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      Nicholas Evans, Author of ‘The Horse Whisperer,’ Dies at 72

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      He was a first-time novelist whose tale of a manly vocation and family trauma broke publishing and then movie rights records when Robert Redford bought them.Nicholas Evans, the British journalist turned author whose novel-turned-film, “The Horse Whisperer,” broke publishing and movie records, along with the hearts of readers who made the book a best seller in 20 countries, died on Aug. 9 at his home in London. He was 72.The cause was a heart attack, said his longtime agent, Caradoc King.In 1993, Mr. Evans, at 43, was broke and adrift. He had been working as a journalist and documentary filmmaker, and had spent two years on a film project that ultimately collapsed, when he began casting about for an idea for a novel. It was perhaps not the most winning formula for worldly success, as he noted in retrospect on his website: “Why would a debut novel from an unknown author have any more chance of getting off the ground than a movie?”Yet he had found an intriguing subject: the mystical, manly art of horse whispering. His source was a farrier, and Mr. Evans soon learned that the vocation of calming horses had a long history stretching back centuries.In England, however, horse-y matters have too much class baggage, as he put it, so he looked to the American West for his story. He came up trumps when he met Tom Dorrance, a terse cowboy then in his 80s, and watched him soothe a frenzied mare in California. He then found two other cowboys who practiced the same compelling magic, and began to craft a character inspired by these three men.Mr. Evans sat down and wrote some 150 pages of what would become “The Horse Whisperer,” a soapy drama about a young girl and her horse who are hit by a truck, and what happens when her hard-driving East Coast magazine editor mother finds a horse whisperer in Montana to heal their trauma.The healing that ensues involved more than the horse. Mr. Evans showed his draft to Mr. King, who sent the partial manuscript to a number of publishers on their way to the Frankfurt book fair that year. Suddenly, Mr. Evans was in the middle of a bidding maelstrom, juggling offers from Hollywood as well as from book publishers on both sides of the Atlantic.When Bob Bookman, the agent at the Creative Artists Agency negotiating the sale of the film rights, asked Mr. Evans what he wanted, Mr. Evans proposed a modest $50,000. “I think we can get $3 million,” said Mr. Bookman, as Sarah Lyall of The New York Times reported. And they did. Hollywood Pictures and Robert Redford’s film studio, Wildwood Pictures, won the bid, at the time the largest amount ever paid for the rights to a first novel (almost $6 million in today’s money). Mr. Evans’s North American book advance, of $3.15 million from Dell Publishing, set another record.Mr. Evans had only written 150 pages of his novel when publishers began bidding for it. His advance, of $3 million, was a record for a first time novelist. no creditThen Mr. Evans had to finish the book. He told Ms. Lyall he had become morbidly superstitious: He stopped riding his bicycle, and took the slow lane when driving. What he did not disclose, not even to his agent, was that he had been diagnosed with melanoma. Nonetheless, he survived, and thrived. The book, which was published in 1995, was a global best seller that was translated into 40 languages, though critics slammed it for its melodrama. Michiko Kakutani, writing in The New York Times, called it “a sappy romance novel, gussied up with some sentimental claptrap about the emotional life of animals and lots of Walleresque hooey about men and women.”“About the only thing missing,” she added, “is a picture of Fabio on the cover.”The movie, which came out in 1998, was more favorably reviewed and a modest box office success, thanks to Mr. Redford’s star power and firm hand as director. He delivered a more restrained version of Mr. Evans’s tale, playing Tom Brooker, the horse whisperer. Kristin Scott Thomas was Annie MacLean, the mother, and Scarlett Johansson played Grace, the daughter. Sam Neill was Annie’s cuckolded husband. Mr. Redford’s version ended rather ambiguously; Mr. Evans had chosen a more confrontational route, and he was initially upset by the change.Robert Redford as the star in the film “The Horse Whisperer (1998), which he also directed.TouchstoneFor better or worse, Mr. Evans had unknowingly introduced the word “whisperer” into the popular lexicon as a catchall term for experts who can tame complicated creatures, like babies.“It was an extraordinary event,” said Mr. King, remembering the frenzy surrounding Mr. Evans’s novel. “It was just the magic of the story. That was the thing.”Nicholas Evans was born on July 26, 1950, in Worcestershire, in England’s West Midlands. He studied law at Oxford University, graduating with a First, the highest honors. He worked as a journalist for newspapers and television and produced a weekly current affairs show. In the 1980s, he made documentary films about the artists David Hockney and Francis Bacon, the writer Patricia Highsmith and the filmmaker David Lean, among others.He followed “The Horse Whisperer” with three more novels, all best sellers. “The Divide” (2005), explores what led to the death of a young woman whose body is found in a frozen mountain creek. The story was inspired, he told The Associated Press, by his own interrogations into what causes rifts in a marriage — a marriage come asunder is the book’s back story. His own 25-year marriage had recently ended, he said.Like his characters, Mr. Evans was an avid outdoorsman, a charming Bill Nighy look-alike who skied and hiked. And in August of 2008 he seemed to fall into the plot of one of his own stories, a family idyll turned into a near tragedy.He and his second wife, Charlotte Gordon Cumming, a singer-songwriter, were staying with her brother, Alastair Gordon Cumming, and his wife, Lady Louisa, in the Scottish Highlands. They had picked and enjoyed a meal of wild mushrooms, which turned out to be poisonous. All four became sick, and their kidneys soon failed. Mr. Evans, Ms. Gordon Cumming and her brother required years of dialysis — and new kidneys. Mr. Evans’s daughter Lauren donated one of hers. Ms. Gordon Cumming was offered the kidney of her son’s best friend’s mother, and Mr. Cumming’s came from a patient who had died. Mr. Evans became a patron of a kidney donation charity. Ms. Gordon Cumming made a documentary film about her experience.Mr. Evans’s survivors include his wife and four children, Finlay, Lauren, Max and Harry.His reviews grew more positive with every book. Nonetheless, he tended to avoid reading them.“The book business is such a strange one — and the very definition of literary versus commercial fiction has always seemed to me to be bizarre,” Mr. Evans told The Guardian in 2011. “One is defined by how many it sells, and the other by its ideas and so-called literary merit. And there are all kinds of assumptions brought to bear on this. So for example, if you sell tons of books you can’t possibly have any interesting ideas or themes or things to say. And on the other hand, if nobody buys the book, it’s considered a mark of its esteem because nobody is bright enough to understand it.” More

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      Anne Heche, Actress Known for ’90s Film Roles, Dies at 53

