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      Wanda Young, Motown Hitmaker With the Marvelettes, Dies at 78

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      She was the lead voice on “Don’t Mess With Bill” and other songs written by Smokey Robinson, who said she “had this little voice that was sexy to me.”Wanda Young, one of the lead singers of the Marvelettes, the girl group whose 1961 song “Please Mr. Postman,” recorded when they were teenagers, was Motown’s first No. 1 hit, died on Dec. 15 in Garden City, Mich. She was 78.Her daughter Meta Ventress said the cause was complications of chronic obstructive pulmonary disease.The Marvelettes began recording in 1961, two years after Berry Gordy Jr. founded Motown Records. They signed the same year as the Supremes and a year before Martha and the Vandellas, all-female groups who eventually overshadowed them at Motown.Ms. Young (who was also known as Wanda Rogers) and Gladys Horton shared lead singer duties. “Don’t Mess With Bill,” which rose to No. 7 on the Billboard Hot 100 chart in 1966, was one of several hits written by Smokey Robinson on which Ms. Young sang lead. (Ms. Horton was the lead singer on “Please Mr. Postman,” “Beechwood 4-5789” and other songs.)“Wanda had this little voice that was sexy to me, a little country kind of voice,” Mr. Robinson was quoted as saying in the music writer Fred Bronson’s liner notes to the 1993 Marvelettes compilation, “Deliver: The Singles (1961-1971).” “I knew if I could get a song to her, it would be a smash.”Among the other Robinson songs that featured Ms. Young’s voice were “I’ll Keep Holding On,” a 1965 release that peaked at No. 34 on the Billboard chart; “The Hunter Gets Captured by the Game,” which rose to No. 13 in 1967; and “My Baby Must Be a Magician,” which hit No. 17 in 1968.The Marvelettes, who recorded for Motown’s Tamla label, released more than 20 singles that made the charts.The group, which started with five members and later became a quartet and eventually a trio, disbanded around 1970. That year, Ms. Young recorded an album, produced by Mr. Robinson with backing vocals by the Andantes, a female session group, that, although actually a solo project, was released as “The Return of the Marvelettes” and marketed as a Marvelettes album.Wanda LaFaye Young was born on Aug. 9, 1943, in Eloise, Mich., and grew up in Inkster, about 20 miles west of Detroit. Her father, James, worked for the Ford Motor Company, and her mother, Beatrice (Dawson) Young, was a homemaker.Ms. Young, whose early ambition was to be a pediatric nurse, joined the Marvelettes after one of the original members had to leave.Ms. Horton had formed a quintet in 1960 with three high school classmates, Katherine Anderson, Georgeanna Tillman and Juanita Cowart, and a recent graduate, Georgia Dobbins. The group — then called the Casinyets, a contraction of “can’t sing yet” — competed in a talent show whose top three finishers were to receive an audition with Motown. The quintet didn’t win, but a teacher helped get them an audition anyway. Motown executives were impressed but told the young women that they needed to return with original material.They did: Ms. Dobbins’s friend William Garrett had composed a blues song, which Ms. Dobbins rewrote and recast as a pop song, about a girl pining for mail from her distant boyfriend. “Please Mr. Postman” was a hit, but Ms. Dobbins left the group before it was recorded because her mother was ill and her father had forbade her to be involved in the music business. Ms. Horton recruited Ms. Young.“She wanted to know if I could sing alto, and I said, ‘I think I can sing all of them — soprano, second soprano and alto,’” Ms. Young said in an interview with Blues & Soul magazine in 1990. “So that evening I went over to Georgeanna’s house and instantly became a member of the group.”Ms. Horton sang lead on the song. Three months after its release, it became a No. 1 hit.While Ms. Young fondly recalled the family atmosphere that Mr. Gordy fostered at Motown, she was disappointed when he moved the company to Los Angeles in 1972.“It was all done so quietly that we didn’t know if the gangsters had taken over or what was going on,” she told Blues & Soul. She added: “I felt like I’d been personally left behind. I’d grumble and complain within myself sometimes: Why would they move to California, knowing that this is Berry Gordy’s hometown?”Ms. Young’s 12-year marriage to Bobby Rogers of the Miracles ended in 1975. They had two children, Robert III and Bobbae Rogers, who survive her, along with Ms. Ventress, her daughter from another relationship; seven grandchildren; a great-grandson; four sisters, Adoria Williams, Cynthia Young, Regina Young and Beatrice Wilson; and four brothers, James Jr., Stephen, Paul and Reginald Young. Another daughter, Miracle Rogers, was killed in 2015. Ms. Young lived in Redford, Mich.Ms. Young reunited with Ms. Horton in 1990 for the album “The Marvelettes: Now!” on the producer Ian Levine’s Motorcity Records label. It featured some Marvelettes oldies, including “Don’t Mess With Bill.”Ms. Horton died in 2011.Ms. Ventress said that her mother — who lived off her royalties in the years after the Marvelettes broke up — was sometimes surprised at the longevity of her music.“I told her constantly, ‘All these people love you,’” Ms. Ventress said in an interview. “And she’d say, ‘Wow.’” She added, “She didn’t wake up every day thinking of the Marvelettes, but she never lost that glamour.” More

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      Dave Draper, Bodybuilding’s ‘Blond Bomber,’ Dies at 79

