Sunday, July 29, 2018

RIP John Turner

Albuquerque Journal
July 29, 2018

John Turner died June 14, 2018 at age 84. His wife, Dee Turner, said a reception will be held August 12, 2018 from 6 p.m. - 8 p.m. in Corrales.

Active in a wide range of civic organizations, Turner was the second president of Corrales MainStreet, Inc. and made an unsuccessful run for State Representative in 1986. He was an officer with Friends of the Corrales Library as well. After 34 years with the Federal Aviation Administration (FAA), he retired in 1986 from a career as an air traffic controller and regional supervisor for New Mexico and parts of Arizona and Colorado. Turner was a volunteer in Corrales Fire Department, specializing as an emergency medical technician. After retirement, Turner also served 10 years as court bailiff for the 13th Judicial District.

He enjoyed acting in films and commercials. He appeared as a judge in the movie Appaloosa, and worked as an extra in Breaking Bad scenes.

He is survived by son J.R. and granddaughter Amber, as well as Deena Taylor and Larry Rolls, of Corrales; Vicki Taylor, of Rio Rancho; Valerie and Steve Schkade, of Austin; Karen, Gaylan and Larry Turner, of Valley Mills, Texas; and Dee.

Born: 1935, U.S.A.
Died: 6/14/2018, Albuquerque, New Mexico, U.S.A.

John Turner’s western:
Appaloosa – 2008 (judge)

Friday, July 27, 2018

RIP María Concepción César

The 91-year-old artist excelled in radio, film, television and theater  

La Nacion
By Marcelo Stiletano
July 26, 2018

María Concepción César arrived in fullness at the end of her long and fruitful life, from which she has just died.  She was barely three months away from turning 92. In 2014 she confessed that she felt "splendid" and attributed that state of mind to the path chosen to carry out an artistic journey that never knew pauses or visible obstacles.  "My intellectual and emotional life is very intense, I take great care of my career and my spirit, to passively live like a vegetable it is better to leave before," she said at the time.

She had a lot to do, to give and to share. She did it through television interviews, tributes and recognitions that helped us to build the portrait of one of the most splendid women that the Argentine show business industry had in all its history.  She was able to show off in her heyday a figure of admirable and voluptuous natural beauty that became impossible to reach even for some of the most famous vedettes that were her contemporaries. But despite that sculptural profile, highlighted above all in the perfection of her legs, was not the theater of magazines the place in which most stood out. María Concepción César was a complete star, but the theater was her favorite place in the world. "I never left the theater, I never got out of it," she told LA NACION in 2008, while she was about to premiere at the Payró Interviú , a portrait of a great show diva who decides to retire from one day to the next. activity.

It seemed a paper written at first sight for her, but only in artistic fiction.  In real life, as she recognized Alejandro Cruz in that interview, her existence was in the antipodes of that sort of simile Greta Garbo. She felt blessed by a full and intense life of constant activity in radio, theater, film and television.  "I never wanted to stay in my twenties, life goes by, I am a woman who loves what she does, I love the theater, I love everything that is expression, I made beautiful things on television, I made musicals, many comedies, movies. I live my moments very quietly, "she said.  Although she stopped to clarify that tranquility was relative.  "No actress can live quietly if she does not work," she admitted.

She was born in the neighborhood of Floresta on October 25, 1926 as Concepción María Cesarano.  She studied at the National Conservatory of Scenic Art of this city, with the guidance of Antonio Cunill Cabanellas, and made her debut in the cinema with a brief role in Pampa bárbara (1945), by Lucas Demare.  Then came, between the 50s and the 70s, El crimen de Oribe, Rosaura at ten, La madrastra, The bar on the corner, María Magdalena, Hotel Alojamiento and Los chantas , in which a complete nude was animated with almost 50 years.

