More stories

  • in

    Rick Levine, Who Gave Commercials Cinematic Flair, Dies at 94

    An award-winning director, he created ads for brands like Diet Pepsi (starring Michael J. Fox) and Wells Fargo by bringing a Hollywood sensibility to the small screen.Rick Levine, an award-winning television commercial director who brought a big-screen sensibility to the small screen with widely celebrated spots, like a Diet Pepsi Super Bowl ad from the 1980s featuring Michael J. Fox risking life and limb for love, died on March 11 at his home in Marina del Rey, Calif. He was 94.The death was confirmed by his daughter Abby LaRocca.Mr. Levine was a product of what is often called the golden age of advertising, rising in the business through the “Mad Men” era of the 1960s and founding his own company, Rick Levine Productions, in 1972. It was a time when network television held a hypnotic sway over the average American household, and advertising, like so many other cultural arenas of the era, was exploding in creativity.Often serving as his own cinematographer, Mr. Levine approached his big-budget commercials like a director of Hollywood blockbusters.“We decided to make our ads look as good as films,” he said in a 2009 interview with DGA Quarterly, published by the Directors Guild of America. “I would direct and shoot, so I would have complete control.”The Guild named him the best commercial director in 1981 and 1988, in particular for three specific spots.Most notable among them was the Diet Pepsi commercial with Mr. Fox, which Mr. Levine made for BBDO New York; it was one of many ads he shot for Pepsi.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    Suzanne Rand, Half of a Once-Popular Comedy Team, Dies at 75

    Like Nichols and May before them, Monteith and Rand had their own Broadway show. Unlike Nichols and May, they faded from view after they broke up.Suzanne Rand, who worked with John Monteith in a comedy team that was often compared to the groundbreaking Mike Nichols and Elaine May — and that, like them, became the stars of a two-person Broadway show — died on April 2 in Manhattan. She was 75.Ruben Rand, her stepson, confirmed the death, in a rehabilitation facility. The cause was cardiopulmonary arrest.Ms. Rand and Mr. Monteith — she was the exuberant one; he was the more low-key partner — had backgrounds in improvisational comedy when they formed their act in 1976. Their sketches included Ms. Rand’s portrayal of a guilt-ridden fly killer who tries to revive a swatted pest, and the two of them as movie critics assigned to review a pornographic film who then mimic its action.They built sketches around suggestions from the audience — settings, pet peeves, objects, occupations, film and television genres — and performed scripted material.Their male-female partnership and their quick repartee led to comparisons with Nichols and May, who met in the 1950s and whose collection of wry, savvy and satirical improvisations, “An Evening With Mike Nichols and Elaine May,” reached Broadway in October 1960 and ran for 306 performances.Monteith and Rand in performance in Chicago in 1980, a year after they appeared on Broadway.Paul Natkin/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    Michael Hurley, a Singer Both Eccentric and Inspirational, Dies at 83

    A folk troubadour with an eclectic style, he built a devoted following for his songs about love, death, drinking and a particularly sad werewolf.Michael Hurley, a singer and songwriter whose music — an idiosyncratic kind of folk mixed with a variety of other styles — made him a revered elder to younger artists like Cat Power, Devendra Banhart and the band Yo La Tengo, died on April 1 in Portland, Ore. He was 83.Mr. Hurley’s family announced the death but did not specify the cause.Mr. Hurley was visibly ill during his final shows — two on March 28 and 29 in Knoxville, Tenn., as part of the Big Ears Festival, and the third on March 31 in Asheville, N.C. — before flying back to Portland, said Regina Greene, the booking agent for his Southeast shows.Mr. Hurley stopped breathing on the ride to his home in rural Brownsmead, Ore., and after his driver tried to revive him, he died in the ambulance taking him to a hospital, said Eric Isaacson, the owner of Mississippi Records, one of several labels Mr. Hurley recorded for over the years.For more than 60 years, Mr. Hurley performed (somewhat under the radar and usually in intimate spots) and recorded (often at home on his reel-to-reel tape recorder) in a gentle, twangy and worldly voice, accompanied by his guitar and sometimes nothing else. He wrote and sang about subjects as diverse as love, drinking (tea and wine), the human digestive system and a weeping werewolf.“I never thought of a career in music,” he told The New York Times in 2021. “What I do is goof off — and try to get away with it.”At some point he adopted a nickname, Snock, which he used on album covers and elsewhere.“His songs are timeless; you can’t tell if they were written in the 1400s or now,” said Mr. Isaacson, whose label reissued some of Mr. Hurley’s old albums as well as releasing some newer ones. He added: “He’d perform a song that I hadn’t heard, and I’d ask, ‘What’s that, an old English air?’ and he’d say, ‘No, I wrote it last night.’”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    Tracy Schwarz, Mainstay of the New Lost City Ramblers, Dies at 86