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      Ms. Heche, who won a Daytime Emmy early in her career and whose films included “Donnie Brasco” and “Wag the Dog,” had been critically injured in a car crash.Anne Heche, an actress who was as well known for her roles in films like “Six Days, Seven Nights” and “Donnie Brasco” as for her personal life, which included a three-year romance with the comedian Ellen DeGeneres, died on Sunday in Los Angeles, nine days after she was in a devastating car accident there. She was 53.Her death was announced by a representative, Holly Baird, who said late Sunday in an email that Ms. Heche had been “peacefully taken off life support.”Ms. Heche was critically injured on Aug. 5 when a Mini Cooper she was driving crashed into a two-story home in the Mar Vista neighborhood of Los Angeles, causing a fire that took firefighters more than an hour to extinguish. Ms. Heche, who was alone in the car, sustained burns and a severe anoxic brain injury, caused by a lack of oxygen to the brain.A spokesman for the Los Angeles Police said the department was continuing to investigate whether drug use contributed to the accident.A statement released by her publicist on behalf of her family on Thursday night said Ms. Heche had remained in a coma at the Grossman Burn Center at West Hills Hospital in Los Angeles.“It has long been her choice to donate her organs, and she is being kept on life support to determine if any are viable,” the statement said.On Friday, a representative said Ms. Heche had been declared brain-dead on Thursday night.Ms. Heche was a soap opera star before she became known to movie audiences. In the late 1980s, soon after she graduated from high school, she joined the cast of the daytime drama “Another World,” where she played the good and evil twins Vicky Hudson and Marley Love. She won a Daytime Emmy Award in 1991 for outstanding younger actress in a drama series.By the mid-1990s, she was a rising star in Hollywood. She played Catherine Keener’s best friend in “Walking and Talking” (1996); Johnny Depp’s wife in “Donnie Brasco” (1997); a presidential aide in the political satire “Wag the Dog” (1997), with Dustin Hoffman and Robert De Niro; and a fashion magazine editor who crash-lands on a South Seas island in an airplane piloted by Harrison Ford in “Six Days, Seven Nights” (1998).Ms. Heche with Dustin Hoffman, left, and Robert De Niro in a scene from the movie “Wag the Dog” (1997).P. Caruso/New Line Cinema“Romantic comedies don’t get more formulaic than this bouncing-screwball valentine, but they don’t get much more delightful, either,” Rita Kempley wrote in her review of “Six Days, Seven Nights” in The Washington Post. “The same goes for Heche and Ford as squabbling opposites drawn together during this tropical adventure.”Ms. Heche began a relationship with Ms. DeGeneres in 1997, at a time when same-sex relationships in Hollywood were not fully accepted. The relationship became widely known in April of that year when they appeared, hand in hand, at the annual White House Correspondents’ Dinner in Washington. A few days later, Ms. DeGeneres’s character on her sitcom, “Ellen,” came out as gay.Ms. Heche’s decision to reveal that she was in a lesbian relationship, The New York Times wrote, “confronted Hollywood with a highly delicate problem: how to deal with a gay actress whose career has been built on playing heterosexual roles.”After that relationship ended, Ms. Heche married and later divorced a man, Coleman Laffoon, with whom she had a son, Homer. She also had a son, Atlas Heche Tupper, from her relationship with the actor James Tupper.Remembering Anne Heche (1969-2022)The actress, who appeared in several popular Hollywood films and TV shows, died on Aug. 14, after being critically injured in a car accident.Obituary: Anne Heche started her career as a soap opera star on “Another World.” In the 1990s, she dated Ellen Degeneres, becoming one half of one of Hollywood’s most scrutinized couples.‘Donnie Brasco’: Heche starred in the 1997 gangster film as the wife of an F.B.I. agent who infiltrates a crime family. Read our review of the film.On Stage: The actress made her Broadway debut in 2002, in David Auburn’s Tony Award and Pulitzer Prize-winning play “Proof,” stepping into a coveted female role.Playing It Normal: In 2009, she spoke with The Times about her journey to success, facing professional downturns and making new starts.Complete information on her survivors was not immediately available.Ms. Heche told The New York Post in 2021 that she had been “blacklisted” in Hollywood because of her relationship with Ms. DeGeneres.“I didn’t do a studio picture for 10 years,” she was quoted as saying. “I was fired from a $10 million picture deal and did not see the light of day in a studio picture.”After she starred in “Six Days, Seven Nights” and in Gus Van Sant’s 1998 remake of Alfred Hitchcock’s “Psycho” as Marion Crane, the role originally played by Janet Leigh, leading roles in movies largely gave way to guest appearances on television shows like “Ally McBeal” and “Nip/Tuck.”She also starred in the short-lived sitcom “Men in Trees,” had recurring roles on “Everwood” and “Chicago P.D.” and landed a featured part on the HBO series “Hung,” which starred Thomas Jane as a male prostitute.Ms. Heche, right, with Ellen DeGeneres at a fund-raising dinner for the Human Rights Campaign in 1997. They began seeing each other at a time when same-sex relationships in Hollywood were not fully accepted.Win McNamee/ReutersShe appeared on Broadway in the play “Proof” from 2002 until it closed in 2003, then in the 2004 revival of “Twentieth Century,” the 1932 comedy about a Broadway producer (Alec Baldwin) who, as a passenger on the Twentieth Century Limited train, meets a former discovery, Lily Garland (Ms. Heche), who has become a Hollywood star. The role earned Ms. Heche a Tony Award nomination for best performance by a leading actress in a play.In his review in The Times, Ben Brantley wrote, “Her posture melting between serpentine seductiveness and a street fighter’s aggressiveness, her voice shifting between supper-club velvet and dime-store vinyl, Ms. Heche summons an entire gallery of studio-made sirens from the Depression era: Jean Harlow, the pre-mummified Joan Crawford and, yes, Carole Lombard, who famously portrayed Lily in Howard Hawks’s screen version of ‘Twentieth Century.’”In 2004, Ms. Heche was nominated for a Primetime Emmy for outstanding supporting actress in a mini-series or movie, for her performance in “Gracie’s Choice,” a TV film about a teenager faced with raising her half siblings after their drug-addicted mother is sent to prison.She appeared most recently in the films “The Vanished” (2020), a psychological thriller, and “13 Minutes” (2021), which centers on a tornado, as well as several episodes of the courtroom drama “All Rise.” Ms. Heche with Johnny Depp in “Donnie Brasco” (1997).PhotofestAnne Celeste Heche was born on May 25, 1969, in Aurora, Ohio, to Nancy and Donald Heche. Her father was an evangelical Christian and, it turned out, a closeted gay man. Her first acting role was in a New Jersey dinner theater production of “The Music Man,” which paid her $100 a week.In 1983, after her father died of AIDS, her mother became a Christian therapist and lectured on behalf of James Dobson’s organization Focus on the Family about “overcoming” homosexuality.Ms. Heche wrote in her 2001 memoir, “Call Me Crazy,” about being sexually abused by her father, and about her mother’s denial of that abuse. She said that when she called her mother after years of therapy to confront her about it, her mother ended the conversation by saying, “Jesus loves you, Anne,” before hanging up.Ms. Heche was critically injured on Aug. 5 when the car she was driving crashed into a two-story house in Los Angeles.Chris Delmas/AFP via Getty Images“People wonder why I am so forthcoming with the truths that have happened in my life,” Ms. Heche said in an interview with The Times in 2009. “And it’s because the lies that I have been surrounded with and the denial that I was raised in, for better or worse, bore a child of truth and love.”In 2018, she said she had been fired from a job at Miramax when she refused to give oral sex to Harvey Weinstein, the disgraced film magnate who founded the company with his brother, Bob, and who was accused of sexual assault by dozens of women. He was convicted of two felony sex crimes in 2020 and is serving a 23-year prison sentence.“If I wasn’t sexually abused as a child, I don’t know if I would have had the strength to stand up to Harvey — and many others, by the way,” she told the podcast “Allegedly … With Theo Von & Matthew Cole Weiss.” “It was not just Harvey, and I will say that.”Vimal Patel More