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      After being named Mr. America, Mr. Universe and Mr. World, he left competitive bodybuilding in 1970. But he kept lifting weights until a year before he died.Dave Draper, a popular bodybuilder of the 1960s who won three major titles before dropping out of competition at age 28, died on Nov. 30 at his home in Aptos, Calif., near Santa Cruz. He was 79.The cause was congestive heart failure, his wife, Laree Draper, said.Mr. Draper — who stood six feet tall, had a 54-inch chest and competed at 235 pounds — emerged as a force in bodybuilding in 1962 with his victory at the Mr. New Jersey competition. He soon moved to Southern California, where he continued to sculpt his body at the Dungeon, a gym on the fabled Muscle Beach in Santa Monica, and at Gold’s Gym, in the Venice neighborhood of Los Angeles.He loved lifting weights for its physical and spiritual benefits. But he disliked the preening and posing required of bodybuilders at competitions and exhibitions.“For a reasonable season of my life, it seemed like the thing to do,” Mr. Draper said in an interview in 2009 with T-Nation, a strength training and bodybuilding website. “But competition stood between me and the relief of hoisting the iron — the private exertion, the pure delight and the daily fulfillment of building muscle and strength.”Despite that ambivalence, Mr. Draper, who became known as the Blond Bomber, was a star on the bodybuilding scene of the 1960s. He was named Mr. America in 1965, and Mr. Universe in 1966 — before Arnold Schwarzenegger had arrived from Austria — and won the Mr. World title in 1970.“Dave trained harder than anybody else and always wore jeans to the gym,” Frank Zane, a three-time Mr. Olympia, said in a phone interview. “He loved to train, and he was very strong. He just didn’t like competing.”Mr. Draper’s spectacular physique found an occasional home in Hollywood. He had roles in sitcoms like “The Beverly Hillbillies” (as Dave Universe, a date for Elly May Clampett) and “The Monkees” (as a character named Bulk). He was also in a few films, including “Don’t Make Waves” (1967), in which he played Sharon Tate’s boyfriend.“In Austria, I kept his cover of Muscle Builder magazine on the wall above my bed for motivation,” Mr. Schwarzenegger said in a statement after Mr. Draper’s death, “and when I saw him starring in ‘Don’t Make Waves,’ I thought, ‘My dreams are possible.’”Mr. Draper, who was also a skilled woodworker, became one of Mr. Schwarzenegger’s training partners and built some furniture for his home in Santa Monica. “I learned his heart was as big as his pecs,” Mr. Schwarzenegger said.Even as he was competing, Mr. Draper was abusing alcohol, marijuana and angel dust. (He said he also used steroids, sparingly, under a doctor’s supervision.) He continued to have problems, chiefly with alcohol, until 1983, when he was diagnosed with congestive heart failure.Ms. Draper — who met her future husband at a gym in Capitola, Calif., near Santa Cruz — attributed his alcohol and drug use to the tensions brought on by competing and dealing with the demands of Hollywood.“He got caught up in it, and I guess he couldn’t handle it,” she said in an interview.Mr. Draper “loved to train, and he was very strong,” a fellow bodybuilder said. “He just didn’t like competing.”via Laree DraperDavid Paul Draper was born on April 16, 1942, in Secaucus, N.J. His father, Dan, was a salesman; his mother, Anne (Simsek) Draper, was a homemaker.Dave, who did not excel at team sports, got his first set of weights at age 10. By 12 he was fervently working out with barbells and dumbbells.“They were my solid steel friends that I could trust,” he said in his book “A Glimpse in the Rear View” (2020), a compilation of columns from his website. “When the going got tough, when I kept missing the baseball, and when girls were far too cute to talk to, the weights were there and they spoke my language.”He bought his gear at Weider Barbell in Union City, N.J. — part of Joe Weider’s empire of muscle magazines, fitness equipment, supplements and competitions — and at 19 became the weekend manager of a gym in Jersey City. He also got a part-time job in the Weider Barbell warehouse, where he worked out with the other shipping clerks. Mr. Weider, who was known as the Master Blaster, gave Mr. Draper his Blond Bomber nickname.“He had the fire in the belly, don’t kid yourself,” Mr. Weider told GQ magazine for a profile of Mr. Draper in 2000. “He wouldn’t have gotten the kind of body he did without hard work.”After winning Mr. New Jersey, Mr. Draper moved to Santa Monica, where he continued to work for Mr. Weider. As Mr. Draper’s profile in bodybuilding rose, he appeared on the covers of magazines published by Mr. Weider, like Muscle Builder and Mr. America, and in ads for his equipment.Reflecting on his victory in the Mr. America event, held at the Brooklyn Academy of Music, Mr. Draper wrote that he took pride in being a “muscle-building original.”“I invented, improvised and rooted about, along with a small, disconnected band of rebels with a cause: to build solid muscle and might through the austere, hard labor of love — the lifting of iron,” he wrote in a column included in “A Glimpse in the Rear View.”Mr. Draper with Tony Curtis in the 1967 movie “Don’t Make Waves.” “When I saw him starring in ‘Don’t Make Waves,’” Arnold Schwarzenegger said, “I thought, ‘My dreams are possible.’”via Laree DraperIn 1972 Mr. Draper sued Mr. Weider for not paying him for his endorsement of Mr. Weider’s gym and bodybuilding products. He settled for $17,500 before the jury was to deliver a verdict.Mr. Draper did not stop lifting weights until a year before he died.Once sober, he was hired as a special programmer at a gym in Santa Cruz. He married Laree Setterlund in 1988 and opened two World Gyms with her in the 1990s, which they owned and ran into the 2000s.In addition to his wife, he is survived by his sisters, Dana Harrison and Carla Scott; his brothers, Don and Jerry; two grandchildren; and a great-granddaughter. His daughter, Jamie Johnson, died in 2016. His marriage to Penny Koenemund ended in divorce.In one column, Mr. Draper contemplated what his life would have been like without weight lifting. The thought, he said, was unbearable.“No sets? No reps? No cunning determination of how to bombard the delts or blast the biceps?” he wrote. “Days on end without pursuing extreme pain through maximum muscle exertion?” He added: “Full body, full strength, full breath and fulfillment are lost, gone, no more: nary a remnant to remind, disappoint or shame. Shoot me!” More

