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      Jane Withers, Child Star Who Later Won Fame in Commercials, Dies at 95

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      As a girl, she landed leading roles that were the antidote to Shirley Temple’s. As an adult, she was known as Josephine the Plumber in ads for Comet cleanser.Jane Withers, a top child star in the 1930s who played tough, tomboyish brats in more than two dozen B films and achieved a second burst of fame as an adult as Josephine the Plumber in commercials for Comet cleanser, died on Saturday in Burbank, Calif. She was 95. Her death was confirmed by her daughter Kendall Errair.In her first major movie role, in 20th Century Fox’s “Bright Eyes” (1934), the 8-year-old Jane played a spoiled rich kid who wanted a machine gun for Christmas and took a ghoulish delight in sending her dolls to the hospital. She was the antidote to the movie’s star, Shirley Temple, the always cheerful, always obedient, always smiling orphan.The titles of some of the films in which Ms. Withers starred said it all: “The Holy Terror” (1937), “Wild and Woolly” (1937), “Rascals” (1938), “Always in Trouble” (1938) and “The Arizona Wildcat” (1939).At the end of most of her movies, “just to satisfy everybody, I get a good spanking,” Ms. Withers told Norman Zierold, the author of “The Child Stars” (1965). “The minute they slapped me in ‘Bright Eyes,’ everybody just yelled and waved, they were so happy. Well, I don’t mind. I had my fun.”As an adult, Ms. Withers played Vashti Snythe, the neighbor of Elizabeth Taylor and Rock Hudson who delighted in spending her oil money in “Giant” (1956); appeared in several TV series; and voiced the gargoyle Laverne in the animated “Hunchback of Notre Dame II” (2002), a role she first took on after the death of Mary Wickes in 1995.But her most memorable and long-lasting role was as Josephine the Plumber, in a white cap and overalls, in the 1960s and ’70s. Nearly 40 years later, she was still being recognized for that character.“I can be at a market and I’ll be talking to somebody there about a can of peas and all of a sudden they’ll say, ‘I knew that was you! I recognized your voice right away,’” Ms. Withers told The Long Beach Press-Telegram in 2007.Ms. Withers and Richard Clayton in “A Very Young Lady” in 1941.LMPC, via Getty ImagesMost of her films were made at Fox’s small studio in Hollywood. Shirley Temple’s mother, Gertrude, who was said to be choosy about who was allowed to play with her daughter, had Ms. Withers banished from the studio’s grand Westwood lot, according to another former child star, Dickie Moore. In his memoir, “Twinkle, Twinkle Little Star,” Mr. Moore wrote that Gertrude Temple was so protective of Shirley that Jane was not even allowed to say hello to her when the children performed together in “Bright Eyes.”Although her Hollywood success did not survive adolescence, Ms. Withers was the rare child actor who entered adulthood prepared for the real world — and with money in the bank. Her parents “taught Jane bookkeeping at age seven,” Mr. Moore wrote, in contrast to almost all the other parents, who refused to allow their meal tickets to grow up and, in most cases, squandered their money. It was a point of pride for her father, a Goodrich executive, that his salary paid the family’s expenses.Jane Withers was born in Atlanta on April 12, 1926, to Walter and Lavinia Withers. Her mother, a movie fan, picked Jane as a name because she thought it would look good on a marquee. By the age of 4, the pudgy child with the Buster Brown haircut was singing, dancing and imitating Greta Garbo; billed as “Dixie’s Dainty Dewdrop,” she had her own local radio program.When Jane was 6, the family moved to Hollywood. After two years of department store modeling and bit parts, she was cast as Joy Smythe in “Bright Eyes.”Like Ms. Temple, Ms. Withers played an orphan in most of her films. In “Paddy O’ Day” (1935), her rescuer was Rita Cansino — soon to be renamed Rita Hayworth — in her first leading role. In “45 Fathers” (1937), she was adopted by a group of old men.By 1937, Ms. Withers was in sixth place on theater owners’ list of the Top 10 box office stars, despite the fact that she performed only in B movies. And sales of Jane Withers paper dolls, hair bows, socks and mystery novels similar to the Nancy Drew series earned her more money than her movies.Stardom also brought Ms. Withers thousands of dolls and teddy bears, most of them sent by fans. Those fans included President Franklin D. Roosevelt, who had his wife, Eleanor, hand deliver a teddy bear.Jane Withers in 1935. At the end of most of her movies, she once said, “just to satisfy everybody, I get a good spanking.”Film Publicity Archive/United Archives, via Getty ImagesAs she entered her teenage years, Ms. Withers wrote a story for herself, under the pseudonym Jerrie Walters. It was made into the movie “Small Town Deb” (1942). As her contract with Fox ended, she starred as a peasant girl in Samuel Goldwyn’s “The North Star” (1943).Ms. Withers married a Texas oilman, William Moss Jr., in 1947. They had three children and divorced in 1955, leaving Ms. Withers with several oil wells. That same year she married Kenneth Errair, who had been a member of the singing group the Four Freshmen. He was killed in a plane crash in 1968. (Information on her survivors was not immediately available.)In August 2004, Ms. Withers auctioned several hundred dolls, many of them likenesses of film and radio stars and characters of the 1930s, including Sonja Henie, the Lone Ranger and Snow White.Ms. Withers may never have surpassed Ms. Temple’s popularity on the screen. But in the 2004 sale, a Shirley Temple doll dressed in her “Little Colonel” costume sold for $3,100; a Jane Withers doll sold for $5,600. More

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      Jacob Desvarieux, Guitarist Who Forged Zouk Style, Dies at 65

