Instruct: Given a question, retrieve relevant passages that can help answer the question.
Query: how did Lou Lombardo die?
Lombardo and his wife, Lynn, had two daughters and a son, Tony Lombardo, who also became a film editor.[46][47] In addition to his son, Lombardo mentored Dennis M. Hill and Paul Rubell in the early stages of their careers.[48] Lombardo was interviewed about his career by Vincent LoBrutto in 1991.[13] In that same year, he suffered a stroke that left him comatose until his death in 2002.[1][46]
Lombardo decided to stay following relegation as Palace started poorly under new manager Terry Venables. A severe financial crisis and a need to cut Palace's wage bill resulted in Lombardo leaving in January 1999 to join a S.S. Lazio team managed by Sven-Göran Eriksson. In 2005, Lombardo was voted into Palace's Centenary XI, despite having only made 49 appearances for the Eagles (far fewer than any of the other ten players, showing how highly Palace fans held "The Bald Eagle").
In 561, Emperor Xiaozhao, fearful of astrological signs that appear to indicate that the former Emperor Fei would return to the throne, put him to death. When soon thereafter, Emperor Xiaozhao had a riding accident and suffered a severe injury, Empress Dowager Lou attended to him, but as she did, she asked where the Prince of Ji'nan was. When Emperor Xiaozhao was unable to answer, she angrily stated, "Is it not that you killed him? You did not listen to me, and you deserve to die." She walked out without returning. He died soon thereafter, after issuing an edict passing the throne to Gao Zhan, who then took the throne as Emperor Wucheng. Empress Dowager Lou continued to be empress dowager.
Popular versions of "How Deep Is the Ocean?" in 1932 were by Guy Lombardo (vocal by Carmen Lombardo), Paul Whiteman and His Orchestra (with vocals by Jack Fulton), Rudy Vallée and Ethel Merman. Bing Crosby was another who recorded the song for Brunswick on October 14, 1932. In the 1940s Alfredo Antonini and his orchestra collaborated with Victoria Cordova and John Serry Sr. to record the song for Muzak.
Lombardo had been selected as a member of the American Cinema Editors.[49]
After California Split (1974), Altman wanted Lombardo to edit his next film Nashville (1975). Lombardo declined because he had turned to directing and producing. Altman chose Sidney Levin to edit, who was then succeeded by Lombardo's assistant editor on several films, Dennis M. Hill.[35] In 1977, Lombardo edited The Late Show, which was produced by Altman but directed by Robert Benton. The Late Show is a film noir detective story; Pauline Kael wrote at the time, "The Late Show never lets up; the editing is by Lou Lombardo (who has often worked with Robert Altman) and Peter Appleton, and I can't think of a thriller from the forties that is as tight as this, or has such sustained tension."[36]
On December 31, 1956, the Lombardo band did their first New Year's TV special on CBS; the program (and Lombardo's 20 subsequent New Year's Eve TV shows) included a live segment from Times Square. Although CBS carried most of the Lombardo New Year's specials, there were a few years in the late 1960s and early 1970s when the special was syndicated live to individual TV stations instead of broadcast on a network. By the middle 1970s, the Lombardo TV show was facing competition, especially for younger viewers, from "Dick Clark's New Year's Rockin' Eve", but Lombardo remained popular among viewers, especially older ones.
As he had done for Peckinpah on The Wild Bunch, Lombardo acted as a second unit director for additional film footage. Altman and Lombardo spent nine months editing the film in North Vancouver, close to the location of the filming itself.[33] The editing of the film has apparently never been singled out for critical attention, with the exception of the innovative style of sound editing. In his textbook on film production, Bruce Mamer uses the film to exemplify the blending of dialogue from many speakers, "Robert Altman was famous for using this style of layered dialogue cutting. The frontier barroom scene that opens his McCabe & Mrs. Miller (Louis Lombardo, editor) has snippets of conversations underlying the foreground action."[34] Roger Crittenden wrote, "the questions Altman asked about the function of sound encouraged a radical approach to the use of dialogue and indeed other sound, both in and beyond the frame. Lou Lombardo must have played a major part in making the ideas work."[8] Stephen Prince chose a related theme in summarizing Lombardo's collaboration with Altman: "Though his work for Altman was less trendsetting than that for Peckinpah, the partnership with Altman lasted much longer, and Lombardo found the perfect visual rhythms for Altman's wandering and diffuse audio style."[1]
Following the departure of Slayer drummer Dave Lombardo in 1992, the band was looking for a new drummer. Lombardo's drum tech was filling in but constantly made errors. After auditioning several drummers and listening to hundreds of demo tapes, Bostaph was recommended by Slayer guitarist Kerry King's guitar technician. Slayer members listened to Forbidden records, however, they did not see how Bostaph could fit into the Slayer momentum – Lombardo's style being "over the top", while Forbidden was more melodic. Slayer auditioned Bostaph with nine songs, and he made only one error on "Angel of Death". Bostaph had to continually practice to improve the strength of his hands and feet; "I respected and loved Dave's drumming but as a fan, if they got a new drummer and I bought a ticket to a show, I would expect to hear the stuff that Dave does, that's what I would want. So, I went in and every time I had to learn a new song I would play them exactly how Dave played them".
