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Gulf Today
2 days ago
- Gulf Today
Alan Bergman, Oscar-winning lyricist who helped write 'The Way We Were,' dies at 99
Alan Bergman, the Oscar-winning lyricist who teamed with his wife, Marilyn, for an enduring and loving partnership that produced such old-fashioned hits as "How Do You Keep the Music Playing?,' "It Might Be You' and the classic "The Way We Were,' has died at 99. Bergman died late on Thursday at his home in Los Angeles, family spokesperson Ken Sunshine said in a statement on Friday. The statement said Bergman had, in recent months, suffered from respiratory issues "but continued to write songs till the very end.' The Bergmans married in 1958 and remained together until her death, in 2022. With collaborators ranging from Marvin Hamlisch and Quincy Jones to Michel Legrand and Cy Coleman, they were among the most successful and prolific partnerships of their time, providing words and occasional music for hundreds of songs, including movie themes that became as famous as the films themselves. Frank Sinatra, Michael Jackson, Tony Bennett and many other artists performed their material, and Barbra Streisand became a frequent collaborator and close friend. Alan and Marilyn Bergman arrive at the 26th annual ASCAP Pop Music Awards in Hollywood, California April 22, 2009. File/Reuters Sunshine said that there will still be a centennial celebration of Alan Bergman as planned at Santa Monica's Broad Stage, with guests including Michael Feinstein, Jackson Browne and Patti Austin. Feinstein, among the many artists who posted tributes Friday, wrote that the Bergmans were "kind, talented and principled artists' who "lived from a place called Love.' Blending Tin Pan Alley sentiment and contemporary pop, the Bergmans crafted lyrics known by millions, many of whom would not have recognized the writers had they walked right past them. Among their most famous works: the Streisand-Neil Diamond duet "You Don't Bring Me Flowers,' the well-named Sinatra favorite "Nice 'n' Easy' and the topical themes to the 1970s sitcoms "Maude' and "Good Times.' Their film compositions included Ray Charles' "In the Heat of the Night' from the movie of the same name; Noel Harrison's "The Windmills of Your Mind,' from "The Thomas Crown Affair'; and Stephen Bishop's "It Might Be You,' from "Tootsie.' The whole world seemed to sing and cry along to "The Way We Were,' an instant favorite recorded by Streisand for the 1973 romantic drama of the same name that co-starred Streisand and Robert Redford. Set to Hamlisch's tender, bittersweet melody, it was essentially a song about itself - a nostalgic ballad about nostalgia, an indelible ode to the uncertainty of the past, starting with one of history's most famous opening stanzas: "Memories / light the corners of my mind / misty watercolor memories / of the way we were.' Associated Press
The National
5 days ago
- The National
Dolce & Gabbana's Alta Sartoria offers up a dazzling blend of faith and fashion in Rome
Alta Moda came to a fitting close last night beneath the sun setting against the imposing Castel Sant'Angelo. Set on the banks of the Tiber, this historic structure was originally built as the mausoleum of Emperor Hadrian, and later repurposed to be used as a fortress by the popes. To reach it, guests crossed the famed Ponte Sant'Angelo, lined with angelic sculptures by Gian Lorenzo Bernini. Most recently seen in the Oscar-nominated Conclave, the castle's papal legacy formed the foundation for Dolce & Gabbana's Alta Sartoria men's collection, in the form of a journey through the language of ecclesiastical dress. The show opened with a belted coat embroidered with the red cassocks worn by Catholic cardinals and trimmed in intricate goldwork. This was followed by vestment-inspired tops, crafted in crisp, openwork linen, and paired with flowing satin trousers in cardinal red, green and yellow. A floor-length cape was densely stitched with an image of the castle itself, followed by sleeveless white tops moulded with the faces of the angels from the bridge. Antique altar cloths were transformed into sharply cut suit jackets. Tabards were rendered in inky blue sequins or encrusted with dense silver beadwork, echoing ceremonial mitres. This intricate detailing also adorned long coats and papal-esque capes. The visual language of devotion – itself a fitting metaphor for