Garry Shandling Dies at 66

Total Page:16

File Type:pdf, Size:1020Kb

Garry Shandling Dies at 66 Garry Shandling dies at 66 Posted by tbnBBM On 03/25/2016 Comedian, actor, writer and producer Garry Shandling, known for “It’s Garry Shandling’s Show” and “The Larry Sanders Show,” died Thursday, the Los Angeles Police Department confirmed. He was 66. A spokesman for the LAPD said they received a 911 call from Shandling’s home on Thursday, saying the comedian suffered from a “medical emergency.” He later died at an L.A. hospital. Shandling wasn’t known to be suffering from any illnesses, and just a few days ago retweeted Kathy Griffin’s photo of himself, her and Bob Odenkirk. The influential comedian was known for his neurotic observational humor, particularly about romantic relationships, and his no-holds-barred skewering of showbiz in his inventive TV shows. “The Larry Sanders Show” was one of the early pillars of HBO’s original series strategy, garnering Emmy Awards and critical acclaim during its 1992-1998 run. Born in Chicago, Shandling was raised in Tucson, Ariz., and started out majoring in electrical engineering before completing a marketing degree at the University of Arizona. After moving to Los Angeles, he sold a script for “Sanford and Son” and also wrote for “Welcome Back, Kotter.” He guest-hosted on “The Tonight Show Starring Johnny Carson” and was in consideration to become Carson’s replacement. After a serious car accident, he began working on his stand-up comedy act. Comedian, actor, writer and producer Garry Shandling, known for “It’s Garry Shandling’s Show” and “The Larry Sanders Show,” died Thursday, the Los Angeles Police Department confirmed. He was 66. A spokesman for the LAPD said they received a 911 call from Shandling’s home on Thursday, saying the comedian suffered from a “medical emergency.” He later died at an L.A. hospital. Shandling wasn’t known to be suffering from any illnesses, and just a few days ago retweeted Kathy Griffin’s photo of himself, her and Bob Odenkirk. The influential comedian was known for his neurotic observational humor, particularly about romantic relationships, and his no-holds-barred skewering of showbiz in his inventive TV shows. “The Larry Sanders Show” was one of the early pillars of HBO’s original series strategy, garnering Emmy Awards and critical acclaim during its 1992-1998 run. Born in Chicago, Shandling was raised in Tucson, Ariz., and started out majoring in electrical engineering before completing a marketing degree at the University of Arizona. After moving to Los Angeles, he sold a script for “Sanford and Son” and also wrote for “Welcome Back, Kotter.” He guest-hosted on “The Tonight Show Starring Johnny Carson” and was in consideration to become Carson’s replacement. After a serious car accident, he began working on his stand-up comedy act. The seeds of “Larry Sanders Show” were planted on Showtime in 1986 when Shandling hosted “The Garry Shandling Show 25th Anniversary Special,” a parody of a Johnny Carson-esque anniversary special. He starred and co-created “Larry Sanders Show” for HBO, set in the office of a fictional late-night talk show, with Dennis Klein. Shandling was nominated for 18 Emmys for the show and, along with Peter Tolan, won an Emmy for the series finale. “The Larry Sanders Show” was said to have a lasting impact on TV comedy, influencing such series as “Curb Your Enthusiasm.” It cracked several “best of” lists, including Time’s 100 Best TV Shows of All Time. Judd Apatow was among the staff writers on the show who went on to become a major player in the industry. Among his film and voice acting appearances were “Iron Man 2,” “Captain America: The Winter Soldier,” “Dr. Dolittle,” “Zoolander” and “Over the Hedge.” The notorious flop “Town and Country,” in which he co-starred with Warren Beatty and Diane Keaton, was a big disappointment for Shandling in 2001. Although the comedian hadn’t amassed many recent credits, he worked behind the scenes with numerous writers and comedians including Apatow and Sacha Baron Cohen, helping them hone their material. NBC offered him $5 million to take over “Late Night” when David Letterman moved to CBS in 1993, but he declined. He was also offered “The Late Late Show” but declined to do the “Larry Sanders Show.” He was also a formidable host, hosting the Grammys in 1990, 1993 and 1994, and the Emmys in 2000 and 2004. Shandling was never married and did not have children. TMZ first reported the news. Article, photo source: http://variety.com/2016/tv/news/garry-shandling-dead-larry-sanders-show-show-1201738601/ Copyright © 2021 thebaynet.com. All rights reserved. Page 1.