    He was the last surviving member of a retro-minded string trio whose celebration of prewar songs of the rural South put them at the heart of the folk revival.Tracy Schwarz, the last surviving member of the New Lost City Ramblers, an influential folk trio whose reverential approach to the lost music of the rural South stood in contrast to more commercial acts like the Kingston Trio and Peter, Paul and Mary, died on March 29 in Elkins, W.Va. He was 86.His death, in a hospice facility, was announced by his wife, Virginia Hawker.The New Lost City Ramblers were formed in New York in 1958, riding the crest of the folk revival. They performed at the first Newport Folk Festival the next year and counted Bob Dylan — whom they jammed with at Gerdes Folk City, the storied Greenwich Village folk club, in the early 1960s — as a fan.“Everything about them appealed to me — their style, their singing, their sound,” Mr. Dylan wrote in his 2004 memoir, “Chronicles: Volume One.” “Their songs ran the gamut in style, everything from mountain ballads to fiddle tunes and railway blues.” He added, “I didn’t know they were replicating everything they did off old 78 records, but what would it have mattered anyway?”Mr. Schwarz, who was skilled on the fiddle, accordion, guitar and banjo, joined Mike Seeger, a half brother of the folk luminary Pete Seeger, and the guitarist John Cohen in the Ramblers after another original member, Tom Paley, left in 1962.Even though Mr. Schwarz was New York born and the son of an investment banker, “there was just something that was down-to-earth country about Tracy,” Mike Seeger was quoted as saying in the 2010 book “Gone to the Country: The New Lost City Ramblers and the Folk Music Revival,” by Ray Allen. “He just kind of has a feeling for the music, it was in his bones.”Mr. Schwarz, right, and Mike Seeger of the New Lost City Ramblers at the 1965 Newport Folk Festival. The Ramblers first performed at the festival in 1959, three years before Mr. Schwarz joined.John Byrne Cooke Estate/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    Conductor John Nelson Dead at 83

    He revived interest in a “problem child” in the pantheon of high romantic composers, bringing Berlioz overdue recognition as one of France’s greatest composers.John Nelson, a genial American conductor who made France love one of its own underappreciated musical sons, Hector Berlioz, died on March 31 at his home in Chicago. He was 83.His death was confirmed by his daughter, Kari Magdalena Chronopoulos, who did not specify the cause.Mr. Nelson made Berlioz (1803-1869), the wild man of 19th-century French music, his passion, performing and promoting his work ceaselessly during a career that stretched over 50 years on both sides of the Atlantic.As a young conductor, he introduced Berlioz’s epic five-act opera “Les Troyens” (“The Trojans”) to New York in a 1972 Carnegie Hall performance deemed “highly successful” at the time by Raymond Ericson of The New York Times.By the end of his career, Mr. Nelson was so closely identified with Berlioz, one of France’s most extravagant musicians, that the British newspaper The Daily Telegraph wrote, “John Nelson was clearly born with Berlioz in his genes.”That remark came in a 2017 review of Mr. Nelson’s much-praised recording of “Les Troyens” with the Strasbourg Philharmonic Orchestra and a cast that included the American soprano Joyce DiDonato.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    William Finn, Tony-Winning Composer for ‘Falsettos,’ Dies at 73

