The woman who fatally shoved 87-year-old Broadway vocal coach Barbara Gustern in New York received a longer-than-expected prison sentence Friday after pleading guilty to manslaughter in August.
Lauren Pazienza was sentence to eight-and-a-half years behind bars during her sentencing hearing, which is six months more than what was recommended as part of the plea agreement she made with the Manhattan’s District Attorney’s Office.
In handing down a slightly more severe sentence, Manhattan state Supreme Court Judge Felicia Mennin said she was unconvinced that Pazienza had taken responsibility for...
Lauren Pazienza was sentence to eight-and-a-half years behind bars during her sentencing hearing, which is six months more than what was recommended as part of the plea agreement she made with the Manhattan’s District Attorney’s Office.
In handing down a slightly more severe sentence, Manhattan state Supreme Court Judge Felicia Mennin said she was unconvinced that Pazienza had taken responsibility for...
- 10/1/2023
- by Daniel Kreps
- Rollingstone.com
Diamanda Galás, the powerful vocalist whose avant-garde compositions cry out for humanity, has penned a letter condemning Lauren Pazienza, the woman who last year killed Galás’ friend, Barbara Gustern. Gustern was a beloved, New York City vocal coach who tutored not only Galás but Debbie Harry, Kathleen Hanna, Taylor Mac, and many others.
A judge last month sentenced the 27-year-old Pazienza, who fatally shoved the 87-year-old Gustern while attempting to get a taxi, to eight years in prison followed by five years of supervision after she pleaded guilty to first-degree manslaughter.
A judge last month sentenced the 27-year-old Pazienza, who fatally shoved the 87-year-old Gustern while attempting to get a taxi, to eight years in prison followed by five years of supervision after she pleaded guilty to first-degree manslaughter.
- 9/5/2023
- by Kory Grow
- Rollingstone.com
Barbara Gustern, the Manhattan vocal coach who at 87 years old would teach students nearly every day in her Chelsea apartment before attending their concerts at night, had gained a clientele that included Blondie’s Debbie Harry, avant-garde heroine Diamanda Galás, Bikini Kill’s Kathleen Hanna, Broadway performers, and anyone who wanted to learn how to sing.
On Thursday, Harry responded to the sentencing of Lauren Pazienza, 27, who fatally shoved Gustern and pleaded guilty to a first-degree manslaughter charge. Pazienza will be sentenced to eight years in prison followed by five...
On Thursday, Harry responded to the sentencing of Lauren Pazienza, 27, who fatally shoved Gustern and pleaded guilty to a first-degree manslaughter charge. Pazienza will be sentenced to eight years in prison followed by five...
- 8/24/2023
- by Charisma Madarang
- Rollingstone.com
The woman who fatally shoved 87-year-old Broadway vocal coach Barbara Gustern in New York pleaded guilty to a first-degree manslaughter charge.
Lauren Pazienza, 27, will be sentenced to eight years in prison followed by five years of supervision after her release under the terms of the plea, according to the Manhattan District Attorney’s office. She is scheduled to be sentenced on Sept. 29.
“Lauren Pazienza aggressively shoved Barbara Gustern to the ground and walked away as the beloved New Yorker lay there bleeding. Today’s plea holds Pazienza accountable for her deadly actions,...
Lauren Pazienza, 27, will be sentenced to eight years in prison followed by five years of supervision after her release under the terms of the plea, according to the Manhattan District Attorney’s office. She is scheduled to be sentenced on Sept. 29.
“Lauren Pazienza aggressively shoved Barbara Gustern to the ground and walked away as the beloved New Yorker lay there bleeding. Today’s plea holds Pazienza accountable for her deadly actions,...
- 8/23/2023
- by Charisma Madarang
- Rollingstone.com
At The Sonic Catering Institute, art collectives working with food and sound are given three-week residencies that, in the words of its monied, micromanaging patron Jan Stevens (Gwendoline Christie), involve “the artistic pursuit of alimentary and culinary salvation to be done as public performance.”
This is the pleasurably esoteric, densely atmospheric world of Peter Strickland’s latest venture into psychological-distress-as-ice-cold-comedy, “Flux Gourmet,” and it is by turns scatological, hilarious, art-referential and, ultimately, moving.