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      Steve Bronski, of Pioneering Gay Band Bronski Beat, Dies at 61

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      He was part of a British trio whose songs often directly addressed gay themes and issues in a way few other pop music acts were doing.Steve Bronski, part of the 1980s British synth-pop trio Bronski Beat, whose members were openly gay at a time when that was uncommon and whose early songs unabashedly addressed homophobia and other gay issues, died after a fire on Dec. 7 at his apartment building in the Soho section of London, British news outlets reported. He was 61.The London Fire Brigade confirmed that it had responded to a fire on Berwick Street and taken an unidentified man to a hospital, where he later died. Josephine Samuel, a friend who had been helping to care for Mr. Bronski since he’d had a stroke several years ago, told The Guardian that Mr. Bronski was the fire victim.Mr. Bronski formed Bronski Beat in 1983 with Jimmy Somerville and Larry Steinbachek, and their first single, “Smalltown Boy,” was released the next year. It was a stark story of a young gay man’s escape from a provincial town where he had endured a homophobic attack; a haunting chorus repeats, “Run away, turn away.” The official video for the song, fleshing out the events the lyrics allude to, has been viewed more than 68 million times on YouTube.The song became a Top 5 hit in Britain and made the charts in other countries as well, including the United States. A follow-up, “Why?,” another chart success, was equally direct, the lyrics speaking to the ostracism and social disapproval experienced by gay people. “You in your false securities tear up my life, condemning me,” one lyric goes. “Name me an illness, call me a sin. Never feel guilty, never give in.”At the time, a number of mainstream performers — Elton John, the Village People, Boy George — telegraphed gayness, often with stereotypical flamboyance, but rarely addressed gay issues directly in song. Bronski Beat was different, eschewing coyness and gimmicks.“They buck stereotypes,” Jim Farber wrote in The Daily News in 1985, “presenting themselves as everyday Joes.”The group’s debut album, “The Age of Consent” (1984), was as forthright as the two singles. The album sleeve listed the “minimum age for lawful homosexual relationships between men” in European countries, an effort to underscore that the age in the United Kingdom at the time, 21, was higher than almost everywhere else. The sleeve also included a phone number for a gay legal advice line.Mr. Bronski said the trio didn’t start out as a political or social statement.“We were just writing songs that spoke about our lives at the time,” he told Gay Times in 2018. “We had no idea ‘Smalltown Boy’ would resonate with so many people.”But when they began doing live performances in 1983, he told The Associated Press in 1986, the audience reaction helped them realize that they had struck a chord.“We had all these people coming backstage saying, ‘I think it’s great you’ve been so honest about it,’” he said.That same audience reaction landed them a contract with London Records in early 1984. Mr. Bronski was on keyboards and synthesizers along with Mr. Steinbachek; Mr. Somerville’s distinctive falsetto vocals were the group’s signature.Warren Whaley, an electronic music composer based in Los Angeles and half of the synth-pop duo the Dollhouse, struck up a running correspondence with Mr. Bronski when he wrote to him after Mr. Steinbachek’s death in 2016.“I recall hearing their debut single, ‘Smalltown Boy,’ on the alternative music radio station in Los Angeles in 1984,” Mr. Whaley said by email. “The song starts with a heavy octave bass. Then a staccato hook. Then Jimmy Somerville’s lovely falsetto. I was hooked by 22 seconds in. This band was something special. Something new — but old. Their sound harkened to disco and R&B. But it sounded new, different.”Mr. Bronski in 1996. He continued to make music after the original Bronski Beat trio broke up. Jim Steinfeldt/Michael Ochs Archives, via Getty ImagesThe original Bronski Beat lineup didn’t last long; Mr. Somerville left the group in 1985. But Mr. Bronski continued to make music, with Mr. Steinbachek for a time and with others over the years, most notably “Hit That Perfect Beat,” a hit in Britain and elsewhere in 1986 and a dancehall favorite ever since. Mr. Whaley said that though Bronski Beat’s best-known songs had gay-centric lyrics, “their appeal crossed the boundaries of sexual alignment.”“Everyone bopped their heads and danced to their music,” he said.Mr. Bronski was born Steven Forrest on Feb. 7, 1960, in Glasgow. He had made his way to London by the early 1980s, where he met Mr. Somerville and Mr. Steinbachek.“It was a lot easier living in London,” he told Classic Pop magazine in 2019, explaining why he and other gay men had gravitated to the city, “since there was a thriving gay scene compared to other parts of the country.”Information on his survivors was not available.In 2017, more than three decades after the release of “The Age of Consent,” the only album with the original Bronski Beat lineup, Mr. Bronski teamed with Stephen Granville and Ian Donaldson to release the album “The Age of Reason” under the Bronski Beat name, revisiting songs from the original record and adding new tracks.“I think a lot of the songs are as relevant today as they were all those years ago,” he told Gay Times. More

