Deaths (Obituaries)

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      in Music

      Aston Barrett, 77, Bass-Playing Force With Bob Marley and Wailers, Dies

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      Known by his nickname, Family Man, he was the group’s musical director, crafting the hypnotic rhythms and melodies that elevated reggae to global acclaim.Aston Barrett, who as the bass player and musical director for the Wailers — both with Bob Marley and for decades after the singer’s death in 1981 — crafted the hypnotic rhythms and complex melodies that helped elevate reggae to international acclaim, died on Saturday in Miami. He was 77.The cause of death, at a hospital, was heart failure after a series of strokes, according to his son Aston Barrett Jr., a drummer who took over the Wailers from his father in 2016.Mr. Barrett was already well known around Jamaica as a session musician when, in 1969, Mr. Marley asked him and his brother, Carlton, a drummer, to join the Wailers as the band’s rhythm section.More than anyone else, the collaboration between Mr. Marley and his bassist turned both the Wailers and reggae itself into a global phenomenon during the 1970s.Mr. Barrett with Mr. Marley in 1977. He kept the Wailers going after Mr. Marley died in 1981, playing an evolving sound rooted in his musical innovations.Kate SimonMr. Marley wrote and sang the songs and was the band’s soulfully charismatic frontman. Mr. Barrett arranged and often produced the music. He also kept the band organized during its constant touring, earning him the nickname Family Man — or, to his close friends, Fams.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 Movies

      Clyde Taylor, Literary Scholar Who Elevated Black Cinema, Dies at 92

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      A leading figure in the field of Black studies in the 1970s, he identified work by Black filmmakers as worthy of serious intellectual attention.Clyde Taylor, a scholar who in the 1970s and ’80s played a leading role in identifying, defining and elevating Black cinema as an art form, died on Jan. 24 at his home in Los Angeles. He was 92.His daughter, Rahdi Taylor, a filmmaker, said the cause was chronic obstructive pulmonary disease.As a young professor in the Los Angeles area in the late 1960s — first at California State University, Long Beach, and then at the University of California, Los Angeles — Dr. Taylor was at the epicenter of a push to bring the study of Black culture into academia.Black culture was not merely an appendage to white culture, he argued, but had its own logic, history and dynamics that grew out of the Black Power and Pan-African movements. And filmmaking, he said, was just as important to Black culture as literature and art.Dr. Taylor in 1958 when he was a student at Howard University, where he earned bachelor’s and master’s degrees in English.via Taylor familyHe was especially taken by the work of a circle of young Black filmmakers in the 1970s that he would later call the “L.A. Rebellion.” Among them were the directors Charles Burnett, Julie Dash, Haile Gerima and Billy Woodberry, all of whom went on to have immense impact on Black directors like Spike Lee and Ava DuVernay.As Dr. Taylor documented, these directors created their own, stripped-down approach to narrative and form. They borrowed from French New Wave, Italian neorealism and Brazil’s Cinema Novo to offer an unblinkered look at everyday Black life, often filming in Watts and other Black neighborhoods in and around Los Angeles.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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      Toby Keith, Popular Country Music Singer-Songwriter, Dies at 62

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      Mr. Keith, who announced in 2022 he had cancer, cultivated an in-your-face persona with hits like “Who’s Your Daddy” and “Courtesy of the Red, White and Blue.”Toby Keith, the larger-than-life singer-songwriter of No. 1 country hits like “Who’s Your Daddy?” and “Made in America” and one of the biggest stars to come out of Nashville in three decades, died on Monday. He was 62.His death was announced on his official website. Elaine Schock, Mr. Keith’s publicist, said in an email that he died in Oklahoma, where he had lived his entire life.Mr. Keith announced in the summer of 2022 that he had been diagnosed with stomach cancer and was being treated with chemotherapy, radiation and surgery.In a recent interview with the Oklahoma City television station KWTV, Mr. Keith, who played a run of shows in Las Vegas in December, said he was still in treatment. “Cancer is a roller coaster,” he said. “You just sit here and wait on it to go away — it may not ever go away.” He said that his Christian faith was helping him get through the treatment and the potential dark outcome.Singing in an alternately declamatory and crooning baritone, Mr. Keith cultivated a boisterous, in-your-face persona with recordings like “I Wanna Talk About Me” and “Beer for My Horses.”Built around clever wordplay and droll humor — and more than a little macho bluster — both topped the Billboard country chart, with “Beer for My Horses,” a twangy, Rolling Stones-style rocker that featuring Willie Nelson as guest vocalist, crossing over to the pop Top 40.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 Theater

