. In 2020, when Newport went virtual because of the pandemic, Wein introduced Mavis Staples from his home in Manhattan.  Wein himself had been a pianist since childhood and he maintained an active music career, releasing “Wein, Women and Song,” “Swing That Music” and several other albums and making yearly appearances at the Newport festival with his Newport All-Stars band. He was named a “Jazz Master” in 2005 by the National Endowment for the Arts and received an honorary Grammy in 2014. Years earlier, President Bill Clinton brought his saxophone to the White House stage for a celebration of the Newport Jazz Festival. The Newport festival lasted despite ongoing conflicts, whether objections from the locals in Newport, the declining appeal of jazz, or the demands and resentments of the musicians. In the mid-1970s, he was struggling financially and became among the first popular music promoters to work with corporate sponsors, notably the makers of Kool cigarettes.  In 2005, he sold his company Festival Productions Inc. to Festival Network LLC and took on a more limited role at Newport. Six years later, he established the nonprofit Newport Festivals Foundation to oversee the summertime events. “I want the festivals to go on forever,” Wein told The Associated Press at the time. “With me it’s not a matter of business. This is my life.” 
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Billie Eilish went full glam in a huge peach ball gown at the pandemic-delayed Met Gala on Monday night, while fellow host of the evening Amanda Gorman was breathtaking in blue custom Vera Wang with a diamond laurel wreath in her hair.Co-host Timothée Chalamet raced onto Fifth Avenue to take selfies with fans before walking up the steps of the Metropolitan Museum of Art for his entrance after a marching band and gymnast kicked off the long-awaited evening. Last year’s gala was canceled due to the pandemic.This year’s official theme of the fundraiser for the museum’s Costume Institute was “American Independence,” leaving plenty of room for interpretation. Just ask Lil Nas X, who did a Lady Gaga-esque strip tease on the carpet in gold Versace, from cape to armor to embellished jumpsuit. 
Eilish, the belle of the ball, wore Oscar de la Renta. She told Vogue: “It was time for this. I feel like I’ve grown so much over the last few years.”Chalamet had sneakers on his feet but diamonds on his look. Chalamet called his look “a bit of everything,” just like America.Gorman’s dress, which included more than 3,000 hand-sewn crystals, was made to evoke a starry night sky. She told Vogue she felt like Lady Liberty, reimagined. Her crown, the star poet said, was a nod to publishing. Another of the hosts, Naomi Osaka, wanted to celebrate all her cultures — Japan, Haitian and the U.S. — and picked a Louis Vuitton gown designed in collaboration with her sister, Mari Osaka. It was a swirly blue, aqua and purple print with long black ruffle sleeves and a wide red sash.If this gala produced a trend, it’s huge statement sleeves, with some stars and stripes thrown in. There was a smattering of red, as in the red, white and blue of the American flag. Karlie Kloss wore red Carolina Herrera with huge ruffles at the neck and sleeves. Jennifer Hudson also chose red sans sleeves. Also in red: Ella Emhoff, the daughter of the country’s second gentleman, Doug Emhoff, and Vice President Kamala Harris. She wore a trouser look with a sheer top and a crystal design in all the right places.Dan Levy took the party’s theme to the extreme in a blue confection from Loewe. It had, according to the brand, “printed leg of mutton sleeves” on a polo shirt with an applique of two men kissing. Leon Bridges, meanwhile, honored his home state of Texas in a white cowboy hat and a blue suede fringe jacket. “It’s all about embodying the aesthetic of Texas,” said Bridges, with jewels in his hair.Yara Shahidi wore silver custom Dior complete with a head piece. She said she was inspired by Josephine Baker. Emma Chamberlain went for a gold mini with cutouts at the waist and chunky mirror and chain detail. Harris Reed put Iman in a huge golden hat.Gala overseer Anna Wintour arrived early with a wave to the crowd accompanied by her pregnant daughter, Bee, in a floral design with ruffles at the neck.Along with oh-so-many jumpsuits, there were plenty of classic red carpet looks and a wave of gold, the latter including a Peter Dundas look worn by Mary J. Blige. It