For the cleverly-named group leader Elle di Elle (Fatma Mohamed) and her collaborators Billy Rubin (Asa Butterfield) and Lamina Propria (Ariane Labed), all of whom rise, walk and smoke in sync — at first, anyway, before the friction and infighting begins — the prospect of freedom to create their specialized brand of performance is a dream come true. Together they pantomime the process of grocery shopping, attach microphones, effects-generating equipment and amps to their prep stations, then chop and...
This is the pleasurably esoteric, densely atmospheric world of Peter Strickland’s latest venture into psychological-distress-as-ice-cold-comedy, “Flux Gourmet,” and it is by turns scatological, hilarious, art-referential and, ultimately, moving.
For the cleverly-named group leader Elle di Elle (Fatma Mohamed) and her collaborators Billy Rubin (Asa Butterfield) and Lamina Propria (Ariane Labed), all of whom rise, walk and smoke in sync — at first, anyway, before the friction and infighting begins — the prospect of freedom to create their specialized brand of performance is a dream come true. Together they pantomime the process of grocery shopping, attach microphones, effects-generating equipment and amps to their prep stations, then chop and...
- 6/23/2022
- by Dave White
- The Wrap
Barbara Gustern seemed invincible. At 87 years old, the Manhattan vocal coach had more stamina than the average college student. Nearly every day, she would teach students in her Chelsea apartment for eight hours before attending their concerts at night. Over the years, her clientele included Blondie’s Debbie Harry, avant-garde heroine Diamanda Galás, Bikini Kill’s Kathleen Hanna, Broadway performers, downtown firebrands, and anyone who wanted to learn to sing. When it was time to hit a show to see her pupils, she’d walk up to a mile and a half.
- 3/29/2022
- by Kory Grow
- Rollingstone.com
Scattered pennies glistened along the pathway and steps leading into the Church of the Holy Apostles, an episcopal church in midtown Manhattan, where a memorial service for Barbara Maier Gustern was held on Saturday afternoon. During her lifetime, Gustern — a beloved vocal coach who was killed at age 87 in a senseless act of violence — loved finding pennies on sidewalks. She would give the coins to her students and ask them to place them in their right shoes for good luck before performances.
“She was kind of sad there weren’t...
“She was kind of sad there weren’t...
- 3/27/2022
- by Kory Grow
- Rollingstone.com
Hal Willner wasn’t known for playing music himself. But the producer, who died Monday at 64, had a unique gift for making music happen. Through his marvelously eclectic tribute albums — which featured everything from Tom Waits yowling out Snow White’s “Heigh Ho (The Dwarf’s Marching Song)” to Debbie Harry singing a wordless tune from Fellini’s La Dolce Vita and Chuck D declaiming passages from Charles Mingus’ autobiography — he turned countless sonic what-ifs into reality. As he once put it, through his curation he was “trying to to...
- 4/7/2020
- by Hank Shteamer
- Rollingstone.com
When you listen to “Worthless Abominations Destroyed,” the new “single” from Mayhem’s forthcoming album Daemon, you’re supposed to feel what Teloch, the band’s guitarist and songwriter for this cheery ray of sunshine, calls an “all is lost and hopeless” feeling. That’s considered a virtue in black metal, the extremely extreme subgenre the Norwegian group helped resuscitate in the early Nineties. Their breakthrough LP, De Mysteriis Dom Sathanas — released after their bassist murdered their guitarist — felt especially gloomy (there was “none more bleak,” to pun off a...
- 9/5/2019
- by Kory Grow
- Rollingstone.com
Abdellatif Kechiche’s Palme d’Or winner to open T-Mobile New Horizons International Film Festival; competition titles announced.Scroll down for competition titles
Poland’s T-Mobile New Horizons International Film Festival (July 18-28) is to open with this year’s Palme d’Or winner, Blue is the Warmest Colour (La vie d’Adèle - Chapitre 1 & 2) by Abdellatif Kechiche.
The closing film will be the Polish premiere of Malgoska Szumowska’s Berlinale competition title and Teddy Award winner In the Name of.
Festival organizers also announced the films in competition at this year’s event.
The New Horizons International Competition consists of 12 Polish premieres including Rotterdam competition title Noche by Leonardo Brzezicki, Locarno Fipresci award winner Leviathan by Lucien Castaing-Taylor and Véréna Paravel, as well as this year’s Cannes’ Un Certain Regard title Stranger by the Lake by Alain Guiraudie.
The Jury for this competition will be announced next week.
The Films in...
Poland’s T-Mobile New Horizons International Film Festival (July 18-28) is to open with this year’s Palme d’Or winner, Blue is the Warmest Colour (La vie d’Adèle - Chapitre 1 & 2) by Abdellatif Kechiche.