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      His band, Kassav’, found millions of listeners as it held on to Caribbean roots while reaching out to the world. He died of Covid-19.This obituary is part of a series about people who have died in the coronavirus pandemic. Read about others here.Jacob Desvarieux, the guitarist and singer who led Kassav’, an internationally popular band from the French Antilles, died on July 30 in a hospital in Pointe-à-Pitre, Guadeloupe, the island where he lived. He was 65.The cause was Covid 19, Agence France-Presse reported.Mr. Desvarieux and the founder of Kassav’, the bassist Pierre-Edouard Décimus, created a style called zouk by fusing Afro-Caribbean traditions of the French Antilles with sleek electronic dance music.Kassav’ made nearly two dozen official studio albums, and the band recorded an additional two dozen studio albums credited to individual members, along with extensive live recordings.Kassav’ toured worldwide and sold in the millions, particularly in France and in French-speaking Caribbean and African countries. Mr. Desvarieux shaped a vast majority of the band’s songs as guitarist, songwriter, arranger or producer, and his amiably gruff voice often shared the band’s lead vocals, with lyrics in French Antillean Creole. Emmanuel Macron, the president of France, paid tribute on Twitter: “Sacred zouk monster. Outstanding guitarist. Emblematic voice of the Antilles. Jacob Desvarieux was all of these at the same time.” Kassav’ made suave, irresistibly upbeat music with a carnival spirit, and purposefully stayed connected to its Afro-Caribbean roots. Its albums mingled love songs and party songs with sociopolitical commentary, sometimes couched in double entendres. The core of the zouk beat drew on gwo ka, from Guadeloupe, and chouval bwa, from Martinique: two traditions rooted in the drumming of enslaved Africans.“Through our music, we question our origins,” Mr. Desvarieux said in a 2016 interview with the French newspaper Libération. “What were we doing there, we who were Black and spoke French? Like African Americans in the United States, we were looking for answers to pick up the thread of a story that had been confiscated from us.”He added, “Without being politicians or activists, Kassav’ carried it all. From our faces to the themes in our songs, everything was very clear: We were West Indian, there should be no mistake, we wanted to mark our difference.”Jacob F. Desvarieux was born in Paris on Nov. 21, 1955, but he soon moved to Guadeloupe, where his mother, Cécile Desvarieux, was born; she raised him as a single parent and did domestic work. They lived in Guadeloupe and Martinique, in Paris and, for two years, in Senegal.When Jacob was 10, he asked his mother for a bicycle; she gave him a guitar instead, considering it less dangerous.After returning to France, he joined rock bands in the 1970s, playing songs from Chuck Berry and Jimi Hendrix, and worked as a studio guitarist. His own music increasingly looked to Caribbean and African styles, including compas from Haiti, Congolese soukous from what was then Zaire, rumba from Cuba, highlife from Ghana and makossa from Cameroon.One of his bands in the 1970s, Zulu Gang, included musicians from Cameroon; Mr. Desvarieux also worked with the Cameroonian saxophonist Manu Dibango, who had the international hit “Soul Makossa.”In 1979 in Paris, Mr. Desvarieux met Pierre-Édouard Décimus, a musician from Guadeloupe with an ambitious concept for a new band: strongly rooted in the West Indies but reaching outward. “We were looking to find a soundtrack that synthesized all the traditions and previous sounds, but that could be exported everywhere,” Mr. Desvarieux told Libération.Kassav’ was named after a Gaudeloupean dish, a cassava-flour pancake, and also after ka, a drum. A zouk was a dance party, and a 1984 hit by Mr. Desvarieux, “Zouk-La-Se Sel Medikaman Nou Ni” (“Zouk Is the Only Medicine We Have”), made the word zouk synonymous with the band’s style.Mr. Desvarieux, left, performing in Abidjan in the Ivory Coast in 2009. Emmanuel Macron, the president of France, said of him on Twitter: “Sacred zouk monster. Outstanding guitarist. Emblematic voice of the Antilles.” Sia Kambou/Agence France-Presse — Getty ImagesKassav’ released its debut album, “Love and Ka Dance,” in 1979. “It was successful because it was Antillean music — it was local,” Mr. Desvarieux told Reggae & African Beat magazine in 1986. “But it was also better made than other Antillean discs. The instruments and vocals were in tune, and there were more sounds, like synthesizers and things like that — all the things that were not heard in Antillean records.”As the band pumped out new music, its early influences from disco and rock receded; Kassav’ simultaneously brought out its Caribbean essence and mastered programming and electronic sounds.It had a commercial breakthrough in 1983, with “Banzawa,” a single from what was nominally a solo album by Mr. Desvarieux and was later repackaged as a Kassav’ album. The 1984 album “Yélélé,” which was billed as a project by Mr. Desvarieux and Georges Décimus (Pierre-Edouard’s brother) and later credited to Kassav’, included the single “Zouk-La-Se Sel Medikaman Nou Ni.” With 100,000 copies sold, it was the first gold record for an Antillean band, and it led to Kassav’ being signed to Sony Music and distributed internationally. By the end of the 1980s, the sound of zouk was influencing dance music worldwide.In 1988, Kassav’ was named Group of the Year by Victoires de la Musique, an award presented by French Ministry of Culture.Zouk’s popularity peaked as the 1980s ended, but Kassav’ continued to draw huge audiences. From the 1980s onward, Kassav’ regularly played long residences at the 8,000-seat arena Le Zenith, where it recorded live albums in 1986, 1993, 1996, 2005 and 2016; Mr. Desvarieux estimated that the band performed there 60 times.For the band’s 30th anniversary, in 2009, Kassav’ played at France’s national stadium, Stade de France, and in 2019, it sold out its 40th anniversary concert at the 40,000-seat Paris La Défense Arena.Kassav’ also toured across continents and built a huge, loyal audience, particularly in Africa, where it has drawn stadium-sized crowds since the 1980s. The Senegalese songwriter Youssou N’Dour wrote on Twitter, “The West Indies, Africa and music have just lost one of their greatest Ambassadors.” In Luanda, the capital of Angola, there is a museum of zouk, La Maison du Zouk, that has a collection of 10,000 albums. Mr. Desvarieux and Pierre-Édouard Décimus attended its opening in 2012.Mr. Desvarieux was also occasionally cast for film and television. In 2016, he appeared as an African cardinal in the HBO series “The Young Pope.”Mr. Desvarieux welcomed collaborations with musicians from Africa and the Caribbean. He appeared on Wyclef Jean’s 1997 album “The Carnival” and recorded songs with the Ivory Coast reggae singer Alpha Blondy and with Toofan, a group from Togo.“Laisse Parler les Gens” (“Let the People Talk),” a 2003 single he made with the Guadeloupean singer Jocelyne Labylle, the Congolese singer Cheela and the Congolese rapper Passi, sold more than a million copies.Mr. Desvarieux, whose immunity was weakened because he had had a kidney transplant, was hospitalized with Covid-19 on July 12 and placed in a medically induced coma before his death.Information on survivors was not immediately available.Throughout the band’s career, even after Kassav’ was signed to multinational labels and encouraged to sing in English, the band’s lyrics were always in French Antilles Creole, insisting on its island heritage. “The music is a stronger language than the language itself,” Mr. Desvarieux said in 1986. “If the music pleases, the language isn’t important.” More

