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      Jay Clayton, Vocal Innovator in Jazz and Beyond, Dies at 82

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      She sparred with avant-garde instrumentalists and used electronics to alter and extend her vocal palette. She was also at home in more conventional settings.Jay Clayton, a singer whose six-decade career encompassed freewheeling improvisation, lyrical songs and poetry, and the prescient use of electronics, died on Dec. 31 at her home in New Paltz, N.Y. She was 82.Her daughter, Dejha Colantuono, said the cause was small-cell lung cancer.Ms. Clayton established herself as an innovator in the 1970s and ’80s, sparring with instrumentalists in avant-garde settings and using electronics to alter and extend her vocal palette well before the practice became common. She worked frequently with other singers — she formed an especially close bond with Sheila Jordan, an early mentor — and she sang in playfully aerobatic vocal groups with peers like Jeanne Lee, Ursula Dudziak, Norma Winstone and Bobby McFerrin.“She works in the familiar avant-garde terrain of wordless, spontaneous improvisations in duo and group settings,” the critic Jon Garelick wrote of her work in The Boston Phoenix in 1990. “But Clayton is also a warm, gracious interpreter of lyric standards, and this lyricism pervades all her work.”Ms. Clayton in 1969. She fell in with the downtown jazz scene after moving to New York in 1963.via Clayton familyShe performed for a decade with the composer Steve Reich, participating in the development and recording of breakthrough pieces like “Drumming,” “Music for 18 Musicians” and “Tehillim.” She also worked closely with dancers and choreographers early in her career, and she maintained an enduring collaboration with the tap dancer Brenda Bufalino.A prominent and influential teacher, Ms. Clayton held positions at the City College of New York, the Peabody Institute and Princeton University. She developed a vocal program for the Banff Center in Alberta, Canada, where she taught with Ms. Jordan. The two further collaborated in training programs in Massachusetts and Vermont and ran a celebrated retreat for singers at Willow Lane Farm in Berne, N.Y., near Albany.Prominent among Ms. Clayton’s students are the composer Karen Goldfeder and the protean vocal improviser Theo Bleckmann. But through her widespread pedagogy — including a book, “Sing Your Story: A Practical Guide for Learning and Teaching the Art of Jazz Singing,” published in 2001 — her progeny are legion.She was born Judith Theresa Colantone on Oct. 28, 1941, in Youngstown, Ohio. Her father, William Colantone, was a carpenter and construction worker; her mother, Josephine (Armeni) Colantone, had sung professionally during the big-band era.Ms. Clayton took up the accordion and later had several years of piano lessons. After high school, she attended a summer program at the St. Louis Institute of Music and then enrolled at Miami University in Oxford, Ohio, where she received a bachelor’s degree in music education in 1963. Since jazz courses were not available, she studied classical repertoire while quietly polishing her improvisational skills on weekend dates with a local trombonist.A prominent and influential teacher, Ms. Clayton was the author of what she called “a practical guide” to the study of jazz singing/No creditAfter moving to New York City in 1963, Ms. Clayton fell in with the downtown jazz scene and formed an early association with the soprano saxophonist Steve Lacy. Through him, she met the drummer Frank Clayton, with whom she began a relationship in 1965. In 1967, the couple started a concert series, “Jazz at the Loft,” in their home on Lispenard Street, in the neighborhood later called TriBeCa, presenting performances by the saxophonist Sam Rivers, the pianist Joanne Brackeen and others. They married in 1968.Not long afterward, Ms. Clayton was introduced to Mr. Reich by the singer Joan La Barbara, who was her student. What he sought, he said in a phone interview, was a “modern-day equivalent” of Ella Fitzgerald: someone who could perform his music with spontaneity as well as precision.Ms. Clayton fit the bill. “Her pitch was dead-on, and her rhythm was a lift to the spirit,” Mr. Reich said. “She grasped what had to be done, and she did it to perfection.”Flourishing among her fellow innovators and iconoclasts, Ms. Clayton led educational workshops with Jeanne Lee and performed with the pianist Muhal Richard Abrams at the Public Theater in 1979. That same year, she consulted on the first Women in Jazz festival, produced by Cobi Narita (who died in November).In 1981, Ms. Clayton released her first album, “All-Out,” a wide-ranging statement with an ensemble that included Mr. Clayton, the pianist Larry Karush, the saxophonist Jane Ira Bloom, the vocalist Shelley Hirsch and others. On several tracks Ms. Clayton sang swooping, soaring lines in tandem with Ms. Bloom, a recent arrival from New Haven, Conn., whom Ms. Clayton had taken under her wing.“From the minute she and I met, we had this linear synchronicity,” Ms. Bloom said in an interview. “There’s something about the combination of her sound and my sound: We played lines together, and it was like this other instrument.” They collaborated for decades.In 1982, Ms. Clayton, her husband and their two children moved to Seattle, where she taught at the Cornish School, now Cornish College of the Arts. When she and Mr. Clayton divorced in 1984, she remained in Seattle, developing a new circle of collaborators that included the drummer Jerry Granelli, the trombonist Julian Priester, the bassist and the saxophonist Briggan Krauss.Ms. Clayton, center, in the 1980s with, from left, the pianist Larry Karush, the bassist Harvie Swartz, the drummer Frank Clayton and the saxophonist Jane Ira Bloom.via Clayton familyShe recorded works by the experimental composer John Cage in the late 1980s and returned to Mr. Reich’s music on occasion. Her jazz recordings from those years include “Beautiful Love,” a 1995 album devoted to vintage popular standards with the pianist Fred Hersch.“I always think that doing standard material lets you know where somebody’s coming from,” Mr. Hersch said in an interview, likening the practice to a painter rendering a still life or a nude. “In Jay’s case, a lot of it is very hauntingly beautiful, and pretty fierce in terms of improvising.”Ms. Clayton moved back to New York in 2002, re-establishing a local presence both alone and in collaboration with Ms. Jordan. She made a stream of recordings for the Sunnyside label, ranging from a lyrical tribute to the songwriter Harry Warren to an adventurous electronic fantasia involving poetry by Emily Dickinson, made with the composer and pianist Kirk Nurock.She was diagnosed with aggressive lung cancer in December 2022. Her final recording, “Voices in Flight,” a collaboration with the singer Judy Niemack, was released in June.In addition to her daughter, Ms. Clayton is survived by her brother, William Colantone Jr.; her son, Dov Clayton; and two grandchildren.To the end, Ms. Clayton remained devoted to her students. “She was always just exactly herself, personally and musically,” Ms. Goldfeder wrote in a Facebook post; “it’s one of the many ways she was a great teacher.” More

