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Gary Foster

NEWS
June 25, 1993 | BILL HIGGINS
The Scene: Wednesday's benefit premiere of TriStar's "Sleepless in Seattle" at the Cineplex Odeon theater. A sit-down dinner followed in the Century Plaza Hotel's Los Angeles Ballroom. The evening, which netted $2.5 million for the Motion Picture and Television Fund Foundation, was thought to be by far the most financially successful benefit premiere in history. "As far as I know it's the biggest," said honoree Edie Wasserman. "And I've been here since 1939."
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ENTERTAINMENT
November 15, 1987 | Donald Chase
No. 5, the lovable robot of "Short Circuit," helped push that film to a lovable $100 million in worldwide theatrical and ancillary revenues--surprisingly without merchandising tie-ins to the lovable movie. But the nuts-and-bolts humanoid, laboring in Toronto for producers Lawrence Turman and David Foster and director Kenneth Johnson in "Short Circuit II," appealed most strongly to the under-14 audience. So No. 5 is about to lose its merchandising innocence.
BUSINESS
October 1, 2002 | RICHARD VERRIER, TIMES STAFF WRITER
Die-hard Disney fans say they are being shortchanged by the company's decision Monday to shut down a discount club inspired by the company's founder. The latest dispute between fans and Walt Disney Co.'s corporate managers centers on the Burbank entertainment company's decision to close the Disney Club by next year.
ENTERTAINMENT
October 17, 1997 | BILL KOHLHAASE, SPECIAL TO THE TIMES
Pianist Alan Broadbent's trio, with guest saxophonist Gary Foster, gave a performance Wednesday night that recalled the West Coast jazz movement, something most fitting to the occasion: Steamers Cafe's third-anniversary celebration. Jazz clubs such as Steamers are increasingly rare.
ENTERTAINMENT
February 2, 2000 | DON HECKMAN, SPECIAL TO THE TIMES
Grammy celebration month began a day early Monday with an exhilarating, four-hour, all-star jam session at the Jazz Bakery. Attended by a packed crowd, it was the first of four similar events leading up to Grammy Awards night on Feb. 23. The setup for the evening harked back to one of the most venerable jazz concert formats: a Jazz at the Philharmonic-style presentation in which a single rhythm section backed a series of upfront soloists.
ENTERTAINMENT
January 5, 2008 | Don Heckman, Special to The Times
Stan Getz was both the subject and the honoree in the performance of Don Menza's septet Thursday night at Charlie O's in Van Nuys. And what better way to honor the jazz icon than with a Four Brothers-style saxophone section and rhythm, featuring three tenor saxophonists, each displaying differing aspects of his multifaceted playing?
NEWS
May 16, 1997 | BILL HIGGINS, SPECIAL TO THE TIMES
The new $4-million Beverly Hills Spago would seem the natural lair for the media moguls Ken Auletta has such a deft touch in making talk. What better place for a Rupert Murdoch, Sumner Redstone, Michael Eisner or John Malone to dine?
CALIFORNIA | LOCAL
July 28, 2000 | ZAN STEWART, SPECIAL TO THE TIMES
There was a point in accordion player Frank Marocco's career when his instrument had fallen out of favor and he turned to the piano to make a living. At one point during this period, in the early to mid-1970s, he worked with Les Brown's Band of Renown for four years. Then Marocco got some solid advice from his friend, the late acclaimed studio guitarist Tommy Tedesco, who asked him why be a dime-a-dozen pianist when he could be a top-drawer accordionist.
ENTERTAINMENT
August 17, 2007 | Robert W. Welkos, Times Staff Writer
The unlikely friendship between Los Angeles Times columnist Steve Lopez and skid row musician Nathaniel Anthony Ayers is set to become a motion picture at DreamWorks SKG starring Oscar-winner Jamie Foxx as the musician.
ENTERTAINMENT
January 5, 2000 | DON HECKMAN, SPECIAL TO THE TIMES
Effective jazz singing demands a number of seemingly incompatible skills. There is, first of all, the need to essentially perform like a musical instrument, moving through melodies in an improvisational fashion, interacting with the harmonies and generating an inner sense of swing. At the same time, however, there is the need to respect the song and its message and to find a balance between the musical and the storytelling aspects of a performance.
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