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      Kangol Kid, Early Rapper Who Sought ‘Roxanne,’ Dies at 55

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      As a member of the group UTFO, he was heard on one of the most influential and widely imitated songs of commercial hip-hop’s early years.Kangol Kid, who as a rapper in the group UTFO was a key contributor to the 1984 single “Roxanne, Roxanne,” one of the most influential and widely imitated songs of commercial hip-hop’s early years, died on Saturday morning at a hospital in Manhasset, N.Y., on Long Island. He was 55.The cause was complications of colon cancer, said Lion Lindwedel, his publicist.“Roxanne, Roxanne,” released on Select Records, was the 1984 equivalent of a viral hit. It sold a few hundred thousand copies and went to No. 10 on the Billboard R&B singles chart and No. 77 on the Hot 100, but its influence was far vaster than statistics could capture.The song was written from the perspective of three men getting shut down by the same woman, the elusive (and imaginary) Roxanne. Kangol Kid opened the song memorably:She wouldn’t give a guy like me no rapShe was walking down the street so I said “HelloI’m Kangol from UTFO.” And she said “So?”And I said “So? Baby don’t you know?I can sing, rap and dance in just one show’Cause I’m Kangol, Mr. SophisticatorAs far as I’m concerned, ain’t nobody greater.”“Roxanne, Roxanne” was produced by the group Full Force and based on a sample of “The Big Beat” by the rocker Billy Squier, which the producer Howie Tee had brought to the group. It spawned more than two dozen answer tracks and retorts, many by female rappers, most notably “The Real Roxanne” by the Real Roxanne (also produced by Full Force) and Roxanne Shante’s “Roxanne’s Revenge.”. At the height of the Roxanne song wars, UTFO and the Real Roxanne would share concert bills.It was a cultural zeitgeist song that reached across the country. When Dr. Dre began working with Ice Cube, he urged him to perform a version of the song at clubs to help generate crowd excitement. Ice Cube’s take was called “Diane, Diane.”Kangol Kid — sometimes called the Kangol Kid — was born Shaun Shiller Fequiere in Brooklyn on Aug. 10, 1966, and grew up in the East Flatbush neighborhood. His father, Andre, was a taxi driver; his mother, Jean, was a housekeeper at a hospital.Kangol Kid started off as a B-boy, or breakdancer; he and a neighborhood friend, Doctor Ice, were known as the Keystone Dancers, and they toured with the early-1980s rap group Whodini, including on the New York City Fresh Fest tour, and with Full Force. They appeared on Phil Donahue’s talk show and were invited to dance at a birthday party for Dustin Hoffman’s daughter.He received his nickname before he achieved fame because he was known for wearing Kangol hats, and he ended up being sponsored by the company — one of hip-hop’s earliest brand partnerships. (The arrangement spanned his entire life; long after his initial success, the company provided him gratis product.)Formed in Brooklyn, UTFO (sometimes rendered as U.T.F.O., it stands for Untouchable Force Organization) was a foursome: Kangol Kid, Doctor Ice, the Educated Rapper and the D.J. Mix Master Ice. The group occasionally referred to itself as the “Village People of rap” because of its members’ distinct visual identities.UTFO onstage in Chicago in 1988 (from left, the Educated Rapper, Kangol Kid, Mix Master Ice and Doctor Ice). The group’s “Roxanne, Roxanne” spawned more than two dozen answer tracks and retorts. Raymond Boyd/Getty ImagesIn David Toop’s essential early-rap history book, “The Rap Attack” (1985), Kangol Kid explained one of his lyrical innovations: “Another new thing is Z-rap. It’d be like a code language. I would talk to him and his name’s Doctor Ice. I would say, ‘Dizoctor Izice. Yizo hizo bizoy wizon’t youza kizoy mesover herezere?’ — that’s just saying, ‘Yo, homeboy, why don’t you come over here?’ and what I did is make a rap out of that language.” It was a style he deployed on “Roxanne, Roxanne,” and it anticipated the later linguistic zigzagging of E-40, Snoop Dogg and others.In 1985 UTFO released its debut album, called simply “UTFO,” which continued the Roxanne saga with “Calling Her a Crab.” In a 1985 concert review, Jon Pareles of The New York Times praised the group for its “syncopated, overlapping patter” and “spitfire delivery.”UTFO would go on to release four more albums, and became popular enough for their own slot on the Fresh Fest tour, a road show that was then an index of hip-hop’s growing popularity. In 1985, UTFO performed at the Apollo Theater, believed to be a first for a rap group. In 1987, they collaborated with the heavy metal band Anthrax.After UTFO’s run in the spotlight, Kangol Kid wrote and produced for other artists, including the group Whistle and the baseball star Darryl Strawberry, who recorded a novelty rap song, “Chocolate Strawberry.” He did voice-over work and wrote a music-industry advice column, first for Black Beat magazine and then for AllHiphop.com.In the last decade, Kangol Kid was actively involved with cancer charities. In 2012 he was honored by the American Cancer Society for his fund-raising efforts as co-founder of the Mama Luke Foundation. He was diagnosed with colon cancer in February.He is survived by his parents; three brothers, Joel, Andy and Alix (all memorably name-checked on UTFO’s “Lisa Lips”); three sons, T.Shaun, Andre and Giovanni; a daughter, Amancia; and seven grandchildren. More

