Age 78, while the cause of death has not been released NYC radio stations said she had been battling cancer. Below excerpted from NYTimes:
"Marianne Faithfull, who went from being a fresh-faced, feather-voiced pop star, as well as muse and girlfriend of Mick Jagger, to a homeless heroin addict, only to re-emerge radically altered in her early 30s as a critically acclaimed cabaret performer singing songs of dark honesty, died on Thursday in London. She was 78.
Her death was confirmed by a spokesperson, who did not cite a cause.
The roiling dramas in Ms. Faithfull’s life, along with the starry circles she moved in during the Swinging Sixties and the unvarnished power of her later music, turned her into a nearly mythic figure — a symbol of survival and transformation. It’s a role she at first rued but later came to relish.
“What I’ve been trying to do, and I think I’ve done it rather well, is bring the persona — or what was a false persona in the beginning — and me together,” she told the British newspaper The Independent in 2008.
But the road to get there was long and perilous. It involved a miscarriage, the temporary loss of her only child in a custody battle, a suicide attempt, several stints in rehab and a 1967 drug arrest — also involving the Rolling Stones — whose salacious and sometimes erroneous details generated reams of heated headlines in Britain."
"Marianne Faithfull, who went from being a fresh-faced, feather-voiced pop star, as well as muse and girlfriend of Mick Jagger, to a homeless heroin addict, only to re-emerge radically altered in her early 30s as a critically acclaimed cabaret performer singing songs of dark honesty, died on Thursday in London. She was 78.
Her death was confirmed by a spokesperson, who did not cite a cause.
The roiling dramas in Ms. Faithfull’s life, along with the starry circles she moved in during the Swinging Sixties and the unvarnished power of her later music, turned her into a nearly mythic figure — a symbol of survival and transformation. It’s a role she at first rued but later came to relish.
“What I’ve been trying to do, and I think I’ve done it rather well, is bring the persona — or what was a false persona in the beginning — and me together,” she told the British newspaper The Independent in 2008.
But the road to get there was long and perilous. It involved a miscarriage, the temporary loss of her only child in a custody battle, a suicide attempt, several stints in rehab and a 1967 drug arrest — also involving the Rolling Stones — whose salacious and sometimes erroneous details generated reams of heated headlines in Britain."
Well, that's sad, RIP Marianne.
More of her er, stunning beauty here;
I think I'll try that one as tribute, later tonight.
More of her er, stunning beauty here;
I think I'll try that one as tribute, later tonight.
So sad 😢 . Anyway, I prefer her as an actress over her singing capabilities. Especially her leading part in Irina Palm is stunning.
Best regards!
Best regards!
After posting that music vid, I later read the movie it's associated with was the very first "X" rated film in the US! The WB later cut some scene out to make it "R".
Her 'Broken English' is a classic album - and not at all like her early albums.
From the online edition of Apollo Magazine:
Rakewell was, like so many, sad to hear about the death of singer, poet and muse Marianne Faithfull. While her influence on music is widely recognised, there are other aspects of her life and career worth revisiting – her turn as Irina in Chekhov’s Three Sisters next to Glenda Jackson’s Masha, for a start. It is, however, another role that gives Rakewell particular pause for thought. When Sofia Coppola made Marie Antoinette (2006), her luscious macaron-coloured biopic, she knew what she was doing when she cast Faithfull in the impossible role of the empress Maria Theresa.
While the fact that Faithfull was the daughter of a spy and a baroness is well rehearsed, fewer people know that Faithfull, through her maternal grandfather, was a descendant of the Habsburg family. In 2007, Faithfull told, of all places, Saga magazine, ‘I dare say I have traits from both my parents.’ Perhaps Coppola had allowed Faithfull to bring out a Habsburgian side of her personality.
But Faithfull was Habsburgian in more ways than one. In the late 1970s, she became friends with Andy Warhol – the artist described by art historian Robert Rosenblum as the ‘court painter to the 70s’ – and was a fixture at his Factory. Through all these celebrity portraits Warhol became something of a late 20th-century Van Dyck. Yet the Factory wasn’t just serving a court; it was a court itself. As Faithfull told the Guardian in 2002, to get into the Factory ‘you either had to have a lot of dosh, or you had to be funny and charming, or you had to look really good’. She went on: ‘There was definitely an inner circle and, in a way, I was part of it because I was friends with [Warhol’s manager] Freddy Hughes.’ Photographed sitting on a bannister by Robert Mapplethorpe or backstage at a Blondie concert by Warhol himself, Faithfull seems complicit in the construction of her own image. But they also suggest that she understands just what court life was and what she had to give to be part of it. As Maria Theresa says to her daughter Marie Antoinette in Coppola’s film, explaining the importance of court life, ‘You represent the future; all eyes will be on you.’ As well as writing and performing some of the greatest songs of the ’70s and beyond, Faithfull managed to keep all eyes on her and become one of the great figures of her era.
Rakewell was, like so many, sad to hear about the death of singer, poet and muse Marianne Faithfull. While her influence on music is widely recognised, there are other aspects of her life and career worth revisiting – her turn as Irina in Chekhov’s Three Sisters next to Glenda Jackson’s Masha, for a start. It is, however, another role that gives Rakewell particular pause for thought. When Sofia Coppola made Marie Antoinette (2006), her luscious macaron-coloured biopic, she knew what she was doing when she cast Faithfull in the impossible role of the empress Maria Theresa.
While the fact that Faithfull was the daughter of a spy and a baroness is well rehearsed, fewer people know that Faithfull, through her maternal grandfather, was a descendant of the Habsburg family. In 2007, Faithfull told, of all places, Saga magazine, ‘I dare say I have traits from both my parents.’ Perhaps Coppola had allowed Faithfull to bring out a Habsburgian side of her personality.
But Faithfull was Habsburgian in more ways than one. In the late 1970s, she became friends with Andy Warhol – the artist described by art historian Robert Rosenblum as the ‘court painter to the 70s’ – and was a fixture at his Factory. Through all these celebrity portraits Warhol became something of a late 20th-century Van Dyck. Yet the Factory wasn’t just serving a court; it was a court itself. As Faithfull told the Guardian in 2002, to get into the Factory ‘you either had to have a lot of dosh, or you had to be funny and charming, or you had to look really good’. She went on: ‘There was definitely an inner circle and, in a way, I was part of it because I was friends with [Warhol’s manager] Freddy Hughes.’ Photographed sitting on a bannister by Robert Mapplethorpe or backstage at a Blondie concert by Warhol himself, Faithfull seems complicit in the construction of her own image. But they also suggest that she understands just what court life was and what she had to give to be part of it. As Maria Theresa says to her daughter Marie Antoinette in Coppola’s film, explaining the importance of court life, ‘You represent the future; all eyes will be on you.’ As well as writing and performing some of the greatest songs of the ’70s and beyond, Faithfull managed to keep all eyes on her and become one of the great figures of her era.
Not only a singer. Did not realise it was Marianne Faithfull in the leading role.
https://m.imdb.com/title/tt0762110/
RIP
https://m.imdb.com/title/tt0762110/
RIP