The closing film will be the Polish premiere of Malgoska Szumowska’s Berlinale competition title and Teddy Award winner In the Name of.
Festival organizers also announced the films in competition at this year’s event.
The New Horizons International Competition consists of 12 Polish premieres including Rotterdam competition title Noche by Leonardo Brzezicki, Locarno Fipresci award winner Leviathan by Lucien Castaing-Taylor and Véréna Paravel, as well as this year’s Cannes’ Un Certain Regard title Stranger by the Lake by Alain Guiraudie.
The Jury for this competition will be announced next week.
The Films in...
- 6/27/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Yoko Ono, an icon of imagination in a variety of artistic fields, declares that "inspiration, energy and elevation"are the themes that have run through all her creative activities. Her new album, Yokokimthurston (which I reviewed for eMusic.com) is a collaboration with Sonic Youth's Kim Gordon and Thurston Moore that embodies those qualities as thoroughly and provocatively as any album she's released since her classic '70s LPs.
Asked whether she finds the new album comparable to any of her previous work, Ono answers, "Maybe the first, Yoko Ono Plastic Ono Band. But this time, the sound that came out was much darker, reflecting what's going on in the world now." Maybe it's the company she's keeping, maybe it's the times, but a big part of what makes Yokokimthurston like Yoko Ono Plastic Ono Band is how it unleashes the unabashed, undiluted avant-garde Yoko at her most spontaneous.
Asked whether she finds the new album comparable to any of her previous work, Ono answers, "Maybe the first, Yoko Ono Plastic Ono Band. But this time, the sound that came out was much darker, reflecting what's going on in the world now." Maybe it's the company she's keeping, maybe it's the times, but a big part of what makes Yokokimthurston like Yoko Ono Plastic Ono Band is how it unleashes the unabashed, undiluted avant-garde Yoko at her most spontaneous.
- 10/10/2012
- by SteveHoltje
- www.culturecatch.com
Singers join programme that reportedly includes Kevin Costner and label executive Clive Davis
Aretha Franklin and Stevie Wonder will perform at Whitney Houston's funeral this Saturday. The singers have joined a programme that reportedly includes Kevin Costner and label executive Clive Davis, who will both address mourners at Houston's childhood church.
Details are only gradually emerging for the private service, which is overseen by family members including Houston's mother, Cissy, and her cousin, the singer Dionne Warwick. On Thursday the Associated Press announced they have permission to broadcast the funeral online; they will be allowed just one camera into Newark's New Hope Baptist Church, which has been barred to the public.
Although many fans are upset at their exclusion from the funeral, observers are expected a star-studded gathering. Oprah Winfrey has been invited, according to Houston's former publicist, Kristen Foster, as has Houston's ex-husband, Bobby Brown. Gospel singer Marvin Winans will deliver the eulogy,...
Aretha Franklin and Stevie Wonder will perform at Whitney Houston's funeral this Saturday. The singers have joined a programme that reportedly includes Kevin Costner and label executive Clive Davis, who will both address mourners at Houston's childhood church.
Details are only gradually emerging for the private service, which is overseen by family members including Houston's mother, Cissy, and her cousin, the singer Dionne Warwick. On Thursday the Associated Press announced they have permission to broadcast the funeral online; they will be allowed just one camera into Newark's New Hope Baptist Church, which has been barred to the public.
Although many fans are upset at their exclusion from the funeral, observers are expected a star-studded gathering. Oprah Winfrey has been invited, according to Houston's former publicist, Kristen Foster, as has Houston's ex-husband, Bobby Brown. Gospel singer Marvin Winans will deliver the eulogy,...
- 2/17/2012
- by Sean Michaels
- The Guardian - Film News
Days after Whitney Houston's sudden death, Clive Davis -- whose pre-Grammy party went on Saturday evening hours after news of the singer's death was made public -- is feeling the heat. Diamanda Galas, an avant-garde musician who has released 21 studio albums, wrote on her official Facebook page on Monday, calling the record executive "a colossal pig." According to Galas, Houston "should have been allowed to study for a minimum of two years with a voice therapist/teacher before even rehearsing, let alone performing, onstage." In the entry, she claimed that the singer "was put back onstage before she
read more...
read more...