Recommended publications
  • Cast Biographies RILEY KEOUGH (Christine Reade) PAUL SPARKS
    Cast Biographies RILEY KEOUGH (Christine Reade) Riley Keough, 26, is one of Hollywood’s rising stars. At the age of 12, she appeared in her first campaign for Tommy Hilfiger and at the age of 15 she ignited a media firestorm when she walked the runway for Christian Dior. From a young age, Riley wanted to explore her talents within the film industry, and by the age of 19 she dedicated herself to developing her acting craft for the camera. In 2010, she made her big-screen debut as Marie Currie in The Runaways starring opposite Kristen Stewart and Dakota Fanning. People took notice; shortly thereafter, she starred alongside Orlando Bloom in The Good Doctor, directed by Lance Daly. Riley’s memorable work in the film, which premiered at the Tribeca film festival in 2010, earned her a nomination for Best Supporting Actress at the Milan International Film Festival in 2012. Riley’s talents landed her a title-lead as Jack in Bradley Rust Gray’s werewolf flick Jack and Diane. She also appeared alongside Channing Tatum and Matthew McConaughey in Magic Mike, directed by Steven Soderbergh, which grossed nearly $167 million worldwide. Further in 2011, she completed work on director Nick Cassavetes’ film Yellow, starring alongside Sienna Miller, Melanie Griffith and Ray Liota, as well as the Xan Cassavetes film Kiss of the Damned. As her camera talent evolves alongside her creative growth, so do the roles she is meant to play. Recently, she was the lead in the highly-anticipated fourth installment of director George Miller’s cult- classic Mad Max - Mad Max: Fury Road alongside a distinguished cast comprising of Tom Hardy, Charlize Theron, Zoe Kravitz and Nick Hoult.
    [Show full text]
  • The Playhouse a Special Virtual Series July 16-August 15, 2020
    the playhouse a t W h i t e La k e A Special Virtual Series July 16-August 15, 2020 Live, Outdoor Performances at The Playhouse at White Lake The Playhouse Presents From Our House to Yours Free A Special, Virtual Series Admission to Both Shows! July 16-18 A Betrothal by Lanford Wilson Chicks by Grace McKeaney White Lake Youth Theatre Presents: LOVE by Finegan Kruckmeyer Happy by Alan Zweibel July 30, 31 and August 1 at 7:00pm Sponsored by Carmichael Heating & Air Conditioning July 23-25 Mind the Gap by Kimberly, Sky and Jacy Harsch Donations Welcome! August 6-8 Violet by Bebe Sanders Clear Glass Marbles by Jane Martin August 13-15 An Evening of Live Music Co-hosted by Muskegon Civic Theatre 2 Across by Jerry Mayer Max & Ruth Bloomquist, Karen & Eric Smith, Dale Clock, Diane VanWesep, Regina Schlaff, Kyle Schlaff, David Riegler, Heather MacCallum, Claire Root Benson, and many more! showtix4u.com August 22 at 7:00pm Visit, Click, Buy, Settle in and Enjoy! Rain Date: August 23 at 7:00pm Sponsored by White Lake Area Chamber of Commerce Proud to Sponsor the White Lake Youth Theatre! 231.766.9133 www.carmichaelheating.com Cast Natalie Carmolli as Ms. Joslyn Joe Carmolli as Mr. Wasserman Production Team Director Beth Pierson Managing Director Beth Beaman Assistant Managing Director A Betrothal Cindy Beth Davis Dykema by Lanford Wilson Technical Director, Scenic and Lighting Designer Streaming July 16-18 at 7:30pm Claire Beaman Production Manager and Costumer Lanford Wilson received the 1980 Pulitzer Prize for Caroline Arana Drama and the New York Drama Critics Circle Award Production Assistant and Stage Manager for TALLEY’S FOLLY.