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      Markie Post, ‘Night Court’ Actress, Dies at 70

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      Ms. Post played a bail bondswoman on the show “The Fall Guy” in the 1980s and starred opposite John Ritter in the sitcom “Hearts Afire” in the 1990s.Markie Post, the effervescent actress known for her roles on the television series “Night Court” and “The Fall Guy” and the movie “There’s Something About Mary” during a career that spanned four decades, died on Saturday at her home in Los Angeles. She was 70.Her death was confirmed by her manager, Ellen Lubin Sanitsky, who provided a statement from Ms. Post’s family specifying that the cause of death was cancer.Ms. Post had continued to act for nearly four years after her initial cancer diagnosis and while undergoing chemotherapy treatments that she referred to as her “side job,” her family said.Since her diagnosis, she had worked on a Lifetime Christmas movie and had a recurring guest role on the ABC series “The Kids Are Alright.”Frequently cast in daffy roles that emphasized her comedic timing, Ms. Post became a television fixture in the 1980s.She appeared on “The Love Boat,” “The A-Team” and “Cheers” before landing a prominent role as a bail bondswoman on “The Fall Guy,” an action show about a stuntman, played by Lee Majors, who moonlights as a bounty hunter.Her greatest success came on the sitcom “Night Court,” when she was cast as Christine Sullivan, the alluring and naïve public defender who was the romantic interest of Judge Harry T. Stone, played by Harry Anderson. The judge was not her only suitor, though. So was Dan Fielding, the lecherous prosecutor played by John Larroquette.One of her co-stars on the show, Charlie Robinson, who played the pragmatic court clerk, died last month at 75.Ms. Post with John Larrouquette in “Night Court.”NBCUniversal, via Getty ImagesIn the 1990s, Ms. Post starred opposite John Ritter on “Hearts Afire,” a political sitcom in which she played a former journalist who went to work as a press aide for a Southern senator. Her father was played by Ed Asner, who paid tribute on Sunday to Ms. Post on Twitter.Born on Nov. 4, 1950, in Palo Alto, Calif., Ms. Post began her career working on game shows, writing questions for “Family Feud,” finding prizes for “The Price Is Right” and doing research for “Split Second.”“I learned more researching that game show than I did in four years of college,” Ms. Post said in an interview with Bill Tush on his show in the 1980s.In 1998, Ms. Post was cast by the Farrelly brothers as the ditsy mother of Mary, the main character in “There’s Something About Mary,” who was played by Cameron Diaz. Later in her career, Ms. Post’s acting credits included “Scrubs” and “Chicago P.D.”Ms. Post is survived by her husband, Michael A. Ross; and two daughters, Kate Armstrong Ross, an actress, and Daisy Schoenborn, who said in their statement that Ms. Post exemplified kindness.They described Ms. Post as “a person who made elaborate cakes for friends, sewed curtains for first apartments and showed us how to be kind, loving and forgiving in an often harsh world.” More

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      Dennis ‘Dee Tee’ Thomas, Saxophonist for Kool & the Gang, Dies at 70