- 2/16/2012
- by THR Staff
- The Hollywood Reporter - Movie News
Looking back at 2011 on what films moved and impressed us it becomes more and more clear—to me at least—that watching old films is a crucial part of making new films meaningful. Thus, our end of year poll, now an annual tradition, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2011—in theaters or at a festival—and creatively pair it with an old film they also saw in 2011 to create a unique double feature. Many contributors chose their favorites of 2011, some picked out-of-the-way gems, others made some pretty strange connections—and some frankly just want to create a kerfuffle. All the contributors were asked to write a paragraph explaining their 2011 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative...
- 1/5/2012
- MUBI
The 10th annual Lausanne Underground Film Festival is a truly epic film event with an immense lineup of the strangest, sexiest, most grotesque, oddball and downright freakish movies from all over the world — from modern underground treats to classic cult movies of yesteryear.
The fest officially begins on Oct. 15 with a special live performance by the legendary Diamanda Galas. But the film festivities run from Oct. 17-23, starting with the grand opening of an exhibition and retrospective of the films by Ericka Beckman.
The full film lineup, which is presented below, is a massive mix of underground greatness, but here are some of the highlights:
Gross-Out Flicks:
Chop, dir. Trent Haaga.
The Taint, dir. Drew Bolduc and Dan Nelson.
Calibre 9, dir. Jean-Christian Tassy.
The Bunny Game, dir. Adam Rehmeier
Trippy Movies:
Profane, dir. Usama Alshaibi
The Oregonian, dir. Calvin Lee Reeder
Hellacious Acres: The Case of John Glass, dir.
The fest officially begins on Oct. 15 with a special live performance by the legendary Diamanda Galas. But the film festivities run from Oct. 17-23, starting with the grand opening of an exhibition and retrospective of the films by Ericka Beckman.
The full film lineup, which is presented below, is a massive mix of underground greatness, but here are some of the highlights:
Gross-Out Flicks:
Chop, dir. Trent Haaga.
The Taint, dir. Drew Bolduc and Dan Nelson.
Calibre 9, dir. Jean-Christian Tassy.
The Bunny Game, dir. Adam Rehmeier
Trippy Movies:
Profane, dir. Usama Alshaibi
The Oregonian, dir. Calvin Lee Reeder
Hellacious Acres: The Case of John Glass, dir.
- 10/13/2011
- by Mike Everleth
- Underground Film Journal
Hailed as one of the most important singers of our time, Diamanda Galás has earned international acclaim for her highly original and politically charged performance works, as well as her memorable rendition of jazz and blues. A resident of New York City since 1989, she was born to Anatolian and Greek parents, who always encouraged her gift for piano. From early on she studied both classical and jazz, accompanying her father's gospel choir before joining his New Orleans-style band, and performing as a piano soloist with the San Diego Symphony at 14....
- 4/16/2011
- Screen Anarchy
What I love about this new poster for Luca Guadagnino’s I Am Love (Io sono l'amore) is not just its gorgeous typography, but also how it celebrates its lead actress, the incomparable Tilda Swinton. In the film, which premiered at Venice and Sundance and opens in the U.S. in June, Swinton plays a Russian woman married into a rich Milanese family who embarks upon a tempestuous affair with her son’s business partner. In the UK quad poster Swinton’s co-stars (including Barry Lyndon’s Marisa Berenson) have been turned into grey statues, like characters in a Roy Andersson film, while Swinton is suitably vivid in pink.
Ever since she pirouetted to the wails of Diamanda Galas, tearing furiously at her wedding dress and running with scissors, in Derek Jarman’s masterpiece The Last of England (1988), Swinton has been a constantly arresting presence in film. Furiously intelligent and a restlessly curious human being,...
Ever since she pirouetted to the wails of Diamanda Galas, tearing furiously at her wedding dress and running with scissors, in Derek Jarman’s masterpiece The Last of England (1988), Swinton has been a constantly arresting presence in film. Furiously intelligent and a restlessly curious human being,...
- 2/26/2010
- MUBI
Reverberating with all the miniature histrionics of a liberal arts classroom project, ''Antigone/Rites of Passion'' is the cinematic equivalent of putting on a play in the backyard. It ends this year's AFI USA Independent Showcast.
In this ambitious interpretation, first-time writer-director Amy Greenfield has choreographed a cacophony of dissonances -- musical and visual -- to convey ''Oedipus at Colonus'' and ''Antigone.'' While the choreography is often powerful, conveying the agony of Antigone's suicidal defiance of the state, the project is all left feet as a film.
