Who is Geraldo Rivera?
Geraldo Rivera is a journalist, author, attorney, political commentator, and former television host from the United States. He rose to prominence after hosting the Live TV special The Mystery of Al Capone’s Vaults.
He also hosted the news magazine show Geraldo at Large, occasionally anchoring Geraldo Rivera Reports, and frequently appeared on Fox News programs such as The Five.
Geraldo Rivera Age
Rivera is 78 years old as of 2021. He was born on July 4, 1943, in New York City, United States.
Geraldo Rivera Height
Rivera stands at a height of 5 feet 8 inches.
Geraldo Rivera Education
Rivera attended West Babylon High School. He also attended the State University of New York Maritime College where he was a member of the rowing team. Later on, he enrolled at the University of Arizona in 1965 where he received a B.S. in business administration.
Geraldo Rivera Family
Rivera is the son of Cruz and Lilian Rivera. His father Cruz Rivera was a cab driver while his mother Lillian was a restaurant worker. Rivera was raised alongside his three siblings, sisters Irene, Sharon, and brother Craig Rivera.
Geraldo Rivera Wives and Children
Rivera has five children from five marriages. His first marriage was to Linda Coblentz, with whom he divorced in 1969. On December 14, 1971, he married his second wife, Edith Vonnegut, and divorced in 1975.
On December 31, 1976, he married Sherryl Raymond, whom he divorced in 1984. In this marriage, they had a son named Gabriel Miguel, who was born in July 1979.
Rivera married his fourth wife, Cynthia Cruickshank Dyer, on July 11, 1987, and divorced her in 2000. They were blessed with two children during this marriage, Isabella Holmes (born 1992) and Simone Cruickshank (born 1994), as well as six other IVF attempts that resulted in miscarriage.
Geraldo Rivera Spouse
Rivera is currently married to his fifth wife Erica Michelle Levy. They got married in August 2003. In their marriage, they are blessed with one daughter.
Geraldo Rivera Net worth
Rivera has a net worth of $20 million as an experienced journalist.
Geraldo Rivera The Sons of Sam
We may run out of renowned historical situations to interpret for true-crime series soon. Following on from recent series on the Night Stalker and Ted Bundy murders, Netflix has launched “The Sons of Sam: A Descent Into Darkness,” a documentary on the late 1970s Sons of Sam killings in New York City.
The fact that the title and subject differ by a single letter is the inspiration for this story: We follow the late investigative journalist Maury Terry as he starts to suspect that the murders for which David Berkowitz was convicted were part of a bigger scheme centered in a cult, with possible ties to other crimes and the Manson family.
Terry died in 2015, but director Joshua Zeman got access to his notes and hired Paul Giamatti to read them aloud. Terry was “captivated by the unfolding drama of the 44 Caliber Killer,” as Son of Sam was initially called, he tells us, and he wondered “where he would strike next.”
Once Berkowitz was captured, this focus shifted to attempting to uncover the narrative behind the tale, ending in a rare jailhouse interview with Berkowitz. The fact of the interview begins to hint to an unusual aspect of “The Sons of Sam”: So much of this has already been played out in public.
Terry’s focus was on a probable link between Berkowitz’s murders and Satan worship; we witness Maury Povich, Geraldo Rivera, and no less than Tom Brokaw all reporting along the same lines in archive film.
Much of “The Sons of Sam’s” role is to resurface pieces of a tale that have previously been made public and to apply to the concepts that Terry was never able to prove.
Terry’s focus was on a possible link between Berkowitz’s crimes and Satan worship; in archive footage, we see Maury Povich, Geraldo Rivera, and no less than Tom Brokaw all reporting along the same lines.
Much of “The Sons of Sam’s” purpose is to resurface previously publicized portions of a story and apply notions to them that Terry was never able to verify.
“The Sons of Sam” is so long that it starts to sour the viewer’s impression of what should be a sympathetic subject. The recreation of the deeds of the Son of Sam is harsh, and what follows usually has the misty impression of unfinished notes.