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      Bill Pitman, Revered Studio Guitarist, Is Dead at 102

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      As a versatile member of the loose association of musicians known as the Wrecking Crew, he was heard on many of the biggest pop and rock hits of the 1960s and ’70s.Bill Pitman, a guitarist who accompanied Frank Sinatra, Elvis Presley, Barbra Streisand and others from the late 1950s to the ’70s, and who for decades was heard on the soundtracks of countless Hollywood films and television shows, died on Thursday night at his home in La Quinta, Calif. He was 102.His wife, Janet Pitman, said he died after four weeks at a rehabilitation center in Palm Springs, where he was treated for a fractured spine suffered in a fall, and the past week at home under hospice care.Virtually anonymous outside the music world but revered within it, Mr. Pitman was a member of what came to be called the Wrecking Crew — a loosely organized corps of peerless Los Angeles freelancers who were in constant demand by record producers to back up headline performers. As an ensemble, they turned routine recording sessions and live performances into extraordinary musical moments.Examples abound: Sinatra’s “Strangers in the Night” (1966). Presley’s “Blue Hawaii” (1961). Streisand’s “The Way We Were” (1973). The Ronettes’ “Be My Baby” (1963). The Beach Boys’ “Good Vibrations” (1966). On “Raindrops Keep Fallin’ on My Head,” from the Paul Newman-Robert Redford hit movie “Butch Cassidy and the Sundance Kid” (1969), Mr. Pitman played ukulele.In a career of nearly 40 years, Mr. Pitman played countless gigs for studios and record labels that dominated the pop charts but rarely credited the performers behind the stars. The Wrecking Crew did almost everything — television and film scores; pop, rock and jazz arrangements; even cartoon soundtracks. Whether recorded in a studio or on location, everything was performed with precision and pizazz.“These were crack session players who moved effortlessly through many different styles: pop, jazz, rockabilly, but primarily the two-minute-thirty-second world of hit records that America listened to all through the sixties and seventies,” Allegro magazine reminisced in 2011. “If it was a hit and recorded in L.A., the Wrecking Crew cut the tracks.”Jumping from studio to studio — often playing four or five sessions a day — members of the crew accompanied the Beach Boys, Sonny and Cher, the Monkees, the Mamas and the Papas, Simon and Garfunkel, Ricky Nelson, Jan and Dean, Johnny Rivers, the Byrds, Nat King Cole, Tony Bennett, the Everly Brothers, Peggy Lee and scads more — nearly every prominent performer of the era.The pace was relentless, Mr. Pitman recalled in Denny Tedesco’s 2008 documentary, “The Wrecking Crew.”“You leave the house at 7 in the morning, and you’re at Universal at 9 till noon,” he said. “Now you’re at Capitol Records at 1. You just got time to get there, then you got a jingle at 4, then we’re on a date with somebody at 8, then the Beach Boys at midnight, and you do that five days a week.”Mr. Pitman was heard on the soundtracks of some 200 films, including Robert Altman’s Korean War black comedy “M*A*S*H” (1970), Amy Heckerling’s comedy “Fast Times at Ridgemont High” (1982), Emile Ardolino’s romantic musical drama “Dirty Dancing” (1987) and Martin Scorsese’s gangster fable “Goodfellas” (1990).On television, Mr. Pitman’s Danelectro bass guitar was heard for years on “The Wild Wild West.” He also worked on “I Love Lucy,” “Bonanza,” “The Deputy,” “Ironside,” “Rowan and Martin’s Laugh-In,” “The Glen Campbell Goodtime Hour,” “The Sonny and Cher Comedy Hour” and many other shows. He was credited with composing music for early episodes of the original “Star Trek” series.While generally indifferent toward rock, colleagues said, Mr. Pitman played it well, sometimes expressing surprise at the success of his work in that genre. He was far more enthusiastic about jazz, especially the work of composers and arrangers like Marty Paich, Dave Grusin and Johnny Mandel.Mr. Pitman, who grew up in New York City and had music tutors from the time he was 6 years old, came home from World War II and headed west determined to make a living in music. He attended the Los Angeles Conservatory of Music, learned arranging and composing, and essentially taught himself the skills of a master guitarist.In 1951, at a club where Peggy Lee was singing, he met the guitar virtuoso Laurindo Almeida, who was quitting Ms. Lee’s band. After an audition, Mr. Pitman was hired to take Mr. Almeida’s place, and his career was launched.In 1954 he joined the singer Rusty Draper’s daily radio show. Three years later, he sat in for the guitarist Tony Rizzi at a recording date for Capitol Records. It was his big break.Word soon got around about the comer who could improvise with the best. Mr. Pitman got to know the session guitarists Howard Roberts, Jack Marshall, Al Hendrickson, Bob Bain and Bobby Gibbons, and he was soon one of them.Mr. Bill Pitman and a fellow studio musician, the bassist Carol Kaye, in a scene from the documentary “The Wrecking Crew” (2008).Magnolia PicturesHis fellow studio musicians included the drummer Hal Blaine, the guitarists Tommy Tedesco and Glen Campbell (before he had a hit-making singing career), the bassists Carol Kaye and Joe Osborn, and the keyboardists Don Randi and Leon Russell (who also went on to a successful solo singing career). They coalesced around Phil Spector, the producer known for his “wall of sound” approach, who regularly employed them.While not publicly recognized in its era, this ensemble is viewed with reverence today by music historians and insiders. Mr. Blaine, who died in 2019, claimed that he named the Wrecking Crew. But Ms. Kaye insisted that he did not start using the name until years after its musicians stopped working together in the ’70s. In any case, there was no disagreement about Mr. Pitman’s contributions.In his book “Conversations With Great Jazz and Studio Guitarists” (2009), Jim Carlton called Mr. Pitman a mainstay of the crew. “Perhaps no one personifies the unsung studio player like Bill Pitman does,” he wrote. “Few guitarists have logged more recording sessions, and fewer still have enjoyed being such a legitimate part of America’s soundtrack.”William Keith Pitman was born in Belleville, N.J., on Feb. 12, 1920, the only child of Keith and Irma (Kunze) Pitman. His father was a staff bassist for NBC Radio and a busy freelance player in New York; his mother was a Broadway dancer. The family moved to Manhattan when Bill was 6, and he attended the Professional Children’s School.Mr. Pitman in 2012. He performed in Las Vegas and on film soundtracks well until the 1980s, and continued to play guitar at home after that.Jan PittmanWhen he was 13, his parents split up. His mother joined a firm that made theater costumes. His father gave him guitar lessons, and young Bill played 50-cent gigs with musicians who would later become famous, like the trumpeter Shorty Rogers and the drummer Shelly Manne. But his schoolwork at Haaren High School in Manhattan suffered, and he dropped out. He joined the Army Air Corps in 1942, became a radio operator and flew many supply missions over the Himalayas from India to China during World War II.In 1947, he married Mildred Hurty. They had three children and were divorced in the late 1960s. In the ’70s he married and divorced Debbie Yajacovic twice. In 1985 he married Janet Valentine and adopted her daughter, Rosemary.Besides his wife, he is survived by his son, Dale; his daughters, Donna Simpson, Jean Langdon and Rosemary Pitman; four grandchildren; and three great-grandchildren.Mr. Pitman quit session work in 1973 and went on the road, performing in concert with Burt Bacharach, Anthony Newley, Vikki Carr and others for several years. In the late ’70s he moved to Las Vegas, where he joined the music staff of the MGM Grand Hotel, playing for headliners well into the ’80s. He also continued to play on film soundtracks until he retired in 1989.Mr. Pitman performed professionally only once in retirement — at a memorial concert in 2001 in Pasadena, Calif., for an old friend, Julius Wechter, leader of the Baja Marimba Band. Mr. Wechter, who died in 1999, had Tourette’s syndrome and was a spokesman for people with the disorder.Mr. Pitman continued writing arrangements, and at 99 he was still playing music — and golf.“He plays the guitar at home just about every day,” his wife said in an interview for this obituary in 2019. “I am a bass player. We play only jazz. No rock ’n’ roll.” As for golf, she said, “He can still beat me.” More