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      Phill Niblock, Dedicated Avant-Gardist of Music and Film, Dies at 90

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      Making music with no melody or rhythm and films with no plot, he became a darling of New York’s experimental underground.Phill Niblock, an influential New York composer and film and video artist who opened new sonic terrain with hauntingly minimalist works incorporating drones, microtones and instruments as diverse as bagpipes and hurdy-gurdies, often accompanied by his equally minimalist moving images, died on Monday in Manhattan. He was 90.His partner, Katherine Liberovskaya, said he died in a hospital of heart failure after years of cardiac procedures.Mr. Niblock had no formal musical training. Nevertheless, he came to be hailed as a leading light in the world of experimental music, not only as an artist himself but also, beginning in the 1970s, as the director, with the choreographer Elaine Summers, of Experimental Intermedia, a foundation for dance, avant-garde music and other media. He served as the foundation’s sole director from 1985 until his death, and he was also the curator of the foundation’s record label, XI.His loft on Centre Street in Lower Manhattan served as a performance space for the foundation. It was also a social nexus for boundary-pushing musicians and composers like John Cage, Arthur Russell, David Behrman and Thurston Moore of Sonic Youth.In an Instagram post on Tuesday, Mr. Moore wrote that Mr. Niblock’s work summoned a “collective consciousness which gave it its own genuine engagement with listener and performer alike.”Mr. Niblock’s music was marked by densely layered sound textures consisting of tones, close to one another in pitch, that made only very small movements for extended durations. “Minimalism to me is about stripping out things, and looking at a very small segment — to get rid of melody and rhythm and typical harmonic progressions,” Mr. Niblock said in an interview with Frieze magazine last summer. He added that his pieces “don’t really ‘develop,’ as that word is used in music.”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?  More

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      Reggie Wells, Makeup Artist for Oprah Winfrey and Other Black Stars, Dies at 76