From 1975–1985 Lombardo worked as a producer and director as well as an editor. Lombardo's debut as a director was Russian Roulette (1975). The film is an espionage thriller that starred George Segal. A review in New York Magazine was unfavorable; "Lou Lombardo directs uninspiredly from a far from inspiring script co-authored by Tom Ardies, the original author of the novel."[38] The film was released for home video in 1986, and has recently been reviewed more favorably.[39]
Lombardo had worked as a cameraman with director Robert Altman in Kansas City, and the two men both moved to Hollywood in 1956. In the 1970s, Lombardo edited five films directed by Altman, commencing with Brewster McCloud (1970) and concluding with California Split (1974) just four years later.
In 1986 Lombardo returned to editing with the fairly inconsequential Stewardess School. The film was produced by Phil Feldman, who had produced The Wild Bunch about 15 years earlier. Lombardo's next film was Moonstruck (1987), which was being directed and produced by Norman Jewison. Moonstruck was extremely successful at the box office, garnered three Academy Awards and three additional nominations, and has been well-regarded by many critics.[43][44] Stephen Prince has written, "Another brilliant editor of late-sixties American cinema, Lou Lombardo (who edited The Wild Bunch (1969) to seminal effect) worked sporadically in the eighties and mainly on low-key films (Moonstruck, In Country (1989)) where his editing choices showed the intelligence and subtlety that rarely wins Oscars. The wonderful comic effectiveness and timing of Moonstruck, for example, depends as much on Lombardo's editing as on John Patrick Shanley's script or the performances by Cher, Nicolas Cage, and the rest of the cast."[10] Lombardo next edited The January Man (1989), which was also produced by Jewison but directed by Pat O'Connor. Lombardo worked on five more films through 1991, of which the very popular comedy Uncle Buck (1989, written and directed by John Hughes) is likely the best known.[45] The final film edited by Lombardo was still another of Jewison's productions, Other People's Money (1991).
On September 10, 2007, Lombardo was found guilty of racketeering, extortion, and loan sharking. On September 27, 2007, the same jury found Lombardo guilty of the 1974 Seifert murder. On February 2, 2009, Zagel sentenced Lombardo, seated in a wheelchair and wearing an orange prison jumpsuit, to life in prison for the convictions. "Mr. Lombardo, you are not like the toxic creature I've seen forming in one of your co-defendants," Zagel told Lombardo, referring to Chicago Outfit hit man Frank Calabrese, Sr., whom Zagel had sentenced to life in prison the previous week. "You evidence some balance and judgment and based on the evidence before me, some ability to charm people. In the end, we are judged by our actions and not on our wit or our smiles...In cases like these, the things that matter most are the worst things we do. The worst things you have done are terrible, and I see no regret in you. I think you felt you were engaged in a game in which you drew satisfaction in how you played the game...It wasn't a game," and it involved, "the destruction of a human life." Zagel agreed with federal prosecutor T. Markus Funk, and sentenced Lombardo to life.
Career statistics and player information from , or
Lombardo became acquainted with Peckinpah when he moonlighted as a cameraman when Peckinpah was directing the television movie Noon Wine (1966). Ultimately this connection led to Lombardo's joining Peckinpah to make The Wild Bunch; Peckinpah was particularly interested in the editing techniques that Lombardo had devised while editing Felony Squad. Lombardo described the crucial scene from the television show in a later interview with Vincent LoBrutto, "Joe Don Baker came out and was being shot by all these police. I printed every frame three times and created slow motion. I intercut him being shot, falling, this guy shooting, that guy running, Baker falling. Sam and Phil Feldman, the producer, saw it and said, 'You've got the job– and, as a matter of fact, we'll use that kind of thing.'"[13] The episode of Felony Squad was "My Mommy Got Lost."[2][20] At that time, slow motion cameras were not commonly used for television work. Lombardo used the laborious trick of stretching time by repeating the individual frames of film two or three times, which required that there be a film splice at every frame. There are typically 24 frames of film exposed each second by standard motion picture cameras, so after tripling Lombardo had 72 frames per second. Intercutting involves the splicing of sections of film from different cameras, or from different "takes" of the same scene.