the reverent craftsmanship on show – was expressed in golden breastplates worn over high-neck white shirts, gem-studded necklaces and brass thurible incense burners swinging from chains. Naturally, as this was Dolce & Gabbana Alta Sartoria, there was no shortage of impeccable suiting: white brocade trimmed with pearls, iridescent black suits with embroidered lapels, sleeveless styles worn with long gloves and oversized gold flower brooches, and looks in muted gold or silver, entirely beaded or traced with pearl matrices. Others were richly brocaded, or embroidered in precious metal thread, fastened with silk fascia sashes. One wisteria-hued jacket shimmered with gold embroidery; another, in shocking fuchsia silk, was edged in pearls. Liturgical velvet capes in gold, midnight blue, and scarlet were blanketed in embroidery or sequins, while a cassock in papal purple with a short pellegrina cape swirled with golden threadwork. The collection was astonishing in its regal detail, a fact fully revealed only when the models assembled on the bridge for the finale. Up close, one suit that appeared to be jacquard, was in fact fully beaded in purple and black bugle beads, a piece that surely took weeks to create. In a collection steeped in sartorial devotion, this look encapsulated its essence. Such craftsmanship is at the heart of Dolce & Gabbana's touring exhibition From the Heart to the Hands, which recently opened in Rome. Celebrating a decade of Alta Moda, it showcases the house's dedication to preserving Italian artisanal know-how. After blockbuster stops in Paris and Milan, the show is set to travel to the United States next, with rumours of future showings in the Middle East. The five-day Dolce & Gabbana Roman spectacle that culminated in Alta Sartoria was nothing short of cinematic, a sweeping ode to couture, craft and culture. Yet amid the grandeur, two notes struck a poignant chord. The eagerly awaited Alta Gioielleria evening was cancelled due to a thunderstorm. And Stefano Gabbana was notably absent, having left early to be with his ailing mother – a quiet reminder of life's deeper rhythms beneath fashion's gilded surface. Still, the show went on. As Domenico Dolce took his bow beneath the castle, fireworks lit up the sky. Later, as guests strolled to dinner via the specially closed-off Spanish Steps, Dolce paused to greet clients with warm embraces and evident affection. The night was, in every sense, a Roman holiday: unforgettable, intimate and touched by a kind of magic no runway can exude.
Broadcast Pro
5 days ago
- Broadcast Pro
Palestinian film ‘Alam' to screen at AFLAMUNA in Beirut
Written and directed by Firas Khoury, 'Alam' follows the story of a Palestinian teenager named Tamer. Palestinian filmmaker Firas Khoury's feature film Alam will be screening at the AFLAMUNA, a cultural nonprofit based in Beirut working to harness the power of independent Arab cinema to elevate the most pressing social, political and cultural movements of our time, on July 18 at 8:30 PM. The film follows the story of a Palestinian teenager named Tamer, who leads a typical teenage life until the arrival of the beautiful Maysaa changes everything. As he grows closer to her, Tamer agrees to participate in a mysterious and life-changing operation called 'Alam.' Written and directed by Firas Khoury, Alam stars Mahmood Bakri, Sereen Khass, Saleh Bakri, Mohammad Karaki, Ahmad Zaghmouri and Muhammad Abed Elrahman. The film is produced by Marie Pierre Macia, Claire Gadéa, Naomie Lagadec, Melik Kochbati and Ossama Bawardi, with cinematography by Frida Marzouk, editing by Nadia Ben Rachid and music by Faraj Suleiman. In terms of bigger companies at play, Alam was produced by MPM Film, Paprika Films, and Philistine Films, and co-produced by Lacydon Bay Productions, Metafora Production, and the Red Sea Film Festival Foundation, with Arab world distribution by MAD Solutions and Lagoonie Film Production. The feature film received a grant from the Doha Film Institute and a $20,000 script development grant from the Abu Dhabi Film Festival's Sanad Fund. It was also chosen to participate in the Cinéfondation Workshop at the 2017 edition of the Cannes Film Festival and the 2019 Venice GAP-Financing Market; received a $10,000 grant from Cairo Film Connection, the CIFF's Co-Production Market, and was featured at the Atlas Workshops of the Marrakech International Film Festival.
