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What They Left Behind: Legacies of the Recently Departed What They Left Behind: A Lindy Hop, ‘Que Sera, Sera’ and a Glass Pyramid
(3 months later)
A mind-altering poem. A transcendent song that stays with you forever. Movies that shook your belly or blew your mind. Recipes that rearranged your taste buds.A mind-altering poem. A transcendent song that stays with you forever. Movies that shook your belly or blew your mind. Recipes that rearranged your taste buds.
Obituaries in The New York Times give account of the creations left behind by their subjects, and reading these life stories can be an exercise in the discovery of marvelous things, or at least a reminder of them.Obituaries in The New York Times give account of the creations left behind by their subjects, and reading these life stories can be an exercise in the discovery of marvelous things, or at least a reminder of them.
Here is a sampling from the last two weeks:Here is a sampling from the last two weeks:
One of the greatest songs in movies, “Que Sera, Sera,” was sung by one of the greatest actor-singers who ever worked in Hollywood: Doris Day. It won an Oscar for Hitchcock’s “The Man Who Knew Too Much.” The song stands on its own, but even better, it plays a major role in the plot (no spoilers here).One of the greatest songs in movies, “Que Sera, Sera,” was sung by one of the greatest actor-singers who ever worked in Hollywood: Doris Day. It won an Oscar for Hitchcock’s “The Man Who Knew Too Much.” The song stands on its own, but even better, it plays a major role in the plot (no spoilers here).
The Abstract Expressionists in the years right after World War II painted big, bold, macho works. Thomas Nozkowski went down that track at first. But then he recoiled, finding something “imperialist” in the approach. He decided to narrow his focus to small-scale, sometimes whimsical works that he said would be right at home in a “three-room walk-up tenement.”The Abstract Expressionists in the years right after World War II painted big, bold, macho works. Thomas Nozkowski went down that track at first. But then he recoiled, finding something “imperialist” in the approach. He decided to narrow his focus to small-scale, sometimes whimsical works that he said would be right at home in a “three-room walk-up tenement.”
When the architect I.M. Pei proposed building a glass pyramid at the Louvre, traditionalists cried, “Sacre bleu!” and declared it sacrilege. But once built, pushed through by the determination of President François Mitterrand, the pyramid soon gained acceptance and a certain amount of love. Few of this master architect’s creations are better known.When the architect I.M. Pei proposed building a glass pyramid at the Louvre, traditionalists cried, “Sacre bleu!” and declared it sacrilege. But once built, pushed through by the determination of President François Mitterrand, the pyramid soon gained acceptance and a certain amount of love. Few of this master architect’s creations are better known.
Norma Miller was the last surviving member of the Lindy Hoppers, a troupe that received its start at the Savoy Ballroom in Harlem and performed the Lindy Hop on Broadway, in movies and on tours across Europe and Latin America. She appears 25 seconds into this clip with her partner Billy Ricker. The pair, “dancing like animated rag dolls,” her obituarist Robert D. McFadden wrote, “execute breathtaking flips, slides, kicks, splits, lifts and lightning moves that seem to defy gravity and human speed limits.”Norma Miller was the last surviving member of the Lindy Hoppers, a troupe that received its start at the Savoy Ballroom in Harlem and performed the Lindy Hop on Broadway, in movies and on tours across Europe and Latin America. She appears 25 seconds into this clip with her partner Billy Ricker. The pair, “dancing like animated rag dolls,” her obituarist Robert D. McFadden wrote, “execute breathtaking flips, slides, kicks, splits, lifts and lightning moves that seem to defy gravity and human speed limits.”
David Winters started as a Broadway hoofer and danced in the original production of “West Side Story.” He went on to choreograph for movies and television, including this number from “Viva Las Vegas.” It starts with a joyful, smile-inducing solo by Ann-Margret (a Winters student who apparently recommended him as choreographer to the film’s producers). Elvis Presley then sings “C’mon Everybody,” with Ann-Margret joining him in a hip-swaying accompaniment.David Winters started as a Broadway hoofer and danced in the original production of “West Side Story.” He went on to choreograph for movies and television, including this number from “Viva Las Vegas.” It starts with a joyful, smile-inducing solo by Ann-Margret (a Winters student who apparently recommended him as choreographer to the film’s producers). Elvis Presley then sings “C’mon Everybody,” with Ann-Margret joining him in a hip-swaying accompaniment.
Nurit Karlin, the only woman in The New Yorker’s stable of cartoonists when she began contributing to it in 1974, was a master of the subtle sight gag. It sometimes takes the tiniest of seconds to understand the joke in her drawings, but the delayed gratification is well worth it.Nurit Karlin, the only woman in The New Yorker’s stable of cartoonists when she began contributing to it in 1974, was a master of the subtle sight gag. It sometimes takes the tiniest of seconds to understand the joke in her drawings, but the delayed gratification is well worth it.
From neglect to mayhem: That, in essence, is the “broken windows” theory of policing put forth by the criminologist George L. Kelling, along with James Q. Wilson. The theory entered popular discourse in 1982 with an article they wrote in The Atlantic magazine. Maintaining order — keeping windows unbroken, vagrants off the street, squeegee men out of the road, turnstiles free of jumpers — coincided with crime prevention. The idea transformed policing in many places, but also drew criticism from those who said that it gave the police a pretext to arrest people for minor reasons, filling up jails.From neglect to mayhem: That, in essence, is the “broken windows” theory of policing put forth by the criminologist George L. Kelling, along with James Q. Wilson. The theory entered popular discourse in 1982 with an article they wrote in The Atlantic magazine. Maintaining order — keeping windows unbroken, vagrants off the street, squeegee men out of the road, turnstiles free of jumpers — coincided with crime prevention. The idea transformed policing in many places, but also drew criticism from those who said that it gave the police a pretext to arrest people for minor reasons, filling up jails.
Machiko Kyo’s many movie roles — in Kenji Mizoguchi’s “Ugetsu” and Teinosuke Kinugasa’s “Gate of Hell,” to name just a couple — remind us of a spectacular period of moviemaking in Japan in the years shortly after World War II. Perhaps no film of the time and place was more influential than Akira Kurosawa’s “Rashomon,” which represents the rape of Ms. Kyo’s character from four points of view, including the victim’s. She made “an international impact by giving four tantalizingly contrasting performances in playing a single character,” the critic David Parkinson wrote, helping Kurosawa “exploit the unknowable nature of truth to dispel the theory that the camera never lies.”Machiko Kyo’s many movie roles — in Kenji Mizoguchi’s “Ugetsu” and Teinosuke Kinugasa’s “Gate of Hell,” to name just a couple — remind us of a spectacular period of moviemaking in Japan in the years shortly after World War II. Perhaps no film of the time and place was more influential than Akira Kurosawa’s “Rashomon,” which represents the rape of Ms. Kyo’s character from four points of view, including the victim’s. She made “an international impact by giving four tantalizingly contrasting performances in playing a single character,” the critic David Parkinson wrote, helping Kurosawa “exploit the unknowable nature of truth to dispel the theory that the camera never lies.”
The incomparable blues singer Bessie Smith found a worthy biographer in Chris Albertson, who produced a much-praised multivolume reissue of her recordings. Mr. Albertson’s “Bessie” is considered definitive.The incomparable blues singer Bessie Smith found a worthy biographer in Chris Albertson, who produced a much-praised multivolume reissue of her recordings. Mr. Albertson’s “Bessie” is considered definitive.