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      At a time when cosmetic brands did not cater to Black women, Mr. Wells found a niche working with Black stars and models who had struggled to find makeup options for their skin tones.Reggie Wells, who parlayed a background in fine art into a trailblazing career as a makeup artist for Oprah Winfrey, Whitney Houston, Beyoncé, Michelle Obama and other Black celebrities, died on Monday in Baltimore. He was 76.His death was confirmed by his niece Kristina Conner, who did not specify a cause or say where he died.For Mr. Wells, every face was a canvas to explore. One of his most famous clients was Ms. Winfrey, for whom he worked as a personal makeup artist for more than 20 years at the height of her television career.“Reggie Wells was an artist who used his palette of talent to create beauty no matter the canvas,” Ms. Winfrey said in a statement. “He always made me feel beautiful. Ooo my, how we’d laugh and laugh during the process. He was an astute observer of human behavior and could see humor in the most unlikely experiences.”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?  More

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      Red Paden, Juke Joint ‘King’ Who Kept the Blues Alive, Dies at 67

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      His unassuming Mississippi Delta nightspot is one of the last of its kind, giving blues musicians a welcoming venue and lately drawing visitors from around the world.Red Paden, who as the self-proclaimed “king of the juke joint runners” spent four decades as the owner of Red’s, an unassuming music spot in downtown Clarksdale, Miss., and one of the last places in the United States to offer authentic Delta blues in its natural setting, died on Dec. 30. He was 67.His son, Orlando, said the death, in a hospital in Jackson, Miss., was from complications of heart surgery.Juke joints, once commonplace across the Deep South, were the loam out of which blues music grew, a vast network of shacks, old shops and converted homes where traveling musicians would play a night for a share of the cover charge, then move on to the next gig.Red’s is the quintessential example: low-ceilinged and the size of a large garage, decorated with old music posters and lighted with neon signs and string bulbs (red, of course).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?  More

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      Larry Collins, Rockabilly Guitar Prodigy, Is Dead at 79

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      He and his sister became child stars in the 1950s by making exuberantly unhinged music. “I had so much energy,” he said, “they didn’t know what to do with me.”Larry Collins, the prodigious child guitarist who worked with his sister Lorrie as the exuberant 1950s rockabilly duo the Collins Kids, died on Friday in Santa Clarita, Calif. He was 79.His death, in a hospital, was announced by his daughter Larissa Collins, who did not cite a cause.Although they didn’t sell millions of records or enjoy widespread radio play, Mr. Collins and his sister were ideally suited to the then emergent medium of television and became bona fide stars of the early years of live country music TV. As members of the cast of “Town Hall Party” — a popular TV barn dance hosted by the cowboy singer Tex Ritter in Los Angeles — they brought an untamed, proto-punk sensibility to the West Coast country and rockabilly scenes of their day.Larry was just 9 years old and his sister 11 when the siblings, clad in matching Western wear, became regulars on “Town Hall Party” in early 1954. “Two little bundles of bouncing T-double-N-T!” was how Mr. Ritter introduced them when they took the stage.Lorrie stole the hearts of many of the adolescent boys in the audience. But it was often Larry, as video clips from the era attest, who stole the show — hopping, bopping and duckwalking around the stage while his sister sang unabashedly of adult situations and emotions.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?  More

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      Adan Canto, ‘The Cleaning Lady’ and ‘X-Men’ Actor, Dies at 42

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      In a career spanning more than a decade, Mr. Canto played a range of roles, including a control-obsessed criminal, a poised politician and a fiery comic book hero.Adan Canto, the Mexican actor known for his roles in TV series such as “The Cleaning Lady” and “Designated Survivor” as well as for playing Sunspot in the film “X-Men: Days of Future Past,” died on Monday. He was 42.His death was confirmed by his publicist, Jennifer Allen, who said the cause was appendiceal cancer. She did not say where he died.In an acting career that spanned more than a decade, Mr. Canto played a range of roles including a furious criminal hellbent on having control, a poised politician and a fiery comic book hero.Mr. Canto said in a 2013 interview with Collider that he had “always been fascinated by people, their psychology, what drives them and trying to understand them.”Italia Ricci, left, and Adan Canto were both series regulars in the show “Designated Survivor.”Ben Mark Holzberg/ABCIn “The Cleaning Lady,” which premiered on Fox in 2022, Mr. Canto played the gangster Arman Morales, who recruits a woman, played by Elodie Yung, into his criminal organization after she witnesses a murder. The show is entering its third season this year.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?  More