She had plenty of talent as an actress, singer and dancer, and she always managed to beat time by delivering all those facets, together or separately, in characters that went through several generations of her career.  It went through classical works of Argentine and foreign authors (From Six Characters in Search of an Author , by Pirandello, to A Handsome from the 900 , from Eichelbaum and from El enfermo imaginario , from Moliére, to El conventillo de la paloma , from Vaccarezza) and triumphed in traditional musical comedies ( Can Can , Todos en París ) and modern ones like the Houdini directed by Ricky Pashkus in 2005.

She had an outstanding radio presence, when the Buenos Aires radio stations ensured the exclusivity of her great figures, as she did with Splendid.  And it conquered a good part of its enormous popularity thanks to a constant presence in television, mainly of the hand of Alejandro Romay. Her first steps in the small screen were at the beginning of the 60s with Esquina de tango, together with Enrique Dumas, and in that decade she had her first great success as a star of Tropicana Club , a musical turned into a historical classic of our history television with Chico Novarro and Marty Cosens.  Afterwards, there were innumerable participations in omnibus programs and shows (Sábado de la Bondad, Grandes valores del tango), specials (Alta comedia) and well-remembered fiction comedy (Todo el año es navidad) or soap operas (Vos y yo todo la vida, Master and Lord). Each appearance of María Concepción César as a permanent or occasional figure was a new sample of talent and interpretative versatility. No script was left small, no character seemed alien, distant, forced or artificial.

However, with so much prestige gained and so many recognitions harvested without breaks, she never wanted to keep more than a small sample of them in her home. "Do you know why the house is like this without photos or awards? Because I want my children to visit me when they see their mother, not to see the figure, I want that, because I have not been with them enough. She was a gorgeous girl who came out of a contract and got into another, at one point in my life I had to work a lot, it was to set standards for my children, I was a very young widow and there was no other possibility, more, it did not stop, "she said in that conversation with LA NACION.

After enjoying all kinds of successes, she chose to consecrate her life to her two sons and grandchildren, but never losing sight of her identity and her vocation. It reached that rare balance that so many artists crave and cannot reach. To have the pleasure of continuing with the performance while still receiving awards (she won the Konex, the Quinquela Martín, the Pablo Podestá, the Susini and a recognition granted by the National Congress in 1999) and at the same time devote all the time she wanted to her family and other things surely more personal and simpler.  There she must have found the secret that allowed her to reach the end without losing any of his admirable splendor. She managed to see herself in all her photographs, those of her youth and those of recent times, to prove it: in each of them she never stopped smiling.

CESAR, María Concepción (María Concepción Cesarano)
Born: 10/25/1926, Floresta, Buenos Aires, Argentina
Died: 7/26/2018, Buenos Aires, Argentina

María Concepción César’s western:
Pampa bárbara – 1945 (Luz González)

Wednesday, July 25, 2018

RIP Patrick Williams

Patrick Williams, Emmy-Winning TV Composer, Dies at 79

By Jon Burlingame
July 25, 2018

Patrick Williams, who was best-known for his Emmy-winning television music but who was also a renowned and Grammy-winning big-band jazz leader and arranger, died Wednesday morning of complications from cancer at St. John’s Hospital in Santa Monica, Calif. He was 79.

Williams was among the most versatile composers of his generation, earning an Oscar nomination (for adapting opera in “Breaking Away,” 1979), four Emmys (for dramatic music including “Lou Grant,” 1980) and two Grammys (for arrangements including his classic jazz album “Threshold,” 1974) during more than 50 years of music-making in New York and Los Angeles.

In the middle of his most prolific period, scoring music for TV including “The Mary Tyler Moore Show,” “The Bob Newhart Show” and “The Streets of San Francisco,” he was also nominated for the prestigious Pulitzer Prize in music for his groundbreaking “An American Concerto” (1976) for jazz quartet and symphony orchestra.

He scored nearly 50 films, often memorable scores for movies that were not big hits, including “Casey’s Shadow,” “The Cheap Detective” and “Cuba” in the 1970s; “Used Cars,” “Swing Shift” and “All of Me” in the 1980s; “Cry-Baby,” “The Grass Harp” and “That Old Feeling” in the 1990s.