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      Roger E. Mosley, Actor Best Known for ‘Magnum, P.I.,’ Dies at 83

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      He played Leadbelly and Sonny Liston on the big screen. But his most high-profile role was a rugged, wry Vietnam War veteran opposite Tom Selleck on TV.Roger E. Mosley, whose knack for playing a tough guy with a mischievous streak earned him accolades playing an action-ready helicopter pilot on the hit 1980s television series “Magnum, P.I.,” as well as real-life figures like Sonny Liston and Leadbelly on the big screen, died on Sunday in Los Angeles. He was 83.He died after sustaining injuries from a car accident in Lynwood, Calif., last month that left him paralyzed from the shoulders down, his daughter Ch-a Mosley announced on Facebook.Mr. Mosley, who grew up in a public-housing project in the Watts section of Los Angeles, appeared on dozens of television shows over four decades, starting with 1970s staples like “Cannon” and “Sanford and Son.” He also appeared in the mini-series “Roots: The Next Generations” in 1979.Aspiring to a career in film, he made early appearances in so-called blaxploitation films of the early 1970s like “Hit Man” and “The Mack.” He also appeared in “Terminal Island,” a 1973 grindhouse film that also starred Tom Selleck, who would later recommend him for “Magnum, P.I.”A strapping 6 feet 2 inches tall, Mr. Mosley was often cast as a bruiser. But his natural warmth and humor brought a depth to even the most macho parts, including the title role in “Leadbelly,” a 1976 movie about the brawling early-20th-century folk and blues pioneer Huddie Ledbetter, which Roger Ebert called “one of the best biographies of a musician I’ve ever seen.”“Leadbelly” offered Black audiences “the kind of film they’re hungry for,” Mr. Mosley was quoted as saying in a 1976 article in People magazine. “Not a Super Fly character but the story of a man who actually lived.”The next year, he earned critical praise playing Sonny Liston, the heavyweight boxing champion famously dethroned in 1964 by Muhammad Ali (then known as Cassius Clay), in the 1977 film “The Greatest,” which starred Ali as himself.While Mr. Mosley’s career continued to build momentum during that decade, it was “Magnum, P.I.,” the popular CBS crime drama that ran from 1980 to 1988, that brought him mass recognition.His character, Theodore Calvin, known as T.C., was a rugged yet wry Vietnam War veteran helicopter pilot who was continually rescuing Thomas Magnum, Tom Selleck’s Hawaiian-shirt-wearing, Ferrari-driving private investigator character, when he landed in danger in the jungles or on the beaches of Maui, where he lived in a guesthouse on a lavish estate. (According to the Internet Movie Database, Mr. Mosley was a certified helicopter pilot but was not allowed to do his own stunts on the show.)The part was originally written for a white actor, Gerald McRaney, The Hollywood Reporter wrote in its obituary for Mr. Mosley, but the producers reached out to Mr. Mosley to bring diversity to the cast.Although Mr. Mosley reportedly had little interest in the role at first because his sights were on work in feature films, he later said he was proud that he helped break stereotypes as one of television’s first Black action stars.Mr. Mosley with Dana Manno in the 1976 film “Leadbelly,” in which he played the folk and blues pioneer Huddie Ledbetter. Roger Ebert called it “one of the best biographies of a musician I’ve ever seen.” Museum of Modern Art“I’m a good actor, but I’m a Black man; there’s a lot of pride in that,” Mr. Mosley told “Entertainment Tonight” in 1985. He always aimed to set a good example for Black youth; for example, he refused to let his “Magnum” character drink or smoke.The show’s diversity, he said, was a factor in its success. “We have myself for Black people, we have John for the Europeans, we have Magnum for the ladies,” he said. (John Hillerman played Higgins, the estate’s stuffy English caretaker — although Mr. Hillerman was actually American.) “We have a little bit of everything for everyone.”When CBS rebooted “Magnum” in 2018, with Jay Hernandez as Magnum and Stephen Hill as T.C., Mr. Mosley appeared in two episodes as a barber.Roger Earl Mosley was born on Dec. 18, 1938, in Los Angeles, the eldest of three children raised by his mother, Eloise, a school cafeteria worker, and his stepfather, Luther Harris, who ran a tire shop in Watts supplying eighteen-wheelers, his son Brandonn Mosley said. (His mother later changed her first name to Sjuan, pronounced “swan.”)In addition to his daughter Ch-a and his son Brandonn, Mr. Mosley’s survivors include his wife, Antoinette, and another son, Trace Lankford. Another daughter, Reni Mosley, died in 2019. His first marriage, to Saundra J. Locke in 1960, ended in divorce.Mr. Mosley was a standout wrestler at Jordan High School in Watts, but after graduation he decided to try acting and took a drama class at the Mafundi Institute, an arts education center in the area. One day, a visiting director from Universal Pictures lectured the class on the self-discipline needed to make it in the field.“I know actors who had to eat ketchup sandwiches,” Mr. Mosley recalled him saying in 1976.Mr. Mosley fired back: “You have the audacity to tell us to eat ketchup sandwiches for our art. I know people who are eating ketchup sandwiches to survive. We need somebody to give us a break.”“Young man,” the director said, “I want to see you at the studio next Wednesday.” More

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      Olivia Newton-John, Pop Singer and ‘Grease’ Star, Dies at 73