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      Rosalie Trombley, Who Picked Hits and Made Stars, Dies at 82

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      As music director for CKLW, a major radio station in the Detroit market, she furthered the careers of Alice Cooper, Bob Seger, the Temptations and many others.Whatever story you have about the high point of your junior high school years, Tim Trombley has a better one. The rocker Alice Cooper once picked him up at his school in a limousine to take him to lunch.That was one of the perks of having Rosalie Trombley for a mother.From 1967 into the early 1980s, Ms. Trombley was the music director for CKLW-AM, a radio station based in Windsor, Ontario, with a signal so powerful that it was heard in dozens of states in the U.S., dominating the markets of Detroit and other Midwestern cities in the days before the emergence of FM. A 1971 headline in The Detroit Free Press called her “The Most Powerful Lady in Pop Music,” because her tastes went a long way toward determining what was played on the station, which in turn went a long way toward determining what was played in the rest of North America.Sometimes, Mr. Trombley related in a phone interview, his mother would bring demo records home, and he would be allowed to play them. She noticed that he was playing one quite a lot: Mr. Cooper’s “I’m Eighteen.”“She made it known to the label, to Warner Bros., ‘Tim has been playing this song over and over,’” Mr. Trombley said, and she slipped it into CKLW’s rotation. In late 1970 it became Mr. Cooper’s breakout hit. And so Mr. Cooper, a Detroit native, took young Tim to lunch one day as a thank-you.“I knew that mom had a really cool job,” Mr. Trombley said.Ms. Trombley died on Nov. 23 at a long-term care center in Leamington, Ontario, where she had been living for some time. She was 82. Mr. Trombley said the cause was complications of Alzheimer’s disease.Ms. Trombley seemed an unlikely starmaker. She was a single mother of three when she started at CKLW as a part-time switchboard operator. The Free Press once wrote that she “looks like Doris Day’s next-door neighbor.” But she was, as newspapers often described her, “the lady with the golden ear” who, with her no-nonsense demeanor, could hold her own in the male-dominated music business of the day.The list of stars who owed her a debt of gratitude was long.“You’d come in in the morning,” Keith Radford, a former newsman at the station, said in an interview for a video series produced by Radio Trailblazers, an organization promoting women in Canadian radio, “and there’d be big bouquets of flowers at the front desk, from Elton John or the Rolling Stones.”Ms. Trombley would hold court on Thursdays for record promoters who hoped to get their new songs onto CKLW’s “Big 30” playlist.“If they wanted the record really bad, they would bring the act with them,” Johnny Williams, a former D.J., said in the video. “So it wasn’t unusual every Thursday to see the Four Tops, the Temptations, Gladys Knight, Stevie Wonder, Sammy Davis Jr.”One artist who made such a pilgrimage was Tony Orlando, who in the video recalled that Ms. Trombley had heard him out that day and offered him an invitation.“Rosalie said, ‘I’ll tell you what: If your next record comes within the ballpark of a commercial record, a playable Top 40 record, because you took the time to come here — but only if it has the goods — I’ll give it consideration big time,’” he said. “And that next record was ‘Yellow Ribbon’” — that is, Tony Orlando and Dawn’s “Tie a Yellow Ribbon ’Round the Ole Oak Tree,” the top-selling record of 1973. “And she was the first to put it on the air.”Ms. Trombley with the singer-songwriter Bob Seger holding gold record plaques for his 1978 album, “Stranger in Town.” “Seger never had any problem getting on CKLW,” she said. Detroit Free PressRosalie Helen Gillan was born on Sept. 18, 1939, in Leamington. Her father, Shell, was a general foreman at the Ford Motor Company of Canada, and her mother, Katherine Piper, was a switchboard operator.After graduating from high school, she worked at Bell Canada for a time. She married Clayton Trombley in 1958. She took the switchboard job at CKLW in late 1962, working in that capacity for several years and, as The Vancouver Sun put it in a 1973 article about her, “inadvertently picking up the politics of the music business simply by learning to handle sometimes troublesome record-promotion people who arrived at the station to ply their wares.”Around 1968, Ms. Trombley and her husband separated (they later divorced), and at about the same time she was offered the chance to take over for the station’s record librarian, who was going on maternity leave. The station’s program director soon took note of her ear for hits and made her music director, a job she held, Tim Trombley said, until she was laid off in the early 1980s in a downsizing effort.Ms. Trombley didn’t rely only on her own tastes; she would call R&B stations in the area to see what they were playing, which led her to give CKLW’s 50,000 watts of exposure to Black artists. She similarly boosted the careers of Canadian artists like Gordon Lightfoot and the Guess Who, as well as a number of Detroit-area stars, including Bob Seger.“Seger never had any problem getting on CKLW,” she told The Detroit Free Press in 2004 when Mr. Seger was inducted into the Rock & Roll Hall of Fame. “Look at the songs. Listen to the lyrics. I’m a lyric freak. When someone is saying something in a song, I can’t be the only person interested in it.”Well, Mr. Seger almost never had any problem getting on the station. Some of his new material came her way in the early 1970s, and she panned it. He sat down and wrote a song about her, called “Rosalie,” that had a winking snide streak.“He was pissed off when he wrote that song about me,” she said. “He told me!”Payola — offering payoffs to get a song played — was part of the radio business during Ms. Trombley’s reign, and her son said it was common knowledge in the industry that she was a single mother, so some promoters would make it subtly known to her that there was money available.“She made it less subtly known,” he said, “that if they wanted to continue to meet with her every week, that was not something that was going to get their record on the radio.”She had her musical favorites, especially Neil Diamond. But that didn’t necessarily win him radio time.“I’m not playing his current release,” she told The Sun in 1973, tactfully not naming it, “because it looks like a midchart record, and I won’t go with it when I know out front that it’s only midchart.”In addition to her son Tim, she is survived by another son, Todd; a daughter, Diane Lauzon; and a grandson.In 2016 Ms. Trombley received a special Juno Award, the Canadian equivalent of a Grammy. Radio Trailblazers has an annual award recognizing women who have “blazed new trails in radio.” She received the first, in 2005, and it is now called simply the Rosalie Award. More