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      Marisa Pavan, Oscar Nominee for ‘The Rose Tattoo,’ Dies at 91

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      The twin sister of the Italian ingénue Pier Angeli, she attempted to avoid the pitfalls of fame that befell her sister’s career.The Italian actress Marisa Pavan never achieved the fame of her twin sister, Pier Angeli, a film ingénue of the 1950s who graced national magazine covers, and whose romance with James Dean and subsequent marriage to the singer Vic Damone became the stuff of Hollywood lore.Ms. Pavan — analytical, at times defiant and, in her view, less conventionally beautiful than her sister — nevertheless carved out a successful career herself. She appeared in a number of high-profile films throughout the 1950s, including “The Rose Tattoo” (1955), for which she was nominated for an Academy Award for best supporting actress.And she did it her way, bristling at the star-making machine that she believed had turned her sister into a sexualized confection of the silver screen.“The studios made her be like what they wanted her to be like, but from this moment on, it was not my sister I had in front of me anymore,” Ms. Pavan said in an interview with Margaux Soumoy, the author of a biography of Ms. Pavan, “Drop the Baby; Put a Veil on the Broad!” (2021). “She had become a studios’ product.”Ms. Pavan, right, with her twin sister, the actress Pier Angeli, in 1952. “The studios made her be like what they wanted her to be like,” Ms. Pavan said of her star-crossed sister.Ullstein Bild, via Getty ImagesMs. Pavan died on Dec. 6 at her home in Gassin, a village on the French Riviera, Ms. Soumoy said. She was 91.Maria Luisa Pierangeli, known as Marisa, and her fraternal twin, Anna Maria Pierangeli, were born on June 19, 1932, in Cagliari, on the island of Sardinia, to Luigi Pierangeli, an architect, and Enrichetta (Romiti) Pierangeli, who later helped guide the careers of her daughters. (Their younger sister, Patrizia, born 15 years after they were, also became an actress.)The family moved to Rome when the twins were 3 and, during World War II, harbored a Jewish general in the Italian Army who was hiding from the Nazis and the Italian Fascists. His last name was Pavan, which Marisa, who had grown close to him, would eventually adopt as her screen name.Her sister’s career started in her teens, when she was discovered on a street in Rome. When Mr. Pierangeli died in 1950, the family relocated to the United States to further her career.Marisa had no interest in the limelight until a friend of the family, Albert R. Broccoli, an agent who would go on to produce the James Bond film franchise, invited her to visit the set of “What Price Glory” (1952), a film set during World War I starring James Cagney and directed by John Ford.Once she was there, the producer Sol Siegel asked her if she could sing in French. She could, and she did. “I sang a song of Jacqueline François,” Ms. Pavan said in a 2015 interview with Film Talk, an online film journal. She recalled Mr. Siegel responding, “You’re going to test tomorrow!”“I took all of this as a joke,” Ms. Pavan said. But she took the script home, learned the scene and returned the next day.She got the part — a French girl who falls in love with a U.S. Marine, played by Robert Wagner — and discovered a passion for acting.Her career reached its pinnacle three years later with “The Rose Tattoo,” based on a Tennessee Williams play. Ms. Pavan played Rosa, the rebellious daughter of a grief-stricken Sicilian widow (Anna Magnani) whose life in a town on the Gulf of Mexico takes a turn when she meets an ebullient trucker (Burt Lancaster).Ms. Pavan with Robert Wagner in “What Price Glory” (1952), her first film.Paramount Pictures, via AlamyHer sister, who by then went by the name Pier Angeli, had a long-term contract with MGM that limited her freedom to choose her roles and control her image, Ms. Soumoy wrote. But Ms. Pavan wished instead to preserve her independence and worked with various studios.“From the moment I realized that I wanted to build a career as an actress, I kept telling my agents to only find me quality parts that would fit my own personality and tastes,” Ms. Pavan was quoted as saying in Ms. Soumoy’s book. “The last thing I wanted was to be kept prisoner under contract to one studio like Anna was.”Her other notable roles included the noblewoman Catherine de Medici in “Diane” (1956), a romance set in the 16th century that starred Lana Turner; the wartime fling of Gregory Peck’s conflicted suburban husband and father in “The Man in the Gray Flannel Suit” (1956); and the love interest of Tony Curtis in the murder mystery “The Midnight Story” (1957).Ms. Pavan and the French actor Jean-Pierre Aumont in 1989. They married in 1956 and remained married until his death in 2001.James Andanson/Sygma, via Getty ImagesMs. Pavan married the French film and stage star Jean-Pierre Aumont in 1956. He died in 2001.Her sister’s life ultimately took a tragic turn as she encountered a faltering career, a series of unhappy relationships and struggles with mental and physical health. In 1971, Ms. Angeli was found dead at 39.Although speculation of suicide has swirled for years, Ms. Pavan remained adamant that her sister’s death was accidental, a reaction to a medication a doctor had given her during a bout of anxiety. It was a loss from which Ms. Pavan never fully recovered.“She felt like she had lost half of herself,” Ms. Soumoy said.Ms. Pavan is survived by her sons, Jean-Claude and Patrick Aumont; her sister Patrizia; six grandchildren; and two great-grandchildren.Her eventual parting with the movie business appeared to stem from one clash in particular. While filming the splashy historical romance “Solomon and Sheba” (1959), the headstrong Ms. Pavan squared off against a producer after many of her scenes were cut, and threatened to leave the project. The move resulted in her effective blacklisting by studios, according to her biography.Ms. Pavan pivoted to television, making appearances on shows like the police procedural “Naked City,” the snappy private investigator drama “The Rockford Files” and the soap opera “Ryan’s Hope.” She acted into the early 1990s. Late in life, she expressed no regret over her fate in Hollywood.“It was not in my nature to compromise,” she told Film Talk. “They did change my sister; they made her up like a pinup girl. I could wear a wig to play a certain part, but they could not change me in life.” More

