Deaths (Obituaries)

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      in Movies

      Mitzi Gaynor, Leading Lady of Movie Musicals, Is Dead at 93

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      She was best known for starring in the 1958 screen version of “South Pacific.” But her Hollywood career was brief, and she soon shifted her focus to Las Vegas and TV.Mitzi Gaynor, the bubbly actress, singer and dancer who landed one of the most coveted movie roles of the mid-20th century, the female lead in “South Pacific,” but who abandoned film as the era of movie musicals came to an end, died on Thursday at her home in Los Angeles. She was 93. Her managers, Rene Reyes and Shane Rosamonda, confirmed the death.The role of Nellie Forbush, a World War II Navy nurse and (in the words of a song lyric) a “cockeyed optimist” in Rodgers and Hammerstein’s hit 1949 Broadway musical, had been originated and defined by Mary Martin. But when it came time to cast the 1958 movie of “South Pacific,” some considered Ms. Martin too old (she was in her 40s) and perhaps too strong-voiced for any actor who might be cast opposite her. (Ezio Pinza, her Broadway co-star, had died.)Doris Day was considered. Mike Todd wanted his wife, Elizabeth Taylor, to play the role. Ms. Gaynor was the only candidate to agree to do a screen test, she recalled decades later, although she was an established actress, with a dozen films, seven of them musicals, to her credit.In fact, she was shooting “The Joker Is Wild” (1957), a musical drama with Frank Sinatra, when Oscar Hammerstein II came to town and asked to hear her sing. (Ms. Gaynor always credited Sinatra with making her best-known role possible, because he asked for a change in the shooting schedule that would give her a day off to audition.)Ms. Gaynor in 1962. A year later, she would make her last movie, but she became a star in Las Vegas.Don Brinn/Associated Press“South Pacific” was a box-office smash, and Ms. Gaynor’s performance, opposite Rossano Brazzi, was well received. (She turned out to be the only one of the film’s stars to do her own singing.) But she made only three more films, all comedies without music; the last of them, “For Love or Money” with Kirk Douglas, was released in 1963. She turned instead to Las Vegas, where she headlined shows at major resorts for more than a decade, and to television.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Liam Payne, 31, Former One Direction Singer, Dies in Fall in Argentina

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      Payne, who was one of the group’s standout singers, fell from the third floor of a hotel in Buenos Aires, emergency services officials said.Liam Payne, who rose to fame as a singer and songwriter for the British group One Direction, one of the best-selling boy bands of all time, died after falling from the third floor of a hotel in Buenos Aires on Wednesday. He was 31.His death was confirmed by Alberto Crescenti, the director of emergency services in Buenos Aires. The circumstances of the fall were unclear.One Direction burst onto the scene in 2011 when the group’s debut single, “What Makes You Beautiful,” hit No. 4 on Billboard’s Hot 100. Five of its other songs reached the chart’s Top 10, including “Story of My Life,” “Drag Me Down” and “Live While We’re Young.”The group, which had 29 total hits on Billboard’s Hot 100, would go on to release five albums and become one of the definitive boy bands of the 2010s, largely by eschewing the sleek precision and polish of an earlier generation of pop vocal groups.One Direction announced in 2015 that it was taking a break from performing as an ensemble, and each of the artists has since invested most of their time in their solo careers. “It’s just a break 🙂 we’re not going anywhere !!,” Louis Tomlinson, one of the band’s members, posted on Twitter at the time. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Leif Segerstam, Provocative Finnish Conductor and Composer, Dies at 80