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      She amassed No. 1 hits, chart-topping albums and four records that sold more than two million copies each. More than anything else, she was likable, even beloved.Olivia Newton-John, who sang some of the biggest hits of the 1970s and ’80s while recasting her image as the virginal girl next door into a spandex-clad vixen — a transformation reflected in miniature by her starring role in “Grease,” one of the most popular movie musicals of its era — died on Monday at her ranch in Southern California. She was 73.The death was announced by her husband, John Easterling, who did not give a specific cause in his statement, though he cited the breast cancer diagnosis she had lived with since 1992. In 2017, she announced that the cancer had returned and spread. For years she was a prominent advocate for cancer research, starting a foundation in her name to support it and opening a research and wellness center in metropolitan Melbourne, Australia. English-born, she grew up in Australia.Ms. Newton-John amassed No. 1 hits, chart-topping albums and four records that sold more than two million copies each. More than anything else, she was likable, even beloved.Ms. Newton-John and John Travolta in a scene from “Grease.” It became one of the highest grossing movie musicals ever, besting even “The Sound of Music.”Paramount/Library of Congress, via Associated PressIn the earlier phase of her career, Ms. Newton-John beguiled listeners with a high, supple, vibrato-warmed voice that paired amiably with the kind of swooning middle-of-the-road pop that, in the mid-1970s, often passed for country music.Her performance on the charts made that blurring clear. She scored seven Top 10 hits on Billboard’s country chart, two of which became back-to-back overall No. 1 hits in 1974 and ’75. First came “I Honestly Love You,” an earnest declaration co-written by Peter Allen and Jeff Barry, followed by “Have You Never Been Mellow,” a feather of a song written by the producer of many of her biggest albums, John Farrar.“I Honestly Love You” also won two of the singer’s four Grammys, for record of the year and best female pop vocal performance.The combination of Ms. Newton-John’s consistently benign music — she was never a favorite of critics — and comely but squeaky-clean image caused many writers to compare her to earlier blond ingénues like Doris Day and Sandra Dee. “Innocent, I’m not,” Ms. Newton-John told Rolling Stone in 1978. “People still seem to see me as the girl next door. Doris Day had four husbands,” she said, yet she was still viewed as “the virgin.”An entry into movies in 1978 aimed to put the singer’s chaste image behind her, starting with “Grease.” Her character, Sandy, transformed from a pigtailed square smitten with John Travolta’s bad-boy Danny to a gum-smacking bad girl. “Grease” became one of the highest grossing movie musicals ever, besting even “The Sound of Music.” Its soundtrack was the second best-selling album of the year, beaten only by the soundtrack for “Saturday Night Fever,” which also starred Mr. Travolta.The “Grease” soundtrack spawned two No. 1 hits, including the manically lusty “You’re the One That I Want,” sung by the co-stars. The doo-wop romp “Summer Nights,” which they also sang, reached No. 5. (The other No. 1 single from the “Grease” soundtrack was the title song, sung by Frankie Valli.) A ballad Ms. Newton-John sang alone, “Hopelessly Devoted to You,” earned the film’s lone Oscar nomination, for best song.Applying the evolution of her “Grease” character to her singing career, Ms. Newton-John titled her next album “Totally Hot,” and presented herself on the cover in shoulder-to-toe leather. The album, released at the end of 1978, went platinum, yielding the rock-oriented “A Little More Love” with the line, “Where did my innocence go?”Ms. Newton-John in an undated photo. In the 1980s she sought to shed her innocent image, emerging with “Physical,” which spent 10 weeks at No. 1 in Billboard’s rankings.The album featured Ms. Newton-John singing in a somewhat more forceful voice. Though her sales dipped as the 1970s turned into the ’80s, by early in the decade she began the most commercially potent period in her career, peaking with the single “Physical,” which spent 10 weeks on Billboard’s top perch. Later, the magazine declared it to be the biggest song of the 1980s.Olivia Newton-John was born on Sept. 26, 1948, in Cambridge, England, the youngest of three children of Brinley and Irene (Born) Newton-John. Her mother was the daughter of the Nobel Prize-winning physicist Max Born. Her Welsh-born father had been an MI5 intelligence officer during World War II and afterward served as headmaster at Cambridgeshire High School for Boys. When Ms. Newton-John was 6, her family immigrated to Melbourne, Australia, where her father worked as a college professor and administrator. At 14, she formed her first group, Sol Four, with three girls from school. Her beauty and confidence soon earned her solo performances on local radio and TV shows under the name “Lovely Livvy.” On “The Go!! Show” she met the singer Pat Carroll, with whom she would form a duet, as well as her eventual producer, Mr. Farrar, who later married Ms. Carroll.Ms. Newton-John won a local TV talent contest whose prize was a trip to Britain. While tarrying there, she recorded her first single, “’Til You Say You’ll Be Mine,” which Decca Records released in 1966.After Ms. Carroll moved to London, she and Ms. Newton-John formed the duet Pat and Olivia, which toured Europe. When Ms. Carroll’s visa expired, forcing her to go back to Australia, Ms. Newton-John stayed in London to work solo.In 1970, she was asked to join a crudely manufactured group named Toomorrow, formed by the American producer Don Kirshner in an attempt to repeat his earlier success with the Monkees. Following his grand design, the group starred in a science-fiction film written for them and recorded its soundtrack. Both projects tanked.Ms. Newton-John tried to expand her acting career with the 1980 musical “Xanadu,” here in a scene with the actor Michael Beck. Its soundtrack went double platinum.Universal/Kobal, via Shutterstock“It was terrible, and I was terrible in it,” she later told The New York Times.Her debut solo album, “If Not for You,” was released in 1971, its title track a cover of a Bob Dylan song.After some duds in the United States, Ms. Newton-John released the album “Let Me Be There” (1973), which led to a Grammy win for best female country vocal performance.Two key changes in pop music boosted her career that decade: the rise of “soft rock” in reaction to the harder genres of the late 1960s, and the mainstreaming — some would say the neutering — of country music, also epitomized by stars like John Denver and Anne Murray.The latter trend became an issue in 1974, after Ms. Newton-John was chosen female vocalist of the year by the Country Music Association over more traditional stars like Loretta Lynn and Dolly Parton. Protests led to the formation of the fleeting Association of Country Entertainers. Yet, after Ms. Newton-John recorded her “Don’t Stop Believin’,” album in Nashville in 1976, the friction eased.The second phase of her career, which began with “Grease,” found further success through a duet with Andy Gibb, “I Can’t Help It,” followed by an attempt to expand her acting career with the 1980 musical film “Xanadu,” with Gene Kelly. While the movie floundered, its soundtrack went double-platinum, boasting hits like “Magic” (which commanded Billboard’s No. 1 spot for four weeks) and the title song, recorded with the Electric Light Orchestra.A campy Broadway show based on the film opened in 2007 to some success.Ms. Newton-John performing in Chile in 2017, the year she said her cancer had returned and had metastasized.Mario Ruiz/EPA, via ShutterstockMs. Newton-John’s smash “Physical” also yielded the first video album to hit the market, with clips for all the album’s tracks. “Olivia Physical” won the Grammy in 1982 for video of the year.She was paired again with Mr. Travolta in the 1983 movie “Two of a Kind,” an attempt to repeat the success of “Grease.” But the film disappointed even as its soundtrack proved popular, especially the song “Twist of Fate.”Ms. Newton-John was named an officer of the Order of the British Empire in 1979.By the mid-80s, her career had cooled. For several years she cut back on work to care for her daughter, Chloe Rose, whom she had with her husband at the time, the actor Matt Lattanzi. They had met on the set of “Xanadu” and married in 1984; they divorced in 1995.That same year, she met Patrick McDermott, a cameraman whom she dated, on and off, for the next nine years. In 2005, Mr. McDermott disappeared while fishing off the California coast. Three years later, a U.S. Coast Guard investigation said that the evidence suggested that Mr. McDermott had been lost at sea.In 2008, Ms. Newton-John married Mr. Easterling, the founder of the Amazon Herb Company.In addition to her husband, she is survived by her daughter, Chloe Rose Lattanzi; her sister, Sarah Newton-John; and her brother, Toby.After learning she had breast cancer in 1992, Ms. Newton-John became an ardent advocate for research into the disease. Her Olivia Newton-John Foundation Fund is dedicated to researching plant-based treatments for cancer, and she opened a cancer research and wellness facility under her name at Austin Hospital, outside Melbourne.Despite her own treatments, she continued to release albums and tour but failed to make headway on the charts. And she continued to act in movies and on television.In May 2017, she disclosed that her cancer had returned and that it had metastasized to her lower back. She published a memoir, “Don’t Stop Believin,’” in 2018.To the end Ms. Newton-John firmly believed in her audience-friendly approach to music. “It annoys me when people think because it’s commercial, it’s bad,” she told Rolling Stone. “It’s completely opposite. If people like it, that’s what it’s supposed to be.” More