      Inger McCabe Elliott, Who Famously Became Con Man’s Victim, Dies at 90

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      She was a successful designer. But she was probably best known for being duped in a scheme that inspired the play “Six Degrees of Separation.”Inger McCabe Elliott, a photographer and designer who, with her husband, was conned at her home in Manhattan by a slick-talking 19-year-old purporting to be Sidney Poitier’s son — an incident that helped inspire John Guare to write his celebrated play “Six Degrees of Separation” — died on Jan. 29 at her home in Manhattan. She was 90.Her son, Alec McCabe, confirmed the death.It was a bizarre New York tale.In early October 1983, Mrs. Elliott and her husband, Osborn Elliott, a former top editor of Newsweek who at the time was the dean of the Columbia University Graduate School of Journalism, got a call from a young man who introduced himself as David Poitier.He said that he was a friend of Mrs. Elliott’s daughter Kari McCabe, and that muggers had stolen his money and a term paper he had written about the criminal justice system. He needed a place to stay, he said, until his father arrived in Manhattan the next day to direct scenes for the film version of the Broadway musical “Dreamgirls.” (Mr. Poitier had six daughters but no sons, and he had no involvement in “Dreamgirls.”)Charmed, the Elliotts invited the young man — his real name was David Hampton, they later learned — to spend the night at their East Side apartment and gave him $50 and some clothes. He asked Mrs. Elliott to wake him early the next morning so that he could go jogging.David Hampton, the man who had masqueraded as Sidney Poitier’s son, in 1990 at the Mitzi E. Newhouse Theater at Lincoln Center after the opening of the John Guare play based on his impersonation. William E. Sauro/The New York TimesThe Elliotts were unable to reach Kari McCabe that night to confirm Mr. Hampton’s claim that they were friends. (She had no idea who he was, they later found out.)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 Theater

      Hinton Battle, Three-Time Tony Winner in Musicals, Dies at 67

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      He won awards for his roles in “Sophisticated Ladies,” “The Tap Dance Kid” and “Miss Saigon” — the most ever in the category of best featured actor in a musical.Hinton Battle, a dazzling dancer who won the first of his three Tony Awards in 1981 for his performance in the Duke Ellington musical revue “Sophisticated Ladies” after learning how to tap dance in the weeks leading up to opening night, died on Tuesday in Los Angeles. He was 67.His death, at a hospital, was confirmed by Leah Bass-Baylis, a family spokeswoman, who danced with him on Broadway. She did not provide a cause.“Some people are born with the spirit of the dance,” said Debbie Allen, the dancer, choreographer and actress, who had known Mr. Battle since he was 16. “Hinton Battle was that kind of person.” She added: “He was just technically superior to anyone who came close to him. He had rhythm and style. You were looking at a supernova.”Mr. Battle auditioned for “Sophisticated Ladies” several years after he originated the role of the Scarecrow in “The Wiz,” the all-Black adaptation of “The Wizard of Oz,” when he was 18. Trained as a ballet dancer, he didn’t know how to tap and felt the pressure of being in a show with virtuoso tappers like Gregory Hines and Gregg Burge.Mr. Battle playing the Scarecrow with Stephanie Mills as Dorothy in the Broadway musical “The Wiz” around 1975. Hulton archive/Getty ImagesAt his audition, Mr. Battle said that he fudged a soft-shoe routine.“I panicked,” he told The New York Times in 1984. “It used to be you didn’t need to know how to tap. Tap was out for so long, and there wasn’t much of it to see.”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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      Michael Watford, a Minister of Gospel House Music, Dies at 64

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      His signature hit, “So Into You,” was omnipresent in 1994 — the rare record “you heard at every club,” one D.J. said. But his time at the top was brief.Michael Watford, a church-trained club singer whose baritone boomed over the world’s dance floors for much of the early 1990s, and in the process helped birth a subgenre of club music known as gospel house, died on Jan. 26 in Newark. He was 64.His cousin Lorie Watford said the cause of his death, in a hospital, was dementia.Mr. Watford’s signature hit was “So Into You,” a jubilant ditty that paired his romantic, yearning vocal, inspired by Luther Vandross, with insistent strings, a lush piano line, and frequent handclaps and drum rolls. It hit No. 1 on the Billboard dance chart in April 1994, only to be replaced a week later by Barbara Tucker’s “Beautiful People” — on which Mr. Watford provided backing vocals.“There were different styles among house D.J.s, and different songs that appealed to their particular crowds,” said Tony Humphries, a D.J. and producer who helped push Mr. Watford to the top of the dance-music heap by playing his early records on his weekly radio show on WRKS (Kiss-FM) and during his marathon sets at Club Zanzibar in Newark (where the video for “So Into You” was shot). “But there was a smaller number of records everyone had to have, songs you heard at every club, and ‘So Into You’ was absolutely one of those.”Little Louie Vega, a producer and D.J. who between 1992 and 1994 had his hand in more than a dozen songs that reached the top of the dance charts, said of Mr. Watford: “He comes from church. You could tell that from the way he sings, and he brought that to the music.” Mr. Vega worked with Mr. Watford on “My Love,” a song from his first and only album, “Michael Watford,” released by EastWest/Atlantic in 1994.Michael Wayne Watford was born in Suffolk, Va., on July 20, 1959, but grew up largely in Newark. His mother, the Rev. Betty Brower of the Clinton Memorial AME Zion Church, was a gospel singer who performed in the 1970s with the Alvin Darling Ensemble. His stepfather, George Brower, was also a gospel singer.He is survived by his mother; two younger brothers, Duncan and Terrance Artis Watford; his children, Michael Watford Jr., Symphony Watford and Taylor Watford; and two stepsiblings, Ruby Washington and Erroll Brower. His marriage to Joanne Collins ended in divorce. 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