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      Mr. Thomas was a co-founder of the band, which was known for its hits such as “Celebration,” “Get Down on It” and “Jungle Boogie.”Dennis “Dee Tee” Thomas, a saxophonist and a founding member of the band Kool & the Gang, died on Saturday in New Jersey. He was 70.Mr. Thomas died in his sleep, according to a statement from his representatives that did not specify a cause of his death or where in New Jersey he died.Mr. Thomas was a co-founder of the long-running band Kool & the Gang, known for hits such as “Celebration,” “Get Down on It” and “Jungle Boogie.” He saw the band, which experimented with sounds from soul, funk, jazz, pop and R&B, through numerous lineup changes.Mr. Thomas was a “huge personality” in the band, his representatives said, and he helped style the performers’ wardrobes to ensure “they always looked fresh.”“Dennis was known as the quintessential cool cat in the group, loved for his hip clothes and hats, and his laid-back demeanor,” the statement said.The band won a Grammy Award in 1978, the decade when several of its upbeat hits climbed the charts.Around the time the band won a Grammy, it entered a slow period before adding a new vocalist, J.T. Taylor, and adapting its sound to match the disco sensibilities of the era. The group re-emerged in 1979 with the smash “Ladies’ Night,” an ode to a night of partying and dancing.Kool & the Gang, which formed in 1964, experimented with sounds from soul, funk, jazz, pop and R&B.Echoes/RedfernsThe band members followed the hit with the 1980 song “Celebration,” a timeless classic that embodied the group’s buoyant sound. The track became a staple at sporting events and any other displays of joy and enthusiasm. The song was inducted into the National Recording Registry of the Library of Congress, an honor reserved for 25 songs every year that showcase the rich heritage of American music.The band members lent their voices to the 1984 charity single “Do They Know It’s Christmas?” A number of the decade’s biggest artists recorded the track to draw attention to a famine in Ethiopia.Mr. Thomas formed Kool & the Gang in 1964 with six of his friends — Robert Bell, known as Kool; Ronald Bell; Spike Mickens; Ricky Westfield; George Brown; and Charles Smith. They first called themselves the “Jazziacs,” the statement said, before settling on the name “Kool & the Gang,” a nod to Robert Bell.“We learned that we had to simplify, that most simple music will grab a wide part of the audience,” Mr. Thomas told The New York Times in 1973, about choosing the group’s musical style. “Everybody in the group was a jazz musician at heart, but we knew we had to play R&B to make money.”Mr. Thomas was the band’s “budget hawk” in the early days, his representatives said, adding that he could be seen “carrying the group’s earnings in a paper bag in the bell of his horn.”Mr. Thomas’s alto saxophone solos were featured on several of the band’s tracks. He could also play the flute and percussion instruments, and he was the master of ceremonies at the band’s shows.His last performance with the band was on July 4 at the Hollywood Bowl in Los Angeles.Dennis Thomas was born on Feb. 9, 1951, in Orlando, Fla. He and his parents moved to Jersey City, N.J., when he was 2 years old, The Times reported in 1973. He grew up in the city’s Lafayette section, where he met the other founding members of Kool & the Gang.“We want to play a universal music,” Mr. Thomas said in 1973. “We want to lift our audiences up so they think about what they’ve heard.”The band had a dozen top 10 hits on the Billboard charts, and the group received a star on the Hollywood Walk of Fame in 2015.Mr. Thomas was married to Phynjuar Saunders Thomas and lived in Montclair, N.J., his representatives said.One of his daughters, Michelle Thomas, was an actress on television shows, including “The Cosby Show,” “Family Matters” and “The Young and the Restless.” She died in 1998 of cancer at age 30. He was also preceded in death by another of his daughters, Tracy Jackson.In addition to his wife, he is survived by his daughter Tuesday Rankin; his sons David Thomas and Devin Thomas; his sisters Doris Mai McClary and Elizabeth Thomas Ross; his brother Bill Mcleary; an aunt and several nieces, nephews and grandchildren, the statement said. More

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      Paul Cotton, Mainstay of the Country-Rock Band Poco, Dies at 78