    [Show full text]
  • Film Essay for "Mccabe & Mrs. Miller"
    McCabe & Mrs. Miller By Chelsea Wessels In a 1971 interview, Robert Altman describes the story of “McCabe & Mrs. Miller” as “the most ordinary common western that’s ever been told. It’s eve- ry event, every character, every west- ern you’ve ever seen.”1 And yet, the resulting film is no ordinary western: from its Pacific Northwest setting to characters like “Pudgy” McCabe (played by Warren Beatty), the gun- fighter and gambler turned business- man who isn’t particularly skilled at any of his occupations. In “McCabe & Mrs. Miller,” Altman’s impressionistic style revises western events and char- acters in such a way that the film re- flects on history, industry, and genre from an entirely new perspective. Mrs. Miller (Julie Christie) and saloon owner McCabe (Warren Beatty) swap ideas for striking it rich. Courtesy Library of Congress Collection. The opening of the film sets the tone for this revision: Leonard Cohen sings mournfully as the when a mining company offers to buy him out and camera tracks across a wooded landscape to a lone Mrs. Miller is ultimately a captive to his choices, una- rider, hunched against the misty rain. As the unidenti- ble (and perhaps unwilling) to save McCabe from his fied rider arrives at the settlement of Presbyterian own insecurities and herself from her opium addic- Church (not much more than a few shacks and an tion. The nuances of these characters, and the per- unfinished church), the trees practically suffocate the formances by Beatty and Julie Christie, build greater frame and close off the landscape.
    [Show full text]
  • The Garry Effect
    MR. META Shandling in a press photo for his first groundbreaking sitcom, It’s Garry Shandling’s Show, which ran on Showtime from 1986 to 1990, and notably broke the fourth wall. now-familiar tropes of showing the studio audience and directly address- ing viewers. And then there’s that winking theme song: “This is the theme to Garry’s show/The theme to Garry’s show/Garry called me up and asked if I would write his theme song.” Incredibly, the show found a huge audience, powered in part by Shan- dling’s status as a stand-up comic whose nasal delivery, blown-out bouf- fant and sardonic observations (rou- tinely centered on his sexual prowess, or lack thereof) earned him frequent appearances on Johnny Carson’s Tonight Show and a spot as one of its regular guest hosts. It also turned TELEVISION him into a role model for multiple generations of comedians. “He’s like the Replacements,” says Judd Apatow. The Garry Effect “A rock band that inspired a lot of peo- Judd Apatow’s HBO documentary aims to capture ple to start their own bands.” Garry Shandling’s lifetime of influence—as a Apatow included. For 25 years, the comedian, yes, but also as a human being. At comedy guru counted Shandling— who died of a heart attack in 2016 at more than four hours, it feels too short age 66—as a close friend and mentor. Apatow’s first contact was as a high school student, interviewing Shan- Try To imagine Television comedy works. Fly-on-the-wall camera dling for his school’s radio station.
    [Show full text]
  • For Immediate Release Second Night of 2018 Creative Arts
    FOR IMMEDIATE RELEASE SECOND NIGHT OF 2018 CREATIVE ARTS EMMY® WINNERS ANNOUNCED (Los Angeles, Calif. – September 9, 2018) The Television Academy tonight presented the second of its two 2018 Creative Arts Emmy® Awards Ceremonies honoring outstanding artistic and technical achievement in television at the Microsoft Theater in Los Angeles. The ceremony honored performers, artists and craftspeople for excellence in variety, nonfiction or reality programming, reality competition programming, music, choreography, as well as documentary or nonfiction specials, informational series or specials. Executive produced by Bob Bain, the Creative Arts Emmy Awards featured presenters from the season’s most popular shows including Jane Lynch (Hollywood Game Night, The Marvelous Mrs. Maisel), Judd Apatow (Director/Executive Producer of The Zen Diaries Of Garry Shandling), Carol Burnett (The Carol Burnett Show 50th Anniversary Special), RuPaul Charles (RuPaul’s Drag Race), Derek Hough (World of Dance), Heidi Klum (Project Runway, America’s Got Talent), Tim Gunn (Project Runway) and James Corden (The Late Late Show With James Corden). Press Contacts: Stephanie Goodell breakwhitelight (for the Television Academy) [email protected], (818) 462-1150 Daina Rama breakwhitelight (for the Television Academy) [email protected], (310) 525-6496 For more information please visit emmys.com. TELEVISION ACADEMY 70TH CREATIVE ARTS EMMY AWARDS – SUNDAY The awards for both ceremonies, as tabulated by the independent accounting firm of Ernst & Young LLP, were distributed as follows: Program Individual Total HBO 4 13 17 Netflix 5 11 16 NBC 1 14 15 CNN 3 5 8 FX Networks - 7 7 National Geographic - 5 5 Hulu - 4 4 VH1 - 4 4 FOX - 3 3 Prime Video - 3 3 Adult Swim 2 - 2 Cartoon Network - 2 2 CBS 1 1 2 Starz - 2 2 Apple Music 1 - 1 BBC America - 1 1 Comedy Central - 1 1 Disney Channel - 1 1 Nickelodeon - 1 1 PBS - 1 1 TBS 1 - 1 TNT - 1 1 Vimeo - 1 1 YouTube 1 - 1 A complete list of all awards presented tonight is attached.