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      Norma Barzman, Blacklisted Screenwriter, Dies at 103

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      After she and her husband, a fellow writer, saw work in Hollywood dry up during the Red Scare, they continued their careers in self-exile overseas.Norma Barzman, a screenwriter who moved to Europe in the late 1940s rather than be subject to the congressional investigations and professional ostracism that overtook her industry for a decade, died on Dec. 17 at her home in Beverly Hills, Calif. She was 103 and widely considered to be one of the last surviving victims of the Hollywood blacklist.Her daughter Suzo Barzman confirmed the death.Mrs. Barzman and her husband and fellow screenwriter, Ben Barzman, were among the hundreds of film industry figures — including screenwriters, actors, directors, stagehands and technicians — who found themselves iced out of Hollywood after World War II because of their unwillingness to discuss their affiliation with the Communist Party or its many associated front groups.The Barzmans were both longtime members of the party, having joined in the early 1940s. Although their membership officially lapsed when they left the country, they did not renounce the party until 1968, after the Soviet invasion of Czechoslovakia.“I’m very proud of my years as a Communist,” Mrs. Barzman told The Associated Press in 2001. “We weren’t Soviet agents, but we were a little silly, idealistic and enthusiastic, and thought there was a chance of making a better world.”Mrs. Barzman with her husband and fellow screenwriter, Ben Barzman, in Madrid in 1961. When the opportunity arose for Mr. Barzman to work on a film in London in 1949, they expected to be there for six weeks. They ended up living abroad until 1976.via Barzman familyFor a time in the 1930s and ’40s, being a Communist, or just sympathetic to the cause, was considered de rigueur among the Hollywood left. But with the onset of the Cold War, attitudes began to shift. Rumors of a government crackdown percolated.The couple were sitting on their front lawn in July 1947 when a woman in a convertible stopped to talk. After a guarded introduction — her name was Norma, too — she told them that there was a police car at the bottom of the hill, stopping anyone turning onto the street to ask them about the Barzmans. Years later, they would realize that the other Norma had taken the stage name Marilyn Monroe.That fall, the House Committee on Un-American Activities called a group of screenwriters, directors and producers to testify about their connections to the Communist Party. Ten of them refused to answer questions, and each was later found in contempt. Though the Barzmans were not among that group, which came to be called the Hollywood Ten, they feared they would be subpoenaed soon.A few weeks after the hearings, a group of Hollywood executives released the so-called Waldorf Statement, which declared that the 10 witnesses, as well as anyone else who refused to discuss their relationship to the Communist Party, would be blacklisted from the industry.Work for the Barzmans quickly dried up. Finally, in 1949, an opportunity arose for Mr. Barzman to work on a film in London, where the blacklist didn’t reach. They set sail on the Queen Mary, expecting a six-week trip.They would not return to the United States until 1965, and they would live abroad until 1976.After several years in London, they moved to Paris; they eventually settled in Provence. They became local celebrities of a sort — the family that defied the blacklist — and made friends with the likes of the French actor Yves Montand and Pablo Picasso.An undated photo from the Cannes Film Festival. From left, Mr. Barzman, Mrs. Barzman and the Italian filmmaker Basilio Franchina.via Barzman familyMr. Barzman continued to write screenplays, usually for European productions, though often without credit. Mrs. Barzman got some work, too, but it was harder, especially since she also was raising seven children.Another friend, Sophia Loren, “pinched my cheek one day and called me ‘la mamma,’ which drove me wild,” she said in an interview for the book “Tender Comrades: A Backstory of the Hollywood Blacklist” (1997), by Patrick McGilligan and Paul Buhle.By the time the Barzmans returned to Hollywood in the 1970s, the film industry and the community around it had changed significantly, and they never managed to restart their careers.