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      Ken Kragen, a Force Behind ‘We Are the World,’ Dies at 85

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      Michael Jackson, Lionel Richie and Quincy Jones were among the public faces of that 1985 fund-raising record. But behind the scenes, Mr. Kragen made it all happen.The entertainer and humanitarian Harry Belafonte was so inspired by “Do They Know It’s Christmas?,” the record released by an all-star lineup of British and Irish musicians in late 1984 to raise money for famine relief in Africa, that he wanted to do something similar with American musicians. But Mr. Belafonte, in his late 50s at the time, knew he had to recruit current stars to pull off the idea.“I needed a younger generation of artists,” he wrote in his memoir, “My Song” (2011), “the ones at the top of the charts right now: Michael Jackson, Lionel Richie, Kenny Rogers and Cyndi Lauper. When I looked at the management of most of these artists, I kept seeing the same name: Ken Kragen.”Mr. Kragen, after some persuading, latched onto Mr. Belafonte’s vision and became a pivotal behind-the-scenes force in creating “We Are the World,” the collaborative song recorded by a dizzying array of stars (including Mr. Belafonte) and released in March 1985. The song became a worldwide hit and, along with an album of the same name, raised millions of dollars for hunger relief in Africa and elsewhere.Among the participants in the recording of “We Are the World” were, clockwise from left, Mr. Richie, Daryl Hall, Mr. Jones, Paul Simon and Stevie Wonder.Associated Press“When Belafonte called me, the first call I made was to Kenny Rogers,” who was one of his clients, Mr. Kragen recalled in a 1994 interview with Larry King on CNN. “Then I called Lionel Richie. Then I called Quincy Jones. Lionel called Stevie Wonder. Within 24 hours, we had six or seven of the biggest names in the industry.”Soon “six or seven” had snowballed into dozens, with Paul Simon, Bette Midler, Bob Dylan, Stevie Wonder, Ray Charles, Tina Turner, Willie Nelson and Diana Ross among them. Mr. Jackson and Mr. Richie wrote the song; Mr. Jones conducted the recording session in January 1985, a gathering that became the stuff of music legend.Mr. Kragen, who went on to organize or help organize other formidable fund-raising projects, including Hands Across America in 1986, died on Tuesday at his home in Los Angeles. He was 85. His daughter, Emma Kragen, confirmed the death. No cause was specified.As Mr. Kragen often told the story later, his goal at first on the “We Are the World” project was to recruit two new stars a day. But soon recruiting wasn’t his problem.“Lionel Richie had this line — he says, ‘You are who you hug,’” he told Mr. King, “and the thing is that everybody wanted to hug somebody who was hipper or somebody who was more successful. So the day that I got Bruce Springsteen, the floodgates opened, because he was the hottest artist in America.”At that point, Mr. Kragen went from dialing the phone to answering it — a lot.“I started to get calls from everybody,” he told The Los Angeles Times in 1985, just after the recording session. “I tried hard to cut it off at 28 — to this day I don’t know how it got to be 46. Still, we turned down almost 50 artists.”Mr. Kragen was the founding president of USA for Africa, the foundation set up to administer the aid money raised by “We Are the World,” which continues today. According to its website, it has raised more than $100 million to alleviate poverty.Kenneth Allan Kragen was born on Nov. 24, 1936, in Berkeley, Calif. His father, Adrian, was a lawyer who later taught law at the University of California, Berkeley; his mother, Billie, was a violinist.While studying engineering at Berkeley, Mr. Kragen began frequenting local nightclubs and soon became friendly with the Kingston Trio, a fledgling group at the time that often played at the Purple Onion in San Francisco. He began booking the trio at colleges, and when he graduated in 1958, he was asked to manage them; instead he went to Harvard’s graduate school of business. Before starting there, he took a trip to Europe with his parents; when he came home, a new group was getting a lot of buzz nationally: the Kingston Trio.“I just wanted to die,” Mr. Kragen told The New York Times in 1986. “I thought I’d blown the chance of a lifetime.”But once he earned his graduate degree in 1960, he found new opportunities as a talent manager and promoter. He managed the folk group the Limeliters and then picked up the Smothers Brothers in 1964. He and his business partner at the time, Kenneth Fritz, were executive producers of “The Smothers Brothers Comedy Hour,” which during its three-season run, from 1967 to 1969, was one of the most talked-about shows on television because of its battles with censors.In 1975, he went to work for Jerry Weintraub, a talent manager with a formidable roster that included John Denver, Led Zeppelin and the Moody Blues. (Mr. Weintraub soon became a noted film and television producer.) Mr. Kragen started his own company in 1979, attracting clients like the Bee Gees, Olivia Newton-John and Trisha Yearwood.Mr. Kragen helped organize the fund-raising event Hands Across America and participated in it at Battery Park in Lower Manhattan in May 1986, along with Jean Sherwood and her daughter, Amy.David Bookstaver/Associated PressMr. Kragen produced television movies featuring Mr. Rogers, as well as TV specials for the singer Linda Eder and others. One of his fund-raising efforts was Hands Across America, whose goal was to create a chain of people holding hands that stretched from coast to coast. The event took place in May 1986. The coast-to-coast chain didn’t quite materialize — there were gaps in various places — and though the event raised millions of dollars for hunger and homelessness, it fell short of its $50 million goal. But some five million people participated, including President Ronald Reagan.Mr. Kragen married the actress Cathy Worthington in 1978. In addition to her and his daughter, he is survived by a sister, Robin Merritt.In 2019, Buzzfeed asked Mr. Kragen if he could envision a reprise of Hands Across America. He couldn’t. People, he said, would be too busy documenting their participation with selfies to actually hold hands. More