    [Show full text]
  • Rock Has Risen
    FINAL-1 Sat, Mar 24, 2018 5:28:59 PM tvupdateYour Weekly Guide to TV Entertainment For the week of April 1 - 7, 2018 Rock has risen John Legend as seen in “Jesus Christ Superstar Live in Concert” INSIDE •Sports highlights Page 2 •TV Word Search Page 2 •Family Favorites Page 4 •Hollywood Q&A Page14 The last days of Christ get rock star treatment in an all-new, live televised musical production. With John Legend (“La La Land,” 2016) as Jesus, Sara Bareilles as Mary Magdalene and hard rock legend Alice Cooper as King Herod, Easter Sunday has never been so loud. Enjoy a fresh take on a tale of biblical proportions when “Jesus Christ Superstar Live in Concert” airs Sunday, April 1, on NBC. WANTED WANTED MOTORCYCLES, SNOWMOBILES, OR ATVS GOLD/DIAMONDS BUY SELL Salem, NH • Derry, NH • Hampstead, NH • Hooksett, NH ✦ 37 years in business; A+ rating with the BBB. TRADE Newburyport, MA • North Andover, MA • Lowell, MA ✦ For the record, there is only one authentic CASH FOR GOLD, Bay 4 YOUR MEDICAL HOME FOR CHRONIC ASTHMA Group Page Shell PARTS & ACCESSORIES We Need: SALESMotorsports & SERVICE SPRING ALLERGIES ARE HERE! 5 x 3” Gold • Silver • Coins • Diamonds MASS. MOTORCYCLE 1 x 3” DON’T LET IT GET YOU DOWN INSPECTIONS Alleviate your mold allergy this season! We are the ORIGINAL and only AUTHENTIC Appointments Available Now CASH FOR GOLD on the Methuen line, above Enterprise Rent-A-Car 978-683-4299 1615 SHAWSHEEN ST., TEWKSBURY, MA www.newenglandallergy.com at 527 So. Broadway, Rte. 28, Salem, NH • 603-898-2580 978-851-3777 Thomas F.
    [Show full text]
  • It's a Conspiracy
    IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse.
    [Show full text]
  • Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood Pdf, Epub, Ebook
    EASY RIDERS, RAGING BULLS: HOW THE SEX, DRUGS AND ROCK AND ROLL GENERATION SAVED HOLLYWOOD PDF, EPUB, EBOOK Peter Biskind | 512 pages | 26 Apr 1999 | SIMON & SCHUSTER | 9780684857084 | English | New York, United States Easy Riders, Raging Bulls: How the Sex, Drugs and Rock and Roll Generation Saved Hollywood PDF Book My impression of this documentary wasn't so great due to the fact of already seeing and knowing a similar themed work a few years ago called "A Decade Under the Influence" , directed by Ted Demme and Richard LaGravenese, which was a better project for numerous reasons. Why do people go see them? The book is hefty with gossip of all kinds, which is too bad because he's talking about the revolution in films in the 60's to early 80's. It is chock full of interviews and choice information about the time period 60's's in American cinema that changed everything, for a lot better and some for not. Beatty likes to fuck alot. Biskind's book disappointed me tremendously. Return to the Books Home Page. Assassinations, cultural domination, drugging, spying, provocation: Talk about taking the fight to your opponents—the American people—and crippling them for generations! But in the kind of popularized pseudohistory ''Easy Riders, Raging Bulls'' exemplifies, anecdotes are valued above all else, bitchy gossip is privileged, dysfunction is automatically more fascinating than artistic success, aggrieved former friends and former lovers are granted the license to settle scores sometimes anonymously , documentation is disdained and historical analysis must be squeezed into the narrative quickly, so as not to disrupt the dishing.
    [Show full text]
  • As Writers of Film and Television and Members of the Writers Guild Of
    July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C.
