Deaths (Obituaries)

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      in Television

      Jules Bass, Co-Producer of TV Holiday Staples, Is Dead at 87

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      The animation company he ran with Arthur Rankin Jr. gave the world “Rudolph the Red-Nosed Reindeer,” “Frosty the Snowman” and much more.Jules Bass, who created an animation empire with his business partner, Arthur Rankin Jr., that produced perennial Christmastime television favorites like “Rudolph the Red-Nosed Reindeer” and “Frosty the Snowman,” died on Tuesday in Rye, N.Y. He was 87.His death, at an assisted living facility, was confirmed by Jennifer Ruff, whose mother was Mr. Bass’s first wife.The Rankin/Bass studio was a major force in animated programming, mostly on television, from the early 1960s to the late ’80s. Some of its TV shows and movies used traditional hand-drawn cel animation, but it carved out a separate specialty in the stop-motion puppet animation familiar to viewers since “Gumby” in the 1950s.Rankin/Bass’s stop-motion specials included “Rudolph” (1964), featuring the voice of the folk singer Burl Ives as Sam the Snowman;“Santa Claus Is Comin’ to Town” (1970), with Fred Astaire as the narrator and Mickey Rooney as the voice of Kris Kringle; and “Jack Frost” (1979), with Robert Morse voicing the title role.“Frosty” (1969), narrated by Jimmy Durante, used traditional animation.To create the stop-motion effect, animators in Japan painstakingly shot thousands of pictures of the tiniest movements and gestures of inches-tall puppets. When run at 24 frames a second, the images generated a whimsical sort of herky-jerky animation that became the Rankin/Bass signature.“When I saw their cartoons, they left a great impression on me because they had dimensionality versus drawn animation,” said Tom Gasek, a professor in the school of film and animation at the Rochester Institute of Technology who was inspired by Rankin/Bass’s work to become a stop-motion animator. “They were not high quality by any means, but they were charming and their designs were very smart.”Mr. Bass and Mr. Rankin were often credited as the directors of their work and offered input on scripts and storyboards. But they played different roles at the company, said Rick Goldschmidt, the studio’s official historian.Mr. Bass composed much of the music. He hired and worked closely with the musical supervisor, Maury Laws, and ran the company’s business in Manhattan while Mr. Rankin was in Japan supervising the animation.“Where Jules is really the star of Rankin/Bass is as a songwriter and his partnership with Maury,” Mr. Goldschmidt said in a phone interview.Mr. Rankin, who was the studio’s chief executive, also sold the shows to TV networks and made sure they were delivered on time.“After a while, we were never seen together — I’d be doing production in Tokyo and he’d be recording a soundtrack in New York,” Mr. Rankin said in an interview in 2003 with the Museum of Television and Radio, now the Paley Center for Media. “If we were together, one of us wasn’t necessary.”Mr. Bass was rarely quoted publicly, and little is known about his private life. But the two partners spoke during a joint interview with The New York Times in 1982 when their animated theatrical feature, “The Last Unicorn,” was released.When they were asked who did most of the directing — the movie credits both of them — they initially said they did it together.“Anything he can do, I can do better,” Mr. Rankin said.Mr. Bass countered: “He never worked a day on the film. I did everything.”Peter S. Beagle, who wrote the screenplay for “The Last Unicorn” and the novel it was based on, recalled in a phone interview that his dealings with Mr. Bass “were very professional.” But, he added, “he was very private, and I never had a true sense of what was going on deepest in his head.”He added, “I’m grateful that the film came out pretty much as I wrote it.”Arthur Rankin Jr., left, and Mr. Bass in 1965. Both men were credited as producers and directors of their TV specials, but Mr. Bass was more involved with the music and Mr. Rankin with the animation.Miser Bros. Press/Rick Goldschmidt ArchivesJulius Bass was born in Philadelphia on Sept. 16, 1935. His father, Max, was a wholesale beer salesman, and his mother, Bernice (Palat) Bass, was a homemaker.He attended New York University, where he studied marketing from 1952 to 1954, but he did not graduate. He was hired by Gardner Advertising in Manhattan, where he met Mr