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      He joined the band for its third album and expanded its emotional and stylistic palette with his sinewy, blues-inflected guitar work and brooding baritone vocals.Paul Cotton, the lead guitarist and frequent lead singer and songwriter for the country-rock band Poco, died on July 31 near his summer home in Eugene, Ore. He was 78.His wife, Caroline Ford Cotton, said he died unexpectedly but she did not cite a cause. His death came less than four months after that of Rusty Young, Poco’s longtime steel guitarist.Mr. Cotton joined Poco, replacing the founding member Jim Messina in 1970, just in time to appear on the group’s third studio album, “From the Inside” (1971). Produced by Steve Cropper, the guitarist with the Memphis R&B combo Booker T. & the MGs, the project signaled a new artistic direction for the band, maybe nowhere so much as on the three songs written by Mr. Cotton.Rooted more in rock and soul than in the country and bluegrass that had hitherto been the group’s primary influences, Mr. Cotton’s sinewy, blues-inflected guitar work and brooding baritone vocals on songs like the ballad “Bad Weather” greatly expanded Poco’s emotional and stylistic palette.“There was no doubt that he was the guy to replace Jimmy,” Richie Furay, who founded the band with Mr. Messina and was its principal lead singer, said about Mr. Cotton’s impact on the band in a 2000 interview with soundwaves.com. “We knew that he was bringing a little bit of an edge to our sound, and we wanted to be a little more rock ’n’ roll sounding.”Mr. Young said in the same soundwaves piece, referring to Mr. Furay and Poco’s longtime drummer, George Grantham: “You have to remember, we had some very high singing voices at the time. Paul had a much deeper voice, and he had that rock sound.”Poco became a major influence on West Coast country-rock acts like Linda Ronstadt and the Eagles and, a generation later, on alternative-country bands like the Jayhawks and Wilco.Poco in 1972. Seated, from left: Mr. Cotton, Timothy B. Schmit and Rusty Young. Standing: George Grantham, left, and Richie Furay. Ian Showell/Keystone, via Getty ImagesFormed in Los Angeles in 1968, the group originally consisted of Mr. Messina and Mr. Furay, both of them formerly with the influential rock band Buffalo Springfield, along with Mr. Young, Mr. Grantham and the bassist Randy Meisner, a future member of the Eagles. (Timothy B. Schmit, another future Eagle, replaced Mr. Meisner when he left the band in 1969.)Mr. Furay departed in 1973, disillusioned over the group’s lack of success compared with that of his ex-bandmates in Crosby, Stills & Nash and the Eagles, especially after the release of critically acclaimed but commercially disappointing Poco albums like “A Good Feeling to Know” (1972) and “Crazy Eyes” (1973).Poco’s remaining members carried on without Mr. Furay, with Mr. Cotton doing much of the singing and songwriting, until the group went on hiatus in 1977 and he and Mr. Young went into the studio to record as the Cotton-Young Band.In 1978, ABC, the duo’s label, released the recordings, made with British musicians who had accompanied pop hitmakers like Leo Sayer and Al Stewart, but insisted on crediting the band as Poco.“Legend,” the album that resulted, yielded an unanticipated pair of hits, the band’s first and only Top 40 singles: the glittering “Crazy Love,” written and sung by Mr. Young, which reached No. 1 on the adult contemporary chart, and the similarly burnished “Heart of the Night,” written and sung by Mr. Cotton. The album was certified platinum for sales of one million copies.Poco continued to tour and release recordings into the 2000s, with Mr. Cotton, Mr. Young and Mr. Grantham anchoring the lineup.Mr. Cotton performing at a festival in Indio, Calif., in 2009. He spent three decades on and off with Poco and also released a handful of solo albums between 1990 and 2014.Frazer Harrison/Getty ImagesNorman Paul Cotton, the oldest of five children, was born on Feb. 26, 1943, in Fort Rucker, Ala., in the southeast part of the state. His father, Norman, owned a line of grocery stores. His mother, Edna, kept the books for the family business. Young Norm, as he was known as the time, began playing guitar at 13.When he was 16, the Cottons moved to Chicago, where he attended Thornton Township High School. While there he started a band, eventually known as the Rovin’ Kind, that released several singles and appeared on “American Bandstand.”In 1968, after seeing them perform at a club in Chicago, the producer James William Guercio, best known for his work with the jazz-rock band Chicago, signed the group to Epic Records. Mr. Guercio advised them to change their name and relocate to Los Angeles, where they renamed themselves Illinois Speed Press. Mr. Cotton began billing himself as Paul rather than Norm.Illinois Speed Press, with Mr. Cotton and Kal David as twin lead guitarists, released a pair of roots-rock albums for Epic, to little commercial effect. Mr. Cotton was invited to join Poco in 1970, shortly after the release of the band’s second and last album, “Duet.”Besides his wife of 16 years, Mr. Cotton is survived by his sons, Chris and James; two brothers, David and Robert; two sisters, Carol and Colleen; and a grandson.Mr. Cotton spent three decades on and off with Poco and also released a handful of solo albums between 1990 and 2014. An avid fisherman and sailor, he moved to Key West, Fla., in 2005.Poco went through numerous lineup changes during its more than 40 years in existence, but one of the constants, from Mr. Cotton’s arrival in 1970 until his retirement in 2010, was his partnership with Mr. Young.“There’s always been something there,” Mr. Cotton said of his relationship with Mr. Young in 2000.Mr. Young added: “He’s never lost that voice, or that great guitar playing. I can count on him. I wouldn’t want to do this without him.” More

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      Herbert Schlosser, a Force Behind ‘S.N.L.’ and ‘Laugh-In,’ Dies at 95