plunged to the belly button and beyond at the front and back. Megan Fox, fresh from hear appearance at the MTV VMAs, also wore embellished Dundas, a red body hugger with crisscrossing at the front and sides. MJ Rodriguez, the “Pose” star and first transgender performer to pick up an Emmy nomination in a major acting category, wore an old glam, black-and-white corseted look from Thom Brown. The designer called it a modern-day twist on classic American sportswear. She attended the gala with purpose.”Not a lot of trans girls like myself get this opportunity,” she said. “The human condition is what I’m here for.”U.S. Rep. Alexandria Ocasio-Cortez showed up in an Aurora James gown of white with a message splashed in red across the back: “Tax the Rich.”The evening had its share of what-the-heck moments, like a couple of horse heads on dresses and a green-haired Frank Ocean carrying a fake baby with a green face to match. Thom Browne gave the walking fashion statement Erykah Badu an extra-tall top hat with a bulky black look, a bunch of crystals and chunky bling around her neck.Her purse was a black leather dachshund.Dundas also dressed Ciara, who honored Seahawks hubby Russell Wilson with his No. 3 emblazoned on her lime green sequined gown. She added a little something extra — a Super Bowl ring — and carried a bedazzled purse in the shape of a football.She said the designer was inspired by the sporty vibe of the late great Geoffrey Beene.
The gala, which raises money for the museum’s Costume Institute, was pushed last year from its traditional May berth and morphed this year into a two-part affair marking the institute’s 75th anniversary. It coincides with the opening of “In America: A Lexicon of Fashion,”  the first of a two-part exhibition at the Met’s Anna Wintour Costume Center. Organizers invited 400 guests, or about a third the number that usually attend.
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Broadway will welcome back musical lovers and playgoers this fall as theaters in New York City reopen at 100% capacity despite an ongoing threat of the spread of COVID-19. Tina Trinh reports.Camera: Tina Trinh, Janine Phakdeetham      Produced by: Tina Trinh   
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Novak Djokovic’s bid for the first calendar-year Grand Slam in men’s tennis since 1969 ended one victory short with a 6-4, 6-4, 6-4 loss to Daniil Medvedev in the U.S. Open final on Sunday.  Medvedev’s surprisingly lopsided triumph gave him his first major championship and prevented Djokovic from winning what would have been the record 21st of his career.  The No. 1-ranked Djokovic entered this match 27-0 in 2021 at the sport’s four most important tournaments, enduring the burdens of expectations and pressure that came along with his two-track pursuit of history over the past seven months and, in New York, the past two weeks.  He beat Medvedev in the Australian Open final on a hard court in February, then added titles on clay at the French Open in June and Wimbledon on grass in July.  But Djokovic, a 34-year-old from Serbia, couldn’t get to 28-0. He simply was far from his best on this particular day.  He made mistakes, 38 unforced errors in all. He wasn’t able to convert a break chance until it was too little, too late. He showed frustration, too, destroying his racket by pounding it three times against the court after one point, drawing boos from the Arthur Ashe Stadium crowd and a code violation from the chair umpire.A lot of Djokovic’s issues had to do with the No. 2-ranked Medvedev, who used his 6-foot-6 (1.98-meter) frame to chase down everything and respond with seemingly effortless groundstrokes — much the way Djokovic wears down foes — and delivered pinpoint serving.Djokovic reached his record-equaling 31st Grand Slam final with six victories on the hard courts of Flushing Meadows. But he could not quite get the last one he wanted.  He remains tied with Roger Federer and Rafael Nadal with 20 major titles.And the last man to sweep a season’s singles trophies at the Slams remains Rod Laver, who did it twice — in 1962 and 1969 — and was in the stands Sunday. The last woman to accomplish the feat was Steffi Graf in 1988.Instead, Djokovic joins Jack Crawford in 1933 and Lew Hoad in 1956 as men who won a year’s first trio of Grand Slam tournaments and made it all the way to the U.S. Open final before losing. 
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