    [Show full text]
  • Frank Farmer Dialogue and Critique: Bakhtin and the Cultural Studies Writing Classroom
    4farmer.fm Page 186 Wednesday, April 8, 1998 8:12 AM Frank Farmer Dialogue and Critique: Bakhtin and the Cultural Studies Writing Classroom I repeated the line, “the idea was so simple, anyone could [have] thought of it, but it was so obvious that it never occurred to me.” I said that this was what a cultural critic needed to be able to do: to notice those simple-seeming, obvious things that usually go unnoticed. I said that this was what cultural theory was good for, helping us to see what is ordinarily invisible to the people who are actually members of the culture being studied. I said I thought this writer had understood that concept, and had become a cultural critic. —Kathleen Dixon (112) n the excerpt above, Kathleen Dixon re- peats what she obviously feels to be a crucial I line from one of her student’s papers, a line that expresses the kind of epiphany that would be pleasing to any writing teacher, but perhaps especially gratifying to those writing teachers who employ a cultural studies perspective in their classrooms. This is so be- cause insight for the cultural studies teacher is not simply a fortuitous, cur- sory moment in the process of rhetorical invention but is, indeed, the very heart of cultural critique. I would like to suggest further, that what Dixon reveals in this passage may well be the central dilemma faced by instructors who teach from a cultural studies perspective—namely, the difficulty in making a liberatory Frank Farmer is an associate professor of English at East Carolina University where he teaches writing and graduate courses in rhetorical theory and history.
    [Show full text]
  • Jewish Self-Hatred and the Larry Sanders Show
    “Y’ALL KILLED HIM, WE DIDN’T” Jewish Self-Hatred and The Larry Sanders Show Vincent Brook University of Southern California Did the Jews invent self-hatred? A case can be made—from the production and the reception end. Centuries before they were branded collective Christ killers in the Gospel of St. Matthew, a calumny that laid the groundwork for both anti-Semitism and Jewish self-hatred, Jews themselves had planted the seeds of self-hatred for all humanity in the Garden of Eden. The biblical God’s banishment of the ur-couple from Paradise inflicted a primordial self-loathing that would prove, at least for the faithful, all but inexpungable. Then there’s the Jewish Freud, whose non-denominational take on Original Sin postulated a phylogenic and an ontogenic source: the collective killing of the Primal Father and the individual Oedipal complex. Freud’s daughter Anna, meanwhile, gave self-hatred back to the Jews through her concept of “identification with the aggressor,” which, while applicable universally, derived specifically from the observations of Jewish children who had survived Hitler Germany and yet identified positively with their Nazi persecutors and negatively with themselves as Jewish victims. Last not least, the poet laureate of existential angst, Franz Kafka, historicized self- hatred, laying the theoretical and experiential groundwork for what Jewish filmmaker Henry Bean calls “the ambivalent, self-doubting, self-hating modern condition.”1 To ascribe a privileged role for Jews in the encoding and decoding of self-hatred is certainly not to deny other groups’ significant enmeshment in the process. Just as Jews have introjected anti-Semitism, people of color, women, gays, and lesbians have internalized the damaging social messages of racism, misogyny, and homophobia, directing against themselves the projected hatred of the normative society.
    [Show full text]
  • ACOUSTIC ALCHEMY and JESSE COOK
    SEASON CERRITOS CENTER FOR THE PERFORMING ARTS 2011–2012 SEASON SPONSORS The City of Cerritos gratefully thanks our 2011–2012 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. SEASON YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at 562-916-8510. SEASON CERRITOS CENTER FOR THE PERFORMING ARTS THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. ENCORE Beth Anderson Rodolfo Chavez Bryan A. Stirrat & Associates Hedy Harrison-Anduha and Liming Chen Jose Iturbi Foundation Larry Anduha Wanda Chen National Endowment for the Susan and Clifford Asai Margie and Ned Cherry Arts Larry Baggs Frances and Philip Chinn Eleanor and David St. Clair Marilyn Baker Nancy and Lance Chontos Terry Bales Patricia Christie HEADLINER Sallie Barnett Richard Christy The Capital Group Companies Alan Barry Rozanne and James Churchill Charitable Foundation Cynthia Bates Neal Clyde Chamber Music Society of Dennis Becker Mark Cochrane Detroit Barbara S. Behrens Michael Cohn The Gettys Family Aldenise Belcer Claire Coleman Los Cerritos Center Yvette Belcher Mr.
    [Show full text]