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      As a top NBC executive, he wrote a memo envisioning the show that became “Saturday Night Live.” He also helped recruit Johnny Carson and oversaw a raft of hit shows.Herbert Schlosser, a longtime NBC executive who put an indelible stamp on the network by negotiating Johnny Carson’s first deal to host “The Tonight Show,” putting “Rowan & Martin’s Laugh-In” on the air and overseeing the development of “Saturday Night Live,” died on Friday at his home in Manhattan. He was 95.His death was confirmed by his wife, Judith Schlosser.Mr. Schlosser was president of NBC in 1974 when he faced a late-night predicament: Carson no longer wanted the network to carry repeats of “Tonight” on weekends. But pleasing Carson, the network’s most important star, led to an inevitable question: What would NBC televise at 11:30 on Saturday nights?Mr. Schlosser wrote a memo in early 1975 that laid out the fundamentals of an original program that would be televised from NBC’s headquarters at Rockefeller Center; would be carried live, or at least taped on the same day, to maintain its topicality; would be “young and bright,” with a “distinctive look, a distinctive set and a distinctive sound”; would “seek to develop new television personalities”; and would have a different host each week.“Saturday Night is an ideal time to launch a show like this,” Mr. Schlosser wrote. “Those who now take the Saturday/Sunday ‘Tonight Show’ repeats should welcome this, and I would imagine we would get much greater clearance with a new show.”A sketch from the first episode of “Saturday Night Live,” seen on Oct. 11, 1975; from left, George Coe, John Belushi, Chevy Chase and Gilda Radner. The formula for the show had been spelled out in a memo by Mr. Schlosser earlier that year.Herb Ball/NBCU Photo Bank, via Getty Images“Saturday Night Live,” originally called just “Saturday Night” — which followed much of Mr. Schlosser’s formula, and which was produced, then as now, by Lorne Michaels — made its debut on Oct. 11, 1975, after Game 1 of the World Series, between the Red Sox and Cincinnati Reds. Mr. Schlosser had attended the game in Boston with Bowie Kuhn, the strait-laced baseball commissioner, and invited him to his hotel room to watch.“He didn’t laugh. And I thought, ‘Well, that’s Bowie,’” Mr. Schlosser recalled in “Live From New York: The Complete, Uncensored History of ‘Saturday Night Live’ as Told by Its Stars, Writers, and Guests” (2002), by James Andrew Miller and Tom Shales. “And then after a while, he started to chuckle. And then he’d actually laugh. And I figured, ‘Well, if he likes it, it’s going to have a wider audience than most people think.’”Mr. Michaels, in a phone interview, said that Mr. Schlosser had been a staunch backer of the show.“We wouldn’t have been on the air without him,” he said. “‘Live’ was his idea, not mine. He just believed in the show. He protected it.”Mr. Schlosser, a lawyer, had been an executive in NBC’s business affairs department, where he negotiated programming contracts to carry, among other events, the 1964 Summer Olympics from Tokyo and talent deals like ones with the comedian Bob Hope, whose specials were a mainstay of NBC’s prime-time schedule.“There were always kickers to his deals,” Mr. Schlosser told the Television Academy in an interview in 2007. With each new one, NBC had to buy a piece of land from Hope, one of the largest private landowners in California.“We bought it, got capital gains and never lost money on it,” Mr. Schlosser said.In 1966, Mr. Schlosser was named NBC’s vice president for programs on the West Coast, based in Burbank, Calif. Over six years, he was involved in developing numerous shows, among them some with Black stars, like the popular comedian Flip Wilson’s variety series and “Julia,” a sitcom starring Diahann Carroll as a single nurse with a son. He also hired the first woman and the first Black person to be vice presidents in the department.Flip Wilson, left, and Richard Pryor in 1973 on “The Flip Wilson Show,” which Mr. Schlosser had helped develop.Paul W. Bailey/NBCU Photo Bank, via Getty ImagesMr. Schlosser particularly championed “Rowan & Martin’s Laugh-In,” a fast-paced satirical series that made its debut in early 1968. It was considered outrageous then for the political and risqué humor of its skits, performed by a cast of future stars including Goldie Hawn and Lily Tomlin.George Schlatter, the executive producer of “Laugh-In,” recalled that Mr. Schlosser had protected him from those within NBC who found the show’s content offensive.“Every Tuesday morning there was a parade into his office — censors, lawyers, bookkeepers,” Mr. Schlatter said by phone. “They’d say, ‘Herb, talk to him.’ Then he’d say to me, ‘I promised them I’d talk to you.’ And he’d say, ‘Just keep doing what you’re doing.’”Herbert Samuel Schlosser was born on April 21, 1926, in Atlantic City, N.J. His father, Abraham, owned a furniture store; his mother, Anna (Olesker) Schlosser, was a homemaker.After serving stateside in the Navy, he studied public and international affairs at Princeton University, graduating in 1949. Two years later, he graduated from Yale Law School.He started as a lawyer with a Wall Street firm, but the insurance work there bored him, and he moved to Phillips Nizer Benjamin Krim & Ballon (now called Phillips Nizer LLP), a Manhattan firm with many film and television clients. That experience led to his hiring around 1957 as general counsel of California National Productions, a film, merchandising and syndication subsidiary of NBC. He later became its chief operating officer before moving to NBC’s business affairs department in 1960.Johnny Carson in his first appearance as host of “The Tonight Show,” on Oct. 1, 1962. Mr. Schlosser had led the negotiations that brought him to NBC from ABC.NBCU Photo Bank, via Getty ImagesAs a lawyer with the department, he led the talks to bring Carson to NBC to replace Jack Paar as the host of “Tonight” in 1962. At the time, Carson was with ABC as M.C. of the game show “Who Do You Trust?,” and ABC required him to fulfill the last six months of his contract.Mr. Schlosser said he had agreed to pay Mr. Carson $2,500 a week (about $21,000 today). But when ABC held up his departure, one of Mr. Carson’s agents made a further demand.“He said, ‘Now that you can’t get him, we want more money,’” Mr. Schlosser recalled in the Television Academy interview. “I said, ‘We’re sticking with our price.’”Mr. Schlosser rose steadily at NBC. He was named executive vice president of the television network in 1972; promoted to president a year later; and named president of the National Broadcasting Company, the network’s corporate parent, in 1974 and chief executive in 1977.“He supported quality programs and had an idea that news was probably the most important thing the networks did,” Bud Rukeyser, a former executive vice president of corporate communications for NBC, said in a phone interview. “He gave news the benefit of the doubt. If news wanted a half-hour to do something, the answer was always yes.”But Mr. Schlosser was ousted in 1978 and replaced by Fred Silverman, who had engineered ABC’s rise to first place in prime-time ratings as its chief of programming.Mr. Schlosser’s standing had been hurt by NBC’s inability to produce a new prime-time hit series the previous season and climb out of third place.Shortly before Mr. Schlosser left NBC, the network presented “Holocaust,” a four-part mini-series that he had greenlighted. It won eight Emmy Awards. His main contribution to the project, he said, was persuading the executive producer, Herbert Brodkin, to change the title of the series, which had been called “The Family Weiss,” after some of its main characters.Mr. Schlosser and his wife, Judith, in 2011 at an event held by the Museum of the Moving Image at the Manhattan restaurant Cipriani. Mr. Schlosser was the museum’s first chairman. Hiroko Masuike/The New York TimesMr. Schlosser didn’t have to go far for his next job: He was named an executive vice president of RCA, NBC’s parent company. His assignment was to develop software for RCA’s SelectaVision videodisc project. Three years later, he was named to run all of RCA’s entertainment activities, which also included RCA Records (but not NBC).He left in 1985 to become a senior adviser at Wertheim & Company, a Wall Street investment bank, as well as chairman of the planned Museum of the Moving Image, which opened in Queens in 1988. He remained there as either chairman or co-chairman until 2013.In addition to his wife, Judith (Gassner) Schlosser, Mr. Schlosser is survived by his son, Eric, the author of “Fast Food Nation”; a daughter, Lynn Jacobson, a former television executive; five grandchildren; and six great-grandchildren.Mr. Schlosser once recalled his certainty that “Saturday Night Live” could be a part of NBC for a long time, just as “Tonight” and “Today” were. Another model of late-night success at NBC under his watch was “The Midnight Special,” a series featuring pop and rock performers, that was broadcast on Fridays after “The Tonight Show” from 1973 until 1981.“NBC had this tradition of succeeding with shows like that,” he told the Television Academy. “To me, it was a no-brainer.” More