But his primary occupation was music for television, which ultimately earned him 22 Emmy nominations for such memorable 1970s and ’80s series as “The Streets of San Francisco,” “Columbo,” “Lou Grant,” and “The Days and Nights of Molly Dodd,” and such notable 1990s telefilms as “Decoration Day,” “Geronimo” and “Kingfish: A Story of Huey P. Long.” His miniseries, all in the ’90s and early ’00s, included “Jewels,” “Jesus,” “Blonde” and “Hercules.”

Williams had the most fun in the recording studio, working with top jazz musicians on both coasts to record contemporary big-band albums. His 19 Grammy nominations were mostly for his jazz compositions and arrangements, starting with the landmark “Threshold” LP and later including albums from his own 1980s Soundwings label featuring saxophonist Tom Scott, trombonist Bill Watrous, and his own big band.

“Pat’s charts have a lyrical quality that makes them fun to play, and they swing like hell,” Scott said in 2010. “Whenever I get a call, ‘Pat Williams needs you,’ I would do anything to be there, whether it was a record or a movie or a TV show.” Added flutist Hubert Laws: “I’ve always had the greatest respect for Pat and his writing ability, with the melody and harmony and rhythm. The spontaneity of it all really intrigues me.” Respected jazz writer Gene Lees once said: “Pat’s writing is breathtaking. He’s just one of the finest arrangers and composers who ever put pen to paper.”

Williams arranged and conducted Frank Sinatra’s final studio recordings, “Duets” I and II in the early 1990s, and later paid tribute to the singer and his favorite tunes in his own 1998 album “Sinatraland.” Williams arranged for a wide variety of other singers including Barbra Streisand, Jack Jones, Natalie Cole, Neil Diamond, Gloria Estefan, Michael Feinstein, Vince Gill, Amy Grant, Patti Austin, Barry Manilow, Monica Mancini and Bette Midler.

He was also highly active in music education, lecturing around the country and serving for five years (2001 to 2006) as artistic director of the Henry Mancini Institute, which trains young musicians for careers in music. Several of Williams’ later orchestral works (including “Adagio for Orchestra,” “Memento Mei” and “August”) debuted during the institute’s annual summer sessions in Los Angeles.

Williams was born April 23, 1939 in Bonne Terre, Mo., graduated from Duke University in 1961 and did post-graduate work at Columbia University. He worked as a composer, arranger and producer in New York before moving to Los Angeles in 1968 to seek work in the film and TV arena.

During the 1970s and ’80s, Williams scored hundreds of episodes of network TV series, variously lending a warm, comic, jazzy or dramatic sound as needed. In his own music for records and the concert hall, he strove to combine jazz and classical elements in a smoother, more organic way than had been previously achieved by most composers.

Williams wrote an estimated 30 concert works including “Gulliver” with narration written by Larry Gelbart, and a ballet, “Ziji”; and jazz concertos for trombonist Bill Watrous, clarinetist Eddie Daniels, saxophonist Tom Scott; and pianist Dave Grusin and saxophonist Gerry Mulligan.

He received an honorary doctorate in fine arts from his alma mater, Duke University, in 2001. His last big-band album, 2015’s “Home Suite Home,” featured long pieces dedicated to his wife Catherine and his three children, Elizabeth, Greer and Patrick, all of whom survive him.

Survivors also include five grandchildren, a brother and a sister. A memorial celebration will be scheduled for later in the year.

WILLIAMS, Patrick (Patrick Moody Williams)
Born: 4/23/1939, Bonne Terre, Missouri, U.S.A.
Died: 7/5/2018, Santa Monica, California, U.S.A

Patrcik Williams’ westerns – composers:
The Virginian (TV) – 1968
Macho Callahan – 1970
Hitched (TV) – 1971
Lock, Stock and Barrel (TV) - 1971
Hardcase (TV) - 1972
The Deadly Trackers - 1973
Mrs. Sundance (TV) – 1974
Butch and Sundance: The Early Days – 1979
Geronimo (TV) - 1993

Tuesday, July 24, 2018

RIP María Dolores Gispert

dub actress María Dolores Gispert dies, unmistakable Spanish voice of Whoopi Goldberg

The veteran performer also voiced Pippi Longstocking, one of the replicants of Blade Runner and Kathy Bates.  She also directed the dubbing of “The Color Purple” and “Schindler's List”.


The voice actress María Dolores Gispert , unforgettable voice in Castilian of stars like Whoopi Goldberg and Kathy Bates, has died at 84 years, informed by the union of artists of dubbing in Madrid.

Coming from a family of artists, the interpreter began her career as a child with locutions on Radio Barcelona, ​​before moving to dubbing in the mid-forties, giving voice to children and young stars.

She participated in these works in films as recognizable as “Treasure Island” , “The Night of the Hunter” , I confess (in their corresponding redoblajes on the occasion of its broadcast on TVE during the seventies), “Irma la duce” , “Bonnie & Clyde”, “Una lagartija con piel de mujer”, Gunfight at the OK Corral”, “Sueños de seductor”, “Grease”, “Los caballeros de la moto”, “Blade Runner” (where she dubbed Joanna Cassidy) and “The Goonies”.

However, her most memorable works are, without a doubt, those she made voicing Whoopi Goldberg, from “The Color Purple” (one of the dubbing works she directed, along with that of “Schindler's List”).  She lent her vocal chords up to 51 times, according to data from, the last being in the romantic comedy “Soltera at 40”, which appears as her last work.  She also took charge of adapting Kathy Bates in films such as “Titanic” and “Charlotte's Web.”

In television, her credits are equally numerous, although her two most recognizable works are those of ‘Pippi Longstocking’ in the seventies, where she doubled the iconic protagonist;  that of Sarah Douglas in “V”;  or that of Estelle, the ineffable representative of Joey Tribianni in ‘Friends’.

As an actress, she participated in the adaptation of “El conde de Montecristo de Novela”, as well as in other theater programs filmed as Ficciones and Estudio 1 .

GISPERT, María Dolores (Maria Dolores Gispert Guart)
Born: 3/22/1934, Barcelona, Catalonia, Spain
Died: 7/21/2018, Barcelona, Catalonia, Spain

María Dolores Gispert’s westerns – voice dubber:
Oklahoma John – 1966 [Spanish voice of Carmen Gallén]
Viva Carrancho! – 1966 [Spanish voice of Ely Drago]
Sabata – 1969 [Spanish voice of a prostitute]
Sonora – 1969 [Spanish voice of Donatella Turri]
Doc – 1972 [Spanish voice of Hedy Sontag]
The Return of Clint the Stranger – 1973 [Spanish voice of Augusto Pescrini]
Alleluia and Sartana, Sons of God – 1974 [Spanish voice of Uschi Glas]
Blindman – 1980 [Spanish voice of Marisa Solinas]
Louisiana – 1985 [Spanish voice of Andréa Ferréol]
Ace High – 1990 [Spanish voice of Tiffany Hoyveld]

Sunday, July 22, 2018

RIP Clovis (Claude Viseur)

SRO Motorsports Promotion
July 19, 2018

SRO Motorsports Promotion is deeply saddened to learn of the passing of renowned racing illustrator Claude Viseur, who was best known by his pen name 'Clovis'.

Clovis illustrated great racing machines from many disciplines during a long and distinguished career. His work ranged from highly realistic representations to comic caricatures, but always retained his signature style and displayed his passion for the sport. He had remained active until very recently.

Among his final projects, Clovis was asked to illustrate the poster for the upcoming 70th edition Total 24 Hours of Spa. It was an honour that he accepted the request and deeply regrettable that he will not be able to see the race get underway a week from Saturday.

SRO Motorsports Promotion extends its condolences to Clovis’ family, friends, and many fans across the globe.

VISEUR, Claude
Born: 4/26/1946, Quaregnon, Belgium
Died: 7/19/2018, Mons, Belgium

Claude Viseur’s western – animator:
Lucky Luke: Daisy Town - 1971