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      in Television

      Michael Gargiulo Dies at 95; Documented the Moscow ‘Kitchen Debate’

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      Sent to the Soviet Union in 1959 to promote color television, he ended up taping what he later called a “turning point” in U.S.-Soviet relations.Michael Gargiulo, an Emmy Award-winning television director and producer who immortalized the impromptu 1959 “kitchen debate” between Vice President Richard M. Nixon and the Soviet leader, Nikita S. Khrushchev, in Moscow, died on Nov. 30 at his home in Manhattan. He was 95.His son, Michael, an anchor for “Today in New York” on NBC, said the cause was congestive heart failure.The made-for-television moment took place during a brief thaw in the Cold War, with the finger-wagging performances by Nixon, on the eve of his campaign for the Republican presidential nomination, and the pugnacious Khrushchev starting in the kitchen of a model home at an American trade fair in Sokolniki Park.The two world leaders had been steered to the $14,000 “typical American house” by William Safire, who would later become a speechwriter for Nixon and an opinion columnist for The New York Times, but who at the time was handling public relations for a Long Island homebuilder. (It was Mr. Safire who gave the house the name “Splitnik,” because it was bisected by a walkway for spectators.)The largely good-natured tit-for-tat escalated as Nixon and Khrushchev wended their way through the exhibition hall. They were headed for the studio and control room that Mr. Gargiulo (pronounced gar-JOOL-oh) and his team had assembled for RCA at the invitation of the State Department to promote American technological superiority in color television.“As they were walking in, we were already recording,” Mr. Gargiulo recalled in an interview with his son in 2019. “They didn’t even know we were rolling.”Through interpreters, the U.S. vice president and the Soviet leader conducted a guns-and-butter debate on the merits of capitalism versus Communism, which Mr. Gargiulo and his team shot, ostensibly so they could immediately replay it to demonstrate the wonders of color TV.But while Nixon had been warned to be on his best behavior (so Khrushchev would accept an invitation to a subsequent summit meeting), neither official could resist a microphone and a camera.Nixon acknowledged Soviet advances in outer space; Khrushchev, sporting an incompatible Panama hat and oversize suit, conceded nothing.“In another seven years we will be on the same level as America,” he said. “In passing you by, we will wave to you.”Mr. Gargiulo said the two men had promised that the debate would be broadcast in both Russia and the United States. But a few hours after it ended, he said, Kremlin aides demanded that he turn the original tape over to them.By then, it had already been spirited out of the Soviet Union by NBC (which was part of RCA at the time) to be shared with CBS and ABC, but Mr. Gargiulo offered to share a copy with the Soviets. As a result, the debate was seen on both sides of the Iron Curtain that evening.“It was what we call a virtual draw,” Mr. Gargiulo said of the confrontation.The Moscow trip — on which he was accompanied by his wife, who was pregnant with their son — left him with warm memories as well as accolades.“I never felt more patriotic,” he said. “This was world leaders taping on the sly and slipping it out of the country.”“I can’t imagine anybody thinking that was not a turning point in both of our relationships,” he added.Things ended up better for Mr. Gargiulo than they did for the debaters, at least in the short term. Nixon lost the 1960 presidential race, and Khrushchev was deposed in 1964.Mr. Gargiulo accepted a Daytime Emmy Award from the actor John Gabriel and the model Cheryl Tiegs in 1978. He won 10 Emmys in his career, including a lifetime achievement award in 2015.Disney via Getty ImagesHe began his career by directing stage shows in the Catskills, then joined NBC in New York, where he became staff director of local programming. He directed the game shows “To Tell the Truth,” “The Price Is Right,” “Match Game,” “Password” and “The $10,000 Pyramid.” He also directed special events for CBS, including “All-American Thanksgiving Day Parade,” a pastiche of parade coverage from New York and other cities.His final directing credit was the Tournament of Roses Parade on CBS in 2003.He won 10 Daytime Emmys in his career, including a lifetime achievement award in 2015.Michael Ralph Gargiulo was born on Sept. 23, 1926, in Brooklyn to Louis and Josephine (Talamo) Gargiulo. He grew up above his father’s restaurant, a Coney Island landmark.He attended St. Augustine’s High School in Brooklyn and completed high school while serving in the Caribbean Defense Command of the Army Air Forces at the end of World War II. He graduated from the University of Missouri on the G.I. Bill.In 1958, he married Dorothy Rosato. In addition to their son, she survives him, as do their daughter, Susan, who works for Nickelodeon, and three grandchildren. More