    An acclaimed musical theater writer, he won for both his score and his book and later had a huge hit with “The 25th Annual Putnam County Spelling Bee.”William Finn, a witty, cerebral and psychologically perceptive musical theater writer who won two Tony Awards for “Falsettos” and had an enduringly popular hit with “The 25th Annual Putnam County Spelling Bee,” died on Monday in Bennington, Vt. He was 73.His longtime partner, Arthur Salvadore, said the cause of death, in a hospital, was pulmonary fibrosis, following years in which Mr. Finn had contended with neurological issues. He had homes in Williamstown, Mass., and on the Upper West Side of Manhattan.Mr. Finn was widely admired for his clever, complex lyrics and for the poignant honesty with which he explored character. He was gay and Jewish, and some of his most significant work concerned those communities; in the 1990s, with “Falsettos,” he was among the first artists to musicalize the tragedy of the AIDS epidemic, and his musical “A New Brain” was inspired by his own life-threatening experience with an arteriovenous malformation.“In the pantheon of great composer-lyricists, Bill was idiosyncratically himself — there was nobody who sounded like him,” said André Bishop, the producing artistic director of Lincoln Center Theater. He presented seven of Mr. Finn’s shows, starting at Playwrights Horizons in the late 1970s and continuing at Lincoln Center.“He became known as this witty wordsmith who wrote lots of complicated songs dealing with things people didn’t deal with in song in those days,” Mr. Bishop added, “but what he really had was this huge heart — his shows are popular because his talent was beautiful and accessible and warm and heartfelt.”Mr. Finn played varying roles across his career, as a composer, a lyricist and sometime librettist. His songs often feature “a wordy introspective urbanity,” as Stephen Holden wrote in The New York Times in 2003. In “A New Brain,” Mr. Finn seemed to distill his passion for the art form, writing, “Heart and music keep us all alive.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    Clem Burke, Versatile, Hard-Driving Drummer for Blondie, Dies at 70

    He provided both the explosive percussion on hits like “Call Me” and the laid-back rhythm on the reggae-influenced “The Tide Is High.”Clem Burke, whose energetic, versatile drumming provided the beat for the band Blondie as it churned out post-punk, disco and rock hits in the late 1970s and early ’80s — and then again after the band re-formed in 1997 — died on Sunday. He was 70.In a statement, the band said the cause was cancer. It did not say where he died.Though Blondie is best remembered for its charismatic lead singer, Debbie Harry, Mr. Burke’s relentless percussion was just as important to its success as one of the most popular American rock groups of its era.He can be heard tumbling forth with a rapid disco beat in the intro to “Call Me” (1980), only to switch to a tropical lilt on the reggae-inflected “The Tide Is High” (1980).Like other post-punk bands that slid into the New Wave movement — the Cars, Devo — Blondie was known as much for its image as for its substance. The band’s album covers and press photos often featured Ms. Harry, with her angular face and wispy blonde hair, framed by her four male bandmates, usually in black suits and skinny ties.Mr. Burke stood out with his boyish cheeks and vertiginous mop of hair. But he and the band were about more than their sharp looks: In one survey, Rolling Stone ranked him the 61st greatest drummer of all time.Mr. Burke, second from left, on the cover of Blondie’s debut studio album, released in December 1976.Private Stock RecordsWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • in

    Denis Arndt, Who Was a First-Time Tony Nominee at 77, Dies at 86

    After more than 40 years as a stage and television actor, he broke through in “Heisenberg” as a butcher who has a romance with a much younger woman.Denis Arndt, a former helicopter pilot whose acting career reached its zenith when he made his Broadway debut at age 77 in the comedy “Heisenberg” and earned a Tony Award nomination, died on March 25 at his home in Ashland, Ore. He was 86.His wife, Magee Downey, confirmed the death. She said the specific cause was not known. Mr. Arndt built his reputation as a stage actor at the Oregon Shakespeare Festival in the 1970s and ’80s. He later became a familiar face on television series like “L.A. Law” and “Picket Fences” and played one of the detectives who interrogate Sharon Stone in a famous erotically charged scene in “Basic Instinct” (1992).He first appeared in “Heisenberg,” a two-character play by Simon Stephens, which the Manhattan Theater Club produced at City Center’s Studio at Stage II in 2015. The play transferred to the Samuel J. Friedman Theater on Broadway the next year.Mr. Arndt played Alex, a reserved, 75-year-old Irish-born butcher, who is in a London train station when he is unexpectedly kissed on the neck by Georgie (Mary-Louise Parker), a loud, impulsive and mysterious 42-year-old American. Her boldness ignites a romance.Ben Brantley, reviewing “Heisenberg” in The New York Times, called Mr. Arndt and Ms. Parker “the sexiest couple on a New York stage now.” Mr. Arndt, he wrote, “makes what has to be the most unlikely and irresistible Broadway debut of the year. He lends roiling, at first barely detectable energy to the seeming passivity of a man who, on occasion, finds himself crying for reasons he cannot (nor wants to) explain. But this ostensibly confirmed celibate oozes a gentle, undeniable sensuality.”Mr. Arndt with Mary-Louise Parker in “Heisenberg.” Ben Brantley of The New York Times called them “the sexiest couple on a New York stage now.”Richard Termine for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More