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      Arthur French, Negro Ensemble Company Pioneer, Dies at 89

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      He more or less stumbled into a career as an actor, but it proved to be a long and prolific one, on film, on television and especially on the stage.Arthur French, a prolific and acclaimed (if relatively unsung) actor who was a founding member of the Negro Ensemble Company, died on July 24 in Manhattan. He was 89.His death, in a hospital, was announced by his son, the playwright Arthur W. French III, in a post on Facebook.Mr. French more or less stumbled into his theatrical career. After abandoning early plans to become a preacher, he aspired to be a disc jockey, but when he showed up at the D.J. school he had hoped to attend, he found that it had closed after bribery investigations began into the radio payola scandal of the late 1950s.Fortunately, the Dramatic Workshop, where Lee Strasberg and Stella Adler taught, was located in the same building, and Mr. French signed up for classes. He was coached by the actress Peggy Feury; he caught the attention of Maxwell Glanville’s American Negro Theater; and his career as a supporting actor was born.Mr. French made his professional debut Off Broadway in “Raisin’ Hell in the Son,” a spoof of Lorraine Hansberry’s “A Raisin in the Sun,” at the Provincetown Playhouse in 1962. Three years later he appeared in Douglas Turner Ward’s “Day of Absence,” which spawned the Negro Ensemble Company. He first appeared on Broadway in Melvin Van Peebles’s musical “Ain’t Supposed to Die a Natural Death” in 1971.“That’s when I decided to quit my Social Service job,” he said in a recent interview with the arts journal Gallery & Studio. He had been working days as a clerk with New York City’s welfare department.Mr. French appeared in Broadway revivals of “The Iceman Cometh” (1973), “Death of a Salesman” (1975) and “You Can’t Take It With You” (1983). His films included Spike Lee’s “Malcolm X” (1992) and “Crooklyn” (1994). Among his many television appearances were three episodes of “Law & Order,” two of “Law & Order: Special Victims Unit” and one of “Law & Order: Criminal Intent.”Reviewers often called attention to his sonorous voice and the civility of his performances; his notices in The New York Times were consistently positive. Reviewing his portrayal of Bynum, a “conjure man,” in a 1996 revival of August Wilson’s “Joe Turner’s Come and Gone” at the Henry Street Settlement, Vincent Canby called it “a variation on the seer, sometimes the idiot savant, who turns up with regularity in Mr. Wilson’s work but never as fully realized as the character is here.”When Mr. French was seen in “Checkmates” at the same theater that year, Lawrence Van Gelder wrote in The Times, “The real treats are Ruby Dee and Arthur French as the Coopers, gifted old pros who tickle the funny bone and touch the heart.”He occasionally directed, most recently a 2010 production of Steve Carter’s 1990 play “Pecong,” a retelling of the Medea story set in the Caribbean, at the Off Off Broadway National Black Theater.Mr. French taught at the HB Studio in New York. He received an Obie Award for sustained excellence of performance in 1997 and a Lucille Lortel Award for his supporting role in August Wilson’s “Two Trains Running” in 2007. In 2015, he was awarded a Paul Robeson Citation from the Actors’ Equity Association and the Actor’s Equity Foundation for his “dedication to freedom of expression and respect for human dignity.”Mr. French, right, with Frankie Faison in the Signature Theater Company’s 2006 production of August Wilson’s “Two Trains Running.” Mr. French won a Lucille Lortel Award for his performance.Sara Krulwich/The New York TimesArthur Wellesley French Jr. was born on Nov. 6, 1931, in Harlem to immigrants from Saint Vincent and the Grenadines in the Caribbean. His father, a former seaman, died young; Arthur himself survived a bout with asthma. His mother, Ursilla Idonia (Ollivierre) French, was a garment workers’ union organizer, and Arthur helped her earn extra money by embroidering material she took home.His mother encouraged him to take music lessons, which led to a piano recital at Carnegie Hall. He attended Morris High School in the Bronx before transferring to the Bronx High School of Science; after graduating, he attended Brooklyn College.In 1961, he married the singer Antoinette Williams. She died before him. In addition to their son, he is survived by a daughter, Antonia Willow French, and two grandchildren.In the Gallery & Studio interview, Mr. French was asked what he had learned about himself during his 50-year career.“I like the world of fantasy,” he replied. “And my father told me, ‘Learn something so well that you won’t have to lift up anything heavier than a pencil.’” More

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      Patricia Kennealy-Morrison, Rock Journalist, Dies at 75