      Wayne Kramer, Influential MC5 Guitarist, Dies at 75

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      Mr. Kramer was one half of the twin-guitar attack that drove the Detroit band’s incendiary live performances, helping to set the stage for punk rock.Wayne Kramer, whose explosive guitar playing with the influential Detroit band the MC5 in the late 1960s and early 1970s helped to set the template for punk rock, died on Friday. He was 75.The death was confirmed in a post on his official Instagram account, which said the cause was pancreatic cancer. It did not say where he died.The MC5 (short for Motor City Five) formed in Lincoln Park, Mich., in 1965.Mr. Kramer and Fred (Sonic) Smith teamed to provide the twin-guitar attack that was at the heart of the band’s sound, and the centerpiece of its notoriously loud and frenetic live performances.In ranking Mr. Kramer and Mr. Smith, together, at No. 225 last year on its list of the 250 greatest guitarists of all time, Rolling Stone said the two “worked together like the pistons of a powerful engine” to “kick their band’s legendarily high-energy jams deep into space while simultaneously keeping one foot in the groove.”Mr. Kramer performing with the MC5 in Ann Arbor, Mich., in 1969.Leni Sinclair/Michael Ochs Archive, via Getty ImagesThe band, which also featured the vocalist Rob Tyner, the bassist Michael Davis and the drummer Dennis Thompson, splintered in the early 1970s after just two studio albums.Its debut, “Kick Out the Jams,” a live set recorded at the Grande Ballroom in Detroit in 1968, is considered one of the most influential albums of its era, and inspired generations of musicians, including the Clash, the Sex Pistols, the Ramones and Queens of the Stone Age.Tom Morello of Rage Against the Machine said on Instagram on Friday that Mr. Kramer and the MC5 “basically invented punk rock music.”Mr. Kramer was arrested on drug charges in 1975 and was sentenced to four years in prison.In 2009, after he returned to performing and recording as a solo artist, he established Jail Guitar Doors U.S.A., a nonprofit that donates musical instruments to inmates and offers songwriting workshops in prisons, in partnership with his wife, Margaret, and the British singer-songwriter Billy Bragg.The name comes from “Jail Guitar Doors,” a song by the Clash that opens with a line about Mr. Kramer’s struggles with substance abuse and the law: “Let me tell you about Wayne and his deals of cocaine.”“The guitar can be the key that unlocks the cell,” Mr. Kramer told High Times in 2015. “It can be the key that unlocks the prison gate, and it could be the key that unlocks the rest of your life to give you an alternative way to deal with things.”A full obituary will follow. More

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      Don Murray, a Star in Films That Took on Social Issues, Dies at 94

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      An Oscar-nominated role opposite Marilyn Monroe in “Bus Stop” led to a long career in film and TV and onstage, in productions that grappled with race, drugs, homosexuality and more.Don Murray, the boy-next-door actor who made his film debut as Marilyn Monroe’s infatuated cowboy in “Bus Stop” in 1956 and played a priest, a drug addict, a gay senator and myriad other roles in movies, on television and onstage over six decades, has died at 94. His son Christopher on Friday confirmed the death but provided no other details.In the postwar 1950s, when being sensitive, responsible and a “nice guy” were important attributes in a young man, Mr. Murray was a churchgoing pacifist who became a conscientious objector during the Korean War. He fulfilled his service obligation by working for two and a half years in German and Italian refugee camps for $10 a month, assisting orphans, the injured and the displaced.Back from Europe in 1954, he settled on an acting career focused on socially responsible themes. He appeared in a television drama about lawyers serving poor clients, and he had a part in the 1955 Broadway production of “The Skin of Our Teeth,” Thornton Wilder’s comedic vote of confidence in mankind’s narrow ability to survive, which starred Helen Hayes and Mary Martin.Mr. Murray, far right, in the 1955 Broadway production of Thornton Wilder’s “The Skin of Our Teeth” with, from left, George Abbott, Mary Martin, Helen Hayes and Heller Halliday.ANTA Playhouse, via Everett CollectionThe director Joshua Logan saw that production and cast Mr. Murray in “Bus Stop,” his adaptation of William Inge’s play about a singer who is pursued by a cowpoke from a Phoenix clip joint to a snowbound Arizona bus stop, where a spark of dignity and character flame into a moving and humbling love. The film established Marilyn Monroe as a legitimate actress and Mr. Murray as an up-and-coming star.“With a wondrous new actor named Don Murray playing the stupid, stubborn poke and with the clutter of broncos, blondes and busters beautifully tangled, Mr. Logan has a booming comedy going before he gets to the romance,” Bosley Crowther wrote in a review for The New York Times. “And the fact that she fitfully but firmly summons the will and strength to humble him — to make him say ‘please,’ which is the point of the whole thing — attests to her new acting skill.”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