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      He led his country’s principal orchestras and major orchestras elsewhere in Europe. He also mystified his countrymen with an unstoppable flow of symphonies.Leif Segerstam, a Finnish conductor and composer whose hundreds of symphonies were as mysterious as his pronouncements about them, died on Oct. 9 in Helsinki. He was 80.His son Jan said he died in a hospital after a brief bout of pneumonia.In a small country with a unique musical culture, Mr. Segerstam occupied a singular place: He was the “king of our country’s cultural industry,” the newspaper Helsingin Sanomat wrote after his death. He himself said he was “the Jesus of music,” explaining, “In the world of music I have truths that are just as valuable as the teachings of Jesus.”He led Finland’s principal orchestras as well as other major orchestras in Europe; he shaped his country’s world-leading crop of conductors; and he was an unequaled interpreter of its greatest musician, Jean Sibelius, bringing a composer’s creativity to his uncompromising, barren scores.“The conductor was at the summit of the art of rubato” — the practice of expanding and contracting rhythm — “which made absolutely exquisite the slightest melodic curve,” Pierre Gervasoni of Le Monde wrote in a review of Mr. Segerstam’s 1998 Paris performance of Sibelius works with the Helsinki Philharmonic Orchestra. That was typical of the way critics reacted to Mr. Segerstam’s instinctive accounts of Sibelius.“Music is in time, but you shouldn’t stop and find out, because then you lose the time, because time doesn’t exist,” Mr. Segerstam said, mysteriously, to the music journalist Bruce Duffie in 1997.Mr. Segerstam “is an alarming person to interview,” James Jolly, the editor in chief of Gramophone magazine, wrote in 2002. “He doesn’t speak in sentences or even paragraphs: instead his ‘thoughts’ come streaming out in torrential pages.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Ka Made Rap on His Own Terms. Hear How in 7 Songs.

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      Remembering the hip-hop artist (and New York City firefighter), who died over the weekend at 52.Ka onstage in 2014.Brecheisen/WireImage, via Getty ImagesDear listeners,One of the great joys of being a pop music critic is being able to ingest an artist’s whole body of work, find the throughlines and themes and meaningful resonances, and then be a bullhorn, sharing them with the world. And perhaps the job’s greatest grimness is to do the very same, but in service of memorial.That’s what I’ll be doing below, about the unfailingly and perspective-shiftingly great Brooklyn rapper Ka, who died this weekend, at a far-too-young 52.Ka’s music was a frame of mind as much as a sound — beginning in the late 2000s, when he was in his mid-30s, he made rap music as if by ancient, tattered blueprint. His raw material was the hip-hop of the late 1980s through the mid-1990s, but he didn’t seek to faithfully remake it. Instead, he distilled it, burned off its excesses, and created a thing of extreme concentration, thick poetry and icy tone.He was an inheritor of the woozily intricate narrative work of MF Doom, of the cocksure twistiness of his childhood friend Smoothe Da Hustler, and the more esoteric members of the Wu-Tang Clan, like GZA and Killah Priest.Ka produced most of his own music, though words were always his primary concern. Sometimes, he went drumless, or something very close to it — a negative-space perversion that served to outline his words in hard chalk.“They’re not for the radio, the club or the masses,” Ka wrote of his songs, in an early biographical statement on his website. “My music is for those who miss early ’90s hip-hop when pain and struggle were the dominant themes.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Ka, Lone Soldier of New York’s Underground Rap Scene, Dies at 52

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      The rapper, whose name was Kaseem Ryan, was known for self-producing 11 albums while also a maintaining a career with the New York Fire Department.Kaseem Ryan, who built a small but fervent following as an underground Brooklyn rapper known as Ka while maintaining a career as a New York City firefighter, died in the city on Saturday. He was 52.His death was announced by his wife, Mimi Valdés, on Instagram, as well as in a statement posted on his Instagram page. No cause was given, though the statement said that he had “died unexpectedly.”First with the mid-1990s underground group Natural Elements, and then on 11 solo albums he produced himself and released over nearly two decades, Ka gripped hard-core hip-hop listeners with gloomy beats and vivid descriptions of street life and struggle.In a 2012 review of his second album “Grief Pedigree”, The New York Times pop music critic Jon Caramanica described Ka as “a striking rapper largely for what he forgoes: flash, filigree, any sense that the hard work is already done.”Kaseem Ryan was born in 1972 and raised in the Brownsville neighborhood of Brooklyn in New York. During his teen years, he dealt crack and sold firearms.He spent much of the 1990s trying to make a name for himself as a rapper, but then quit music altogether, only to come back a decade later.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      Allan Blye, 87, Dies; ‘Smothers Brothers’ Writer and ‘Super Dave’ Creator