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      Chase Mishkin, Tony-Winning Producer of ‘Dame Edna,’ Dies at 85

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      She was nearly 60 when she began producing shows on Broadway. In 19 years, she had a hand (and her money) in 30 plays and musicals.Chase Mishkin, a prolific theatrical producer who received two Tony Awards, one for bringing the uninhibited Australian character Dame Edna Everage to Broadway, and who was something of flamboyant figure herself, chauffeured around town in her London taxicab, died on July 24 at her home in Manhattan. She was 85.Her sister Julie Kahle confirmed the death, adding that Ms. Mishkin had dementia. She had also had two strokes.After her husband died, Ms. Mishkin arrived on Broadway in 1996 with her first play, “The Apple Doesn’t Fall . . . ,” which she had produced in Los Angeles. Over the next two decades, she became one of the most prominent female producers on Broadway, with a hand, and her money, in 29 more shows.“She had a real commitment to be a Kermit Bloomgarden” — who produced “Death of a Salesman” and “The Music Man” in the 1940s and ‘50s — said Joe Brancato, a friend who is founding artistic director of the Penguin Rep Theater in Stony Point, N.Y., in Rockland County. “She had a real dedication to each show.”Working with other producers, her hits included the musical “Memphis,” for which she shared the Tony for best musical in 2010; Martin McDonagh’s Irish drama “The Beauty Queen of Leenane” (which opened in 1998); Claudia Shear’s Tony-nominated play “Dirty Blonde” (2000), and “Dirty Rotten Scoundrels” (2005), a musical adaptation of the Frank Oz film with Steve Martin and Michael Caine as con men.“Dame Edna: The Royal Tour” was one of Ms. Mishkin’s most conspicuous successes. It starred the Australian actor Barry Humphries as a former housewife-turned-self-appointed “gigastar” who, dressed in an elaborate evening gown, mauve wig and wild eyeglasses, held court with the audience, whom she called “possums.”It was a profitable hit during its run, from 1999 to 2000, and earned Ms. Mishkin, along with her frequent producing partner Leonard Soloway and two other producers, a special Tony for live theatrical presentation. But when Mr. Humphries went on tour two years later, he stunned his producers by leaving them behind.Ms. Mishkin said she felt betrayed. Asked if she would work with Mr. Humphries again, she told Michael Riedel, who was then the theater columnist for The New York Post, “I am in the enviable position of being able to say that once you lose me, you lose me forever.”Ms. Mishkin in 1997 with, from left, Steven M. Levy, Peter Crane and her frequent producing partner Leonard Soloway, inside the Gramercy Theater, which they were converting from a movie house to an Off Broadway theater. It is now a live music venue.Sara Krulwich/The New York TimesShe was born Mary Margaret Hahn on Jan. 22, 1937, in Vanduser, Mo., and grew up in Sparta, Ill., and Dexter, Mo. Her mother, Violet (Phegley) Hahn, was a homemaker. Her father, Harold Hahn, was not a part of her life. She attended Washington University in St. Louis for a semester in 1955.Little is known about her next decade or so, other than that she was a dancer in Las Vegas who met her future husband, Ralph Mishkin, while modeling for an advertisement for his carpet manufacturing company. By then she had changed her given name to Chase.She and Mr. Mishkin married in 1970 and lived for a while in an estate they had bought from the singer and actress Cher in the Holmby Hills neighborhood of Los Angeles. Ms. Mishkin became known as a hostess and philanthropist, but she turned to theater after Mr. Mishkin’s death in 1993.In 1996 she staged Trish Vradenburg’s “The Apple Doesn’t Fall … ” — about a woman’s relationship with her mother, who has Alzheimer’s disease — at a small theater in Los Angeles before taking it the Lyceum Theater on Broadway, with her friend Leonard Nimoy directing.It flopped, but Ms. Mishkin moved on, becoming increasingly familiar on Broadway for her flaming red hair and mink coats and her arrivals at premieres — and at Sardi’s, the theater district gathering spot — in her black London cab, which she had reupholstered in Burberry plaid.“She came on the scene in a bold way,” said Mr. Riedel, the author of “Razzle Dazzle: The Battle for Broadway” (2016) and a co-host of a morning radio show on WOR-AM in New York. “She was part of a new breed of female producers who said, ‘If I’m going to give you $500,000, I won’t be a passive investor — I want to be involved in every aspect of the show.’”Daryl Roth, another woman who started to find success as a theatrical producer in the late 1980s, wrote in an email about Ms. Mishkin, “My impression of her is one of being a ‘dame’ in the best possible way; she was outspoken but always gracious; she had a great attitude about enjoying life.”Ms. Mishkin endured failures like “Prymate,” about the battle for control over an aging gorilla between an anthropologist and geneticist, and “Urban Cowboy,” a 2003 a musical adaptation of the 1980 film about a Texas honky-tonk.In 2003, Ms. Mishkin and other producers decided that “Urban Cowboy” — devastated by bad reviews, a four-day musicians’ strike, the start of the war in Iraq and dismal ticket sales — would close after its fourth performance. But as Lonny Price, who directed the musical, walked to the stage to say goodbye to the audience, he encountered Ms. Mishkin backstage.“She said, ‘We’re not closing,’ and I said, ‘What did you say?’” he recalled in a phone interview. “She said, ‘I’ve decided not to close the show,’ and I said, ‘May I say that?’ And she said, ‘Go ahead.’ And she funded the show for the rest of its run.”The musical stayed alive — it got two Tony nominations — but closed after 60 performances.“When business didn’t pick up, she reluctantly closed the show,” Mr. Price said.She was just as persistent with Mark Medoff’s 2004 play, “Prymate.” At its center was a Black actor, André De Shields, as Graham, a 350-pound gorilla. Wearing a baggy T-shirt and shorts, Mr. De Shields grunted, screeched and scooted about onstage and, in one notorious scene, was masturbated by a sign-language interpreter.Faced with poor reviews and ticket sales, Ms. Mishkin bought an advertisement in The New York Times that urged theatergoers to see the play, which also starred Phyllis Frelich, James Naughton and Heather Tom. “Come Be Engrossed!” she wrote. But it closed after five performances.“I don’t try to defend that one,” she told New York magazine in 2009. “But I don’t throw rocks at it, either.”Ms. Mishkin also produced Off Broadway shows and earned an Emmy Award as executive producer of “Sweeney Todd: The Demon Barber of Fleet Street In Concert,” which Mr. Price directed on PBS in 2001. Her final Broadway show, “Doctor. Zhivago” (2015), closed after 23 performances.In addition to her sister Julie, she is survived by another sister, Dixie May; a stepson, Steve Mishkin; and five step-grandchildren. More