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      She took the music seriously at a time when not many writers did. Among her books was a memoir of her life with one of its biggest stars, Jim Morrison.Patricia Kennealy-Morrison, who wrote about rock when music journalists were just beginning to take it seriously, and through her work met Jim Morrison, frontman of the Doors, with whom she said she had a marriage of sorts, died on July 23. She was 75.Her death was announced on the Facebook page of Lizard Queen Press, a publishing enterprise that she founded and that published her recent books. The announcement did not give a cause or say where she died.In the late 1960s, originally as Patricia Kennely (she later changed the spelling of her last name and, in 1979, added “Morrison”), she was a writer for and then editor of Jazz & Pop, a small but well-regarded magazine. She interviewed Morrison in 1969, and when they shook hands there was “a visible shower of bright blue sparks flying in all directions,” she wrote in a 1992 memoir, “Strange Days: My Life With and Without Jim Morrison.” They soon became romantically involved.Ms. Kennealy-Morrison practiced Celtic paganism; on her Facebook page she described herself as “Author, ex-rock critic, Dame Templar, Celtic witch, ex-go-go dancer, Lizard Queen. Not in that order.” (“Lizard Queen” was a reference to a line from a Jim Morrison poem, in which he wrote, “I am the Lizard King.”) In 1970 she and Morrison exchanged vows in a “handfasting ceremony” that involved drops of their own blood.She said her book “Strange Days” (also the title of the Doors’ second album, from 1967) was a response to the 1991 movie “The Doors.” Oliver Stone, who directed the film, had consulted her on it, and she even played the Wicca priestess who presides over the handfasting. (Val Kilmer played Morrison; Kathleen Quinlan played Ms. Kennealy-Morrison.) But she said she was outraged by the film when she saw it at a screening, feeling that it trivialized the ceremony, did not give enough prominence to her relationship with Morrison, and misrepresented him.Val Kilmer as Jim Morrison and Kathleen Quinlan as Ms. Kennealy-Morrison in Oliver Stone’s “The Doors” (1991). Ms. Kennealy was not a fan of the film.Alamy“If Oliver had been at that screening, we would never have had to worry about his movie ‘JFK,’” she told The Daily Mail of London in 1992, referring to Mr. Stone’s next film. “I would have killed him.”Critics said the book was just an attempt to gain attention and usurp the place in the Morrison mythos of Pamela Courson, another of his love interests, who called herself his common-law wife. Morrison died in 1971 in Paris at 27; Ms. Courson, who was with him at the time, died a few years later, also at 27. Drugs were suspected in both deaths.In her book, Ms. Kennealy-Morrison blamed Ms. Courson for Morrison’s death, in a bathtub in his apartment. “She fed heroin to the man she claimed to love, leaving him dying while she nodded out,” she wrote.In late October 2010, on the eve of Samhain, a Celtic religious festival that inspired Halloween, Ms. Kennealy-Morrison spoke to The Daily News in New York about her plans for marking the occasion.“I will place a light in the window to guide the souls in the night,” she said. “I will have food, pork and apples in Celtic tradition for the ancestors from the other world. I will talk to my beloved dead, including my father and grandmother. It will be a joyful and deeply holy occasion. Jim usually shows up. And when he does, I will celebrate Samhain, the new Celtic year, with my husband.”Patricia Kennely was born on March 4, 1946, in Brooklyn and grew up on Long Island. In 1963 she enrolled at St. Bonaventure University, a Franciscan institution in Allegany, N.Y., to study journalism. That’s where she discovered the Celtic religion.“They had an amazing library on the subject at St. Bonaventure’s, I guess operating on the principle of ‘Know thy enemy,’” she told The Daily News.She transferred to Harpur College in Binghamton, N.Y., after two years and earned an English degree in 1967. While there she discovered the political activism that was brewing on campuses across the nation. She also discovered rock music, and one 1966 album in particular.“It was called ‘Jefferson Airplane Takes Off,’” she wrote in “Rock Chick: A Girl and Her Music,” a 2013 compilation of her Jazz & Pop writings. “And so did I.”While in college she earned extra money as a go-go dancer at nightclubs.“Scorning the white boots and pastel-microdress go-go-girl template that was prevalent across the land, I went Dark Side,” she wrote, “wearing a black leather-look fringed bikini, black fishnets and black knee-high boots.”“I looked like Zorro’s kinky girlfriend,” she added.Ms. Kennealy-Morrison said her book “Strange Days” was a response to Oliver Stone’s movie. Critics said it was an attempt to gain attention and usurp another love interest’s place in the Morrison mythos.After graduating, she landed a job as an editorial assistant at Crowell-Collier & Macmillan Publishing in Manhattan. She saw the first cover of Jazz & Pop magazine on a newsstand in 1967 (it had been founded as Jazz magazine in 1962 by Pauline Rivelli, who in 1967 broadened it into rock coverage and renamed it) and began lobbying for a job there. She was hired as an editorial assistant in early 1968. By the end of that year she had been named editor. The magazine was one of several that came along about the same time that took the music more seriously than the fanzines of the era. (Rolling Stone was founded in 1967.)Ms. Kennealy-Morrison’s pieces set the tone for Jazz & Pop. In the April 1970 issue, she wrote about the influence that religions of various kinds were having on music. She thought, for instance, that the band Coven was invoking black magic in dangerous ways. “Black magic is NOT merely an interesting new wrinkle for the PR crowd to play with, or a hot new ad copy slant,” she cautioned.Three months later she blasted rock fans as not being selective enough and not applying their intellects to what they were hearing.“How many excruciating guitar solos, how many organ solos that were so boring your legs started to hurt, how many meaningless vocal improvisations, have we all sat through?” she wrote. “And at the conclusions of all of these various monuments to rock ego, how many standing ovations have we bestowed?”Steve Hochman, a music journalist who was also a friend, wrote of her influence in a Facebook post noting her death.“As a writer and editor of Jazz & Pop magazine,” he wrote, “she helped establish the then-embryonic realm at a time when few thought of pop music as worthy of such critical attention.”Jazz & Pop went out of business in 1971.Ms. Kennealy-Morrison’s survivors include two brothers, Kevin and Timothy Kennely. A sister, Regina Kennely, died in March.Beginning in the mid-1980s, Ms. Kennealy-Morrison wrote a series of fantasy novels, collectively known as “The Keltiad,” which drew on Celtic legends and mythology. More recently, under the name Patricia Morrison, she wrote mysteries with musical themes, drawing on her time in the rock world. Among the titles are “Scareway to Heaven: Murder at the Fillmore East” and “Daydream Bereaver: Murder on the Good Ship Rock & Roll.” More