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      In his wide-ranging career, he also helped write Elvis Presley’s comeback special and appeared on an early version of “Mister Rogers’ Neighborhood.”Allan Blye, a television comedy writer and producer who helped cement the Smothers Brothers’ reputation for irreverence in the late 1960s and later collaborated with Bob Einstein to create the hapless daredevil character Super Dave Osborne, died on Oct. 4 at his home in Palm Desert, Calif. He was 87.His wife, Rita Blye, confirmed the death. She said he had been in hospice care for Parkinson’s disease.Mr. Blye was a writer and singer on variety shows in Canada when he received a surprise call in 1967 from Tom Smothers asking him to join the writing staff of the series that he and his and his brother, Dick, would be hosting on CBS.“I couldn’t believe it was Tom Smothers,” Mr. Blye said in an interview with the Television Academy in 2019. “I thought it was Rich Little doing an impression of Tom Smothers.”Tom, left, and Dick Smothers on the set of “The Smothers Brothers Comedy Hour” in 1967. Mr. Blye helped establish the show’s outspoken tone. CBS, via Getty Images“The Smothers Brothers Comedy Hour” was unlike any other variety show. The brothers were renowned as a comical folk-singing duo: Tom played the naïve, guitar-playing buffoon, and Dick, who played the double bass, was the wise straight man. They had creative control of the series, which emboldened them and their writers to be more outspoken as they addressed politics, the Vietnam War, religion and civil rights — and their forthrightness during a divisive era increasingly angered some viewers, CBS censors, some of the network’s affiliates and conservative groups.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      Nobuyo Oyama, the Japanese Voice of Doraemon, Dies at 90

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      Her alto timbre, which led to teasing as a child, and radiant laughter shaped how millions experienced the blue cartoon robot in the quintessential children’s anime of the same name.Nobuyo Oyama, the voice actress whose alto timbre and radiant laughter shaped how millions in Japan experienced Doraemon, the blue cartoon robot in the quintessential children’s anime of the same name, died at a hospital in Tokyo on Sept. 29. She was 90.Her death was confirmed by phone on Friday by Yozo Morita, the chief executive of her agency, Actors 7, who said that she had suffered a stroke in 2008 and been living with dementia for years.For about 25 years, Ms. Oyama was the voice of Doraemon, a character that first appeared in a manga created in 1969. Doraemon is a robot from the future, sent by its owner to the present day to help his great-great-grandfather solve his childhood problems and change his family’s fortunes.The plump, earless, catlike robot typically helped the boy, Nobita Nobi, using gadgets from the future that he kept in his magical pocket. His deepening friendship with Nobita and his family was part of what made “Doraemon” one of the longest-running shows in Japan and beyond.Ms. Oyama found her talent while coping with being bullied for her voice as a child, she told Kakugo TV, an online interview series. She was often told by her classmates that she had a “boy’s voice,” she said. The students, laughing whenever she spoke, discouraged her from speaking in public.When her mother saw her withdrawing socially, she gave her a piece of advice that would shape her career: She should not hide her voice but find a way to use it. So she joined a broadcasting club in high school, where she hosted radio shows and performed in radio dramas.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Cissy Houston Dies at 91; Gospel Star Guided Daughter Whitney’s Rise

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      Hailing from a musical family, she won Grammys, sang backup to Elvis Presley and Aretha Franklin and helped shepherd Whitney Houston to superstardom.Cissy Houston, a Grammy Award-winning soul and gospel star who helped shepherd her daughter Whitney Houston to superstardom, died on Monday at her home in Newark. She was 91.Her family announced her death in a statement, which said she had been in hospice care for Alzheimer’s disease.Ms. Houston was a gifted stylist whose powerful voice and deep faith made her an influential figure in gospel circles for decades. She won Grammy Awards in the traditional soul gospel category for the albums “Face to Face” in 1997 and “He Leadeth Me” in 1999.Before then, she had been among the busiest backup singers in the record business, providing vocal support for Aretha Franklin, Elvis Presley and many others. And for more than a half-century she was the choir director for the New Hope Baptist Church in Newark, where she got her start as a singer in the 1930s.Ms. Houston was the matriarch of a singing dynasty that included her daughter, her nieces Dionne and Dee Dee Warwick and a cousin, the opera star Leontyne Price. She endured the deaths of her daughter, who drowned in a hotel bathtub in 2012, and of Whitney Houston’s daughter Bobbi Kristina Brown, who, in an eerily similar tragedy, was found unresponsive in a bathtub in her Georgia home in January 2015 and died six months later. Whitney Houston had struggled with addiction for many years despite her mother’s intervention.Ms. Houston with her daughter Whitney, right, and her niece Dionne Warwick during the annual American Music Awards ceremony in 1987. The opera star Leontyne Price is a cousin.Ralph Dominguez/MediaPunch, via Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More