Lombardo asked his parents for drum lessons. Although they agreed, the lessons were short-lived; it lasted one week. Lombardo grew bored because the lessons were repetitive and did not challenge him. Lombardo's friends introduced him to disco, which appealed to his affinity for funk, Latin and soul. He became a temporary DJ for a mobile disc jockey under the name A Touch of Class. Unimpressed with their son coming home at 4:00 AM, Lombardo's parents pressured him into quitting the DJ gig or face military school.
Lombardo both produced and edited The Black Bird (1975), which was a humorous sequel to the film noir classic The Maltese Falcon; the film also starred George Segal, and was poorly reviewed upon its release.[40]
This filmography is based on the Internet Movie Database.[11] Lombardo's credits are listed in the first parentheses. The director and release year are indicated in the second.
Lombardo edited Peckinpah's next film, The Ballad of Cable Hogue (1970). The film itself has not had an impact comparable to that of The Wild Bunch; Prince writes that in this film Lombardo and Peckinpah "experimented less successfully with edits combining normal speed and accelerated action."[1] The Ballad of Cable Hogue was their last collaboration; Peckinpah approached Lombardo about editing Straw Dogs, but Lombardo had already contracted to edit McCabe & Mrs. Miller with Robert Altman.[30]
Cárdenas' successor, Manuel Ávila Camacho, had been a protégé of Cárdenas, but was more conservative. He engineered Fidel Velázquez's appointment as head of the CTM when Lombardo Toledano did not stand for reelection in 1941. Lombardo Toledano remained influential in CTM, pursuing a course of support for the war effort and opposition to strikes when Mexico entered the war against Hitler. 
About 1981 Lombardo directed P. K. and the Kid, which starred a very young Molly Ringwald. The film was not released until early 1987, when Ringwald had become well-known; it nonetheless attracted little attention.[42]
Lombardo's final project with Altman was the film O.C. and Stiggs, which was produced around 1984 and released in 1987. Lombardo left the film before post-production was completed; he is uncredited on the film.[37]
Lombardo's bass playing with the Descendents was marked by his use of eighth note chord progressions, played in runs using down strokes rather than alternate picking. "Tony brings a unique style of bass playing," said Black Flag bassist Chuck Dukowski, "Every time they’re on a chord, it's a run." Karl Alvarez, bassist for the Descendents and All since 1987, said of Lombardo's playing: "Without being a technical player, he can play some stuff that’s flat-out impossible, and to him it’s not weird. That’s the best part. It’s not 'I'm going to impress you with my virtuosity by playing this incredibly difficult line', it's just 'that’s how the song goes.' The song just happens to do this ornate, complex, crazy thing on the bass because that’s just how it goes."
Lombardo's career began in Kansas City, where he was Robert Altman's cameraman working on training films and "industrials" for the Calvin Company.[12] Altman ultimately became a prominent feature film director. Lombardo and Altman both relocated to Los Angeles in 1956, where Lombardo was employed as a cameraman by Republic Pictures. Lombardo's goal had been to become a director, and he decided that film editing was a more promising path. Lombardo became an apprentice editor at Revue Studios, at about half the salary he'd received as an assistant cameraman. As was common at that time for studio editors, an editing apprenticeship lasted eight years, during which Lombardo's work was uncredited. At the end of this apprenticeship, Robert Altman used Lombardo to edit a pilot program for television. This led to Lombardo's becoming an editor for the television program Felony Squad, which ran from 1966–1970.[13]
After a couple of years, his skill began attracting other musicians. One was Guy Lombardo, who remained friends with Martin throughout his life. After graduation from high school, Martin accepted a job at the H.N. White musical instrument company. When Lombardo was playing in Cleveland, Martin tried giving Lombardo some saxophones, which proved unsuccessful. But, Lombardo got to hear Martin's band. One night, when Guy could not do a certain date, he suggested that Martin's band could fill in for him. The band did very well and Martin's career got started. But, the band broke up and he did not form a permanent band until 1931 at the Bossert Hotel in Brooklyn.