“I’ve been so blessed, even when I was suffering,” she told The Los Angeles Times in 2001. “So I wasn’t bitter then, and I’m not bitter now. I guess because I still feel there’s so much hope. You have to work at things, whether it’s a marriage or a democracy.”Norma Levor was born on Sept. 15, 1920, in Manhattan — specifically, she liked to recall, atop the kitchen counter of her parents’ apartment on Central Park West. Her father, Samuel, was an importer, and her mother, Goldie (Levinson) Levor, was a homemaker.Norma enrolled at Radcliffe College, but left in 1940 to marry Claude Shannon, a graduate student at the Massachusetts Institute of Technology who later became known for his work in computational linguistics.They moved to Princeton, N.J., where he had a fellowship at the Institute for Advanced Study and where she worked for the economic branch of the League of Nations, which had relocated there from Switzerland at the start of World War II.The couple divorced in 1941, a year after her father died. Seeking a fresh start, she moved with her mother to Los Angeles — with a six-week stop in Reno, Nev., to finalize her divorce.She worked as a features writer for The Los Angeles Examiner while taking courses in screenwriting at the School for Writers, which was later added to the federal government’s list of subversive organizations.“Shortly after I arrived, I came to understand that all the progressive people I liked and who were politically active were Communists,” she was quoted as saying in “Tender Comrades.”Norma Barzman with her father, Samuel Levor, in Nice, France, in about 1930.via Barzman familyShe met Ben Barzman, another aspiring screenwriter, at a party at the home of Robert Rossen, yet another screenwriter. Mr. Barzman insisted that modern movies were too complex for women to write. She pushed a lemon meringue pie in his face. They married in 1943.Mrs. Barzman wrote the original stories for two films made in 1946: “Never Say Goodbye,” a comedy starring Errol Flynn and Eleanor Parker, and “The Locket,” a noir thriller starring Laraine Day and Robert Mitchum. In Europe, her work included another screenplay, “Luxury Girls,” but her name was kept off it until 1999.Mr. Barzman died in 1989. Along with her daughter Suzo, Mrs. Barzman is survived by another daughter, Luli Barzman; five sons, Aaron, Daniel, John, Paolo and Marco; eight grandchildren; and six great-grandchildren.After returning to Los Angeles, Mrs. Barzman wrote a column on aging for The Los Angeles Herald Examiner and a memoir, “The Red and the Blacklist: The Intimate Memoir of a Hollywood Expatriate” (2003).She also became outspoken in her criticism of the blacklist and the role many in the industry played in it. Larry Ceplair, a historian who has written extensively about the blacklist, called her the era’s “keeper of the flame.”In 1999 she joined some 500 other people outside the Academy Awards ceremony, at the Dorothy Chandler Pavilion in Los Angeles, to protest an honor being given to the director Elia Kazan.To avoid being added to the blacklist, Mr. Kazan had testified before the House committee, identifying several friends and colleagues in the industry as former Communists and earning long-lasting enmity from many in Hollywood.Mrs. Barzman, who was there with her teenage grandson, carried a sign that read “Kazan Is a Fink.” More