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      Judith Durham, Singer of ‘Georgy Girl’ and Other Hits, Dies at 79

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      A classically trained soprano, she became a chart-topping pop star in the 1960s with the folk-based Australian quartet the Seekers.Judith Durham, the lead vocalist of the 1960s Australian folk-pop band the Seekers, whose shimmering soprano voice and wholesome image propelled singles like “Georgy Girl” and “I’ll Never Find Another You” to the top of the pop charts, died on Friday in Melbourne. She was 79.Her death, in a hospital, was caused by bronchiectasis, a lung disease that she had battled since childhood, according to a post from Universal Music Australia and the Musicoast record label on the Seekers’ Facebook page.A sunny folk-influenced quartet whose fresh-faced image and effervescent pop songs stood in marked contrast to the libidinal frenzy of 1960s rock, the Seekers sold an estimated 50 million singles and albums worldwide. They became the first Australian pop group to achieve global success, paving the way for other acts based in Australia, like the Bee Gees and Olivia Newton-John.“Judith Durham gave voice to a new strand of our identity and helped blaze a trail for a new generation of Aussie artists,” Prime Minister Anthony Albanese wrote on Twitter.Ms. Durham was a classically trained vocalist whose work was admired by other singers. Elton John, whose song “Skyline Pigeon” Ms. Durham recorded in 1971, once said that she possessed “the purest voice in popular music.”Lynn Redgrave and Alan Bates in a scene from the hit 1966 movie “Georgy Girl,” for which Ms. Durham sang the theme song.Columbia Pictures, via PhotofestJudith Mavis Cock was born on July 3, 1943, in Essendon, Australia, to William Cock, an aviator in World War II, and Hazel (Durham) Cock. “My mother apparently said I could sing nursery rhymes in perfect tune when I was 2,” Ms. Durham once said in a television interview.She was working as a secretary at the J. Walter Thompson advertising agency in Melbourne when an account executive, Athol Guy, invited her to sit in with his folk group, which also included Keith Potger and Bruce Woodley, and which had just lost its singer.The group released its first album, “Introducing the Seekers,” in 1963, but did not strike it big until the next year, when it took a gig on an ocean liner and ended up staying in England indefinitely.It was a portentous time to arrive on the British music scene: Bands like the Beatles, the Rolling Stones and the Kinks were performing to screaming teenage fans as they rolled toward global stardom.The Seekers were a far cry from the rock ‘n’ roll sweeping London. Ms. Durham belted out toe-tapping ditties wearing ankle-length evening gowns and a perky smile, backed by three clean-cut male bandmates in suits.“The pop charts was probably the furthest thing from any of our minds,” she said in a 2001 television interview. “You just didn’t try to do that with a folk-based quartet. Everybody was more poppy, and had the long hair and the electric instruments.”Fueled by Ms. Durham’s vocals, however, the group caught the eye of Tom Springfield — Dusty Springfield’s songwriting brother — who offered them one of his songs, “I’ll Never Find Another You,” to record.Released in 1964, it went on to hit No. 1 on the British charts and No. 4 in the United States. The hits kept coming in 1965, with “A World of Our Own” (No. 3 in Britain) and “The Carnival Is Over” (No. 1).On her 70th birthday in 2013, Ms. Durham received kisses from her Seekers bandmates Mr. Potger, left, and Mr. Guy. David Crosling/EPA, via Shutterstock“Georgy Girl,” the title song from the hit 1966 feature film starring Lynn Redgrave in the title role, was an even bigger smash. Written by Mr. Springfield and Jim Dale, it was nominated for an Academy Award and hit No. 2 on the Billboard singles chart in the United States.But Ms. Durham felt the pressure of fame and was increasingly insecure about her weight, which she tried to disguise by making her own dresses. She began to shrink from the spotlight.“It was this never feeling good enough to be given the amazing opportunities we were given,” she said in a 2018 Australian television interview. “The boys were amazing, they all looked gorgeous, and so musically talented and everything. And so for me, I thought, ‘Well, they don’t really need me.’”Fans were crestfallen when she left the group in 1968. (A later version of the group, the New Seekers, would have a hit in 1973 with “I’d Like to Teach the World to Sing.”) But Ms. Durham remained in the public eye, particularly in Australia, where she recorded solo albums, starred in television specials and performed with her husband, the pianist Ron Edgeworth, whom she married in 1969. He died in 1994 of motor neuron disease, a rare neurological disorder.Survivors include a sister, the singer Beverley Sheehan.Ms. Durham reunited with the Seekers off and on in the ’90s and again in 2013, for the group’s 50th anniversary. That tour was interrupted when Ms. Durham suffered a brain hemorrhage.In honor of her 75th birthday in 2018, Ms. Durham released her first album in six years, a compilation of previously unreleased tracks called “So Much More.”In a 2016 interview on Australian television, she admitted that fame had come to seem a burden at times when she was younger.“At one stage I really thought that I probably wasn’t going to keep singing,” she said. But, she added: “I’m glad that I’ve lived a long time. That’s helped me therefore lose the sense of burden, and see it as an honor and a privilege that people have kept me in their lives.” More

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      Lamont Dozier, Writer of Numerous Motown Hits, Dies at 81