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      in Movies

      Suzette Winter, Who Documented Hollywood’s Golden Age, Dies at 90

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      She and her husband produced more than 30 rosy biographical films for television about the era’s biggest stars.Suzette Winter Feldman, who wrote and produced a series of more than 30 documentaries chronicling the life of Hollywood’s biggest stars, often rendering them in the golden light of Hollywood’s heyday, died on Dec. 1 at her home in Sleepy Hollow, N.Y. She was 90.Her daughter Zara Janson said the cause was aspiration pneumonia.Ms. Winter, who used her birth name professionally, worked with her husband, Gene Feldman, to create rosy film portraits of Grace Kelly, Gregory Peck, Shirley Temple and many others under the rubric the “Hollywood Collection.”As a team — she as a co-writer and co-producer while he also directed — they earned an Emmy nomination in 1994 for “Audrey Hepburn Remembered” (1993). “She’s projected as a three-dimensional personality — a person, in fact — under the cover girl face,” The Boston Globe wrote of the film’s portrayal of Ms. Hepburn.The documentaries used archival footage, interviews with co-stars and, if possible, conversations with the subjects themselves. Hollywood actors and actresses often narrated them — Jessica Lange, for instance, in “Vivien Leigh: Scarlett and Beyond” (1990).Films from the Hollywood Collection aired on PBS and major cable networks, including Lifetime, TNT and HBO’s Cinemax.The couple made no bones about the laudatory nature of their work. “Our main interest is not to do a biography but rather to look at the achievement of that person and give insight into the magic of that person,” Mr. Feldman told The Journal-News of White Plains, N.Y., in 1987. The couple befriended some of their subjects, Liza Minnelli and Gregory Peck among them.Their documentary treatment extended even to canine stars. “The Story of Lassie” (1994) explored the legacy of television and film’s favorite — and most consistently profitable — collie.The New York Times critic John J. O’Connor called the Lassie film “a fond tribute to the movie and television character that, arguably, projected most consistently the mistily hallowed virtues of purity and innocence, the triumph of good and courage rewarded.”Ms. Winter and her husband with Audrey Hepburn, the subject of one of their documentaries. “She’s projected as a three-dimensional personality — a person, in fact — under the cover girl face,” The Boston Globe wrote of the film’s portrayal of Ms. Hepburn.via Steve JansonSuzette St. John Winter was born on Jan. 19, 1931, in London to Ralph and Marguerite (St. John) Winter. Her father was an electrician, her mother a postal worker.As a child during the Blitz of London in World War II, she and her three siblings were evacuated under Operation Pied Piper, which removed millions of children from the city to the English countryside. She went to live with a great-aunt on a farm in Surrey and was separated from her parents for the better part of six years.After returning to London, she attended art school for a year, worked in Paris as an au pair and worked odd jobs after returning to London.She married Leo Grimpel, an architecture student whom she had met in London, in 1952. They had two daughters, Zara and Stephanie. With Mr. Grimpel, she moved to Australia, then Hong Kong. They divorced in 1966.Returning to Australia with her daughters after the divorce, Ms. Winter met Mr. Feldman there; he had been making educational documentaries and was filming one about the Maori people of New Zealand at the time. They married in 1967 and moved to the United States.In 1977, they released “Danny,” a feature film about a girl and her horse. Ms. Winter wrote the script and later a novelization of the film. They began the Hollywood series in 1982 with “Hollywood’s Children,” a history of child actors, and ended it in 1999.The couple lived in Croton-on-Hudson, N.Y., and later moved to Manhattan. After Mr. Feldman’s death in 2006, Ms. Winter moved to a retirement community in Sleepy Hollow.She attended Mercy College, in Dobbs Ferry, N.Y., graduating with a bachelor’s degree in English literature in 1973. In 1976, she earned a master’s degree from Manhattanville College, in Westchester County, studying humanities.The Hollywood Collection documentaries are still in circulation, with commercial distribution rights owned by Janson Media, an entertainment company run by Ms. Winter’s daughter Zara and her husband, Stephen Janson. In addition to Ms. Janson, she is survived by her other daughter, Stephanie Edelstein; a stepdaughter, Lynne Feldman; six grandchildren; and 10 great-grandchildren. More