Greenfield also stars as the conscionable Antigone, Oedipus' stalwart daughter, who not only comforts her stricken father following his banishment from Thebes but defies his successor Creon's cruel edict that her brother, whom he has unfairly banished as an enemy of the state, not be buried but be left to rot in the desert as an example to all those who oppose his iron-fisted rule.
In this screechy, bare-bones production, Greenfield follows Sophocles' writing literally, trudging through the tragedy with unswerving rigor. Unfortunately, this dance interpretation is shackled by Greenfield's inability to distill the emotional essence; by slavishly following the dramatic structure she has sapped the emotional ebb and flow of her choreography.
Propelled by narrative voiceover, this shot-in-the-woods production is, essentially, a textural narrative in which assonant music, swirling sounds, ponderous movement and bodily gropings congeal into one big tedious heap. It's a relentless blast of artistic constructs which, amazingly, show their seams at every excruciating moment. Within the framework of a grant proposal, all this new-age artsiness may have sounded significant, but as realized in this cumbersome film, it merely serves to suck the complex blood out of the Orestian tragedy.
Technical contributions, most obtrusively the awkward camera movements, are further reduced by the blast of the pompous voiceovers.
ANTIGONE/RITES OF PASSION
Eclipse Prods.
Screenwriter-director-producer Amy Greenfield
Based on ''Oedipus at Colonus'' and ''Antigone''by Sophocles
Directors of photography Hilary Harris, Judy Irola
Music Glenn Branca, Diamanda Galas, Paul Lemos, Elliott Sharp, David Van Tieghem
Associate producer Robert Haller
Sound designer-editor Bernard Hajdenberg
Costumes Betty Howard, Jane Townsend
Color/Stereo
Cast
Antigone Amy Greenfield
Oedipus Bertram Ross
Ismeme Janet Eilber
Creon Bertram Ross
Polynices Henry Montes
Eteocles Silvio Facchin
Haemon Sean McElroy
Running time -- 85 minutes
No MPAA rating
(c) The Hollywood Reporter...
In this ambitious interpretation, first-time writer-director Amy Greenfield has choreographed a cacophony of dissonances -- musical and visual -- to convey ''Oedipus at Colonus'' and ''Antigone.'' While the choreography is often powerful, conveying the agony of Antigone's suicidal defiance of the state, the project is all left feet as a film.
Greenfield also stars as the conscionable Antigone, Oedipus' stalwart daughter, who not only comforts her stricken father following his banishment from Thebes but defies his successor Creon's cruel edict that her brother, whom he has unfairly banished as an enemy of the state, not be buried but be left to rot in the desert as an example to all those who oppose his iron-fisted rule.
In this screechy, bare-bones production, Greenfield follows Sophocles' writing literally, trudging through the tragedy with unswerving rigor. Unfortunately, this dance interpretation is shackled by Greenfield's inability to distill the emotional essence; by slavishly following the dramatic structure she has sapped the emotional ebb and flow of her choreography.
Propelled by narrative voiceover, this shot-in-the-woods production is, essentially, a textural narrative in which assonant music, swirling sounds, ponderous movement and bodily gropings congeal into one big tedious heap. It's a relentless blast of artistic constructs which, amazingly, show their seams at every excruciating moment. Within the framework of a grant proposal, all this new-age artsiness may have sounded significant, but as realized in this cumbersome film, it merely serves to suck the complex blood out of the Orestian tragedy.
Technical contributions, most obtrusively the awkward camera movements, are further reduced by the blast of the pompous voiceovers.
ANTIGONE/RITES OF PASSION
Eclipse Prods.
Screenwriter-director-producer Amy Greenfield
Based on ''Oedipus at Colonus'' and ''Antigone''by Sophocles
Directors of photography Hilary Harris, Judy Irola
Music Glenn Branca, Diamanda Galas, Paul Lemos, Elliott Sharp, David Van Tieghem
Associate producer Robert Haller
Sound designer-editor Bernard Hajdenberg
Costumes Betty Howard, Jane Townsend
Color/Stereo
Cast
Antigone Amy Greenfield
Oedipus Bertram Ross
Ismeme Janet Eilber
Creon Bertram Ross
Polynices Henry Montes
Eteocles Silvio Facchin
Haemon Sean McElroy
Running time -- 85 minutes
No MPAA rating
(c) The Hollywood Reporter...
- 11/21/1991
- The Hollywood Reporter - Movie News
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