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      With the brothers Brian and Eddie Holland, Mr. Dozier wrote dozens of singles that reached the pop or R&B charts, including “You Can’t Hurry Love,” by the Supremes.Lamont Dozier, the prolific songwriter and producer who was crucial to the success of Motown Records as one-third of the Holland-Dozier-Holland team, died on Monday at his home near Scottsdale, Ariz. He was 81.Robin Terry, the chairwoman and chief executive of the Motown Museum in Detroit, confirmed the death but did not specify a cause. In collaboration with the brothers Brian and Eddie Holland, Mr. Dozier wrote songs for dozens of musical acts, but the trio worked most often with Martha and the Vandellas (“Heat Wave,” “Jimmy Mack”), the Four Tops (“Bernadette,” “I Can’t Help Myself”) and especially the Supremes (“You Can’t Hurry Love,” “Baby Love”). Between 1963 and 1972, the Holland-Dozier-Holland team was responsible for more than 80 singles that hit the Top 40 of the pop or R&B charts, including 15 songs that reached No. 1. “It was as if we were playing the lottery and winning every time,” Mr. Dozier wrote in his autobiography, “How Sweet It Is” (2019, written with Scott B. Bomar).Nelson George, in his 1985 history of Motown, “Where Did Our Love Go?” (named after another Holland-Dozier-Holland hit), described how the youthful trio had won over the label’s more experienced staff and musicians. “These kids,” he wrote, “had a real insight into the taste of the buying public” and possessed “an innate gift for melody, a feel for story song lyrics, and an ability to create the recurring vocal and instrumental licks known as ‘hooks.’”“Brian, Eddie and Lamont loved what they were doing,” Mr. George added, “and worked around the clock, making music like old man Ford made cars.”In his memoir, Mr. Dozier concurred: “We thought of H.D.H. as a factory within a factory.”The Supremes (from left, Diana Ross, Cindy Birdsong and Mary Wilson) in 1968. The Holland-Dozier-Holland team wrote and produced 10 No. 1 pop hits for the group.Klaus Frings/Associated PressLamont Herbert Dozier — he was named after Lamont Cranston, the lead character in the radio serial “The Shadow” — was born on June 16, 1941, in Detroit the oldest of five children of Willie Lee and Ethel Jeannette (Waters) Dozier. His mother largely raised the family, earning a living as a cook and housekeeper; his father worked at a gas station but had trouble keeping a job, perhaps because he suffered from chronic back pain as a result of a World War II injury (he fell off a truck).When Mr. Dozier was 5, his father took him to a concert with an all-star bill that included Count Basie, Nat King Cole and Ella Fitzgerald. While the music excited the young boy, he was also impressed by the audience’s ecstatic reaction, and resolved that he would make people feel good in the same way.As a high school student, Mr. Dozier wrote songs, cutting up grocery bags so he would have paper for the lyrics, and formed the Romeos, an interracial doo-wop group. When the Romeos’ song “Fine Fine Baby” was released by Atco Records, a subsidiary of Atlantic, in 1957, Mr. Dozier dropped out of high school at age 16, anticipating stardom. But when Atlantic’s Jerry Wexler wanted a second single, Mr. Dozier overplayed his hand, saying the group would only make a full-length LP. He received a letter wishing him well and dropping the Romeos from the label.After the Romeos broke up, Mr. Dozier auditioned for Anna Records, a new label called founded by Billy Davis and the sisters Anna and Gwen Gordy; he was slotted into a group called the Voice Masters and hired as a custodian. In 1961, billed as Lamont Anthony, he released his first solo single, “Let’s Talk It Over” — but he preferred the flip side, “Popeye,” a song he wrote. “Popeye,” which featured a young Marvin Gaye on drums, became a regional hit until it was squelched by King Features, owners of the cartoon and comic-strip character Popeye.After Anna Records folded in 1961, Mr. Dozier received a phone call from Berry Gordy Jr., brother of Anna and Gwen, offering him a job as a songwriter at his new label, Motown, with a salary of $25 a week as an advance against royalties. Mr. Dozier began collaborating with the young songwriter Brian Holland.“It was like Brian and I could complete one another’s musical ideas the way certain people can finish one another’s sentences,” Mr. Dozier wrote in his memoir. “I realized right away that we shared a secret language of creativity.”From left, Mr. Dozier, Brian Holland and Eddie Holland in an undated photo.Pictorial Press Ltd /AlamyThey were soon joined by Brian’s older brother, Eddie, who specialized in lyrics, and began writing songs together — although hardly ever with all three parties in the same room. Mr. Dozier and Brian Holland would write the music and supervise an instrumental recording session with the Motown house band; Eddie Holland would then write lyrics to the track. When it came time to record vocals, Eddie Holland would guide the lead singer and Mr. Dozier would coach the backing vocalists.In his memoir, Mr. Dozier summed it up: “Brian was all music, Eddie was all lyrics, and I was the idea man who bridged both.”Sometimes he would have an idea for a song’s feel: He wrote the Four Tops’ “Reach Out I’ll Be There” thinking about Bob Dylan’s phrasing on “Like a Rolling Stone.” Sometimes he concocted an attention-grabbing gimmick, like the staccato guitars at the beginning of the Supremes’ “You Keep Me Hangin’ On” that evoked a radio news bulletin.And sometimes Mr. Dozier uttered a real-life sentence that worked in song, as he did one night when he was in a Detroit motel with a girlfriend and a different girlfriend started pounding on the door. He pleaded with the interloper, “Stop, in the name of love” — and then realized the potency of what he had said. The Holland-Dozier-Holland team quickly hammered the sentence into a three-minute single, the Supremes’ “Stop! In the Name of Love.”In 1965, Mr. Gordy circulated an audacious memo to Motown staffers that read in part: “We will release nothing less than Top Ten product on any artist; and because the Supremes’ worldwide acceptance is greater than other artists, on them we will release only #1 records.” Holland-Dozier-Holland stepped up: While they didn’t hit the top every time with the Supremes, they wrote and produced an astonishing 10 No. 1 pop hits for the group.“I accepted that an artist career just wasn’t in the cards for me at Motown,” Mr. Dozier wrote in 2019. “I still wanted it, but I was constantly being bombarded with the demand for more songs and more productions for the growing roster of artists.”When Marvin Gaye, who had turned himself from a drummer into a singing star, needed to record some material before he went on an extended tour, Mr. Dozier reluctantly surrendered a song he had been saving to relaunch his own career as an artist: “How Sweet It Is (To Be Loved by You).” Mr. Gaye showed up for the session with his golf clubs, late and unprepared, and nailed the song in one perfect take.Mr. Dozier and the Holland brothers left Motown in 1967, at the peak of their success, in a dispute over money and ownership, and started two labels of their own, Invictus and Hot Wax; their biggest hit was Freda Payne’s “Band of Gold,” a Top 10 hit in 1970.“Holland-Dozier-Holland left and the sound was gone,” Mary Wilson of the Supremes lamented to The Washington Post in 1986.Mr. Dozier, center, with Eddie Holland, left, and Brian Holland in 2003.Vince Bucci/Getty ImagesMr. Dozier wrote some more hits with the Hollands (many credited to the collective pseudonym Edythe Wayne because of ongoing legal disputes with Motown) and struck out on his own in 1973, resuming his singing career.He released a dozen solo albums across the years, but without achieving stardom as a singer; he had the most chart success in 1974, most notably with the song “Trying to Hold On to My Woman,” which reached the Top 20, and “Fish Ain’t Bitin’,” with lyrics urging Richard Nixon to resign, became a minor hit when his label publicized a letter it had received from the White House asking it to stop promoting the song.Mr. Dozier had greater success collaborating with other artists in the 1980s, writing songs with Eric Clapton, the Simply Red frontman Mick Hucknall (who puckishly released “Infidelity” with the credit “Hucknall-Dozier-Hucknall”) and Phil Collins, who hit No. 1 in 1989 with the Dozier-Collins song “Two Hearts.”Information on survivors was not immediately available.Mr. Dozier served as an artist-in-residence professor at the University of Southern California’s Thornton School of Music and as chairman of the board of the National Academy of Songwriters, imparting his hard-won wisdom to younger writers.“Always put the song ahead of your ego,” he wrote in his memoir. And he revealed the secret to his relentless productivity: “Writer’s block only exists in your mind, and if you let yourself have it, it will cripple your ability to function as a creative person. The answer to so-called writer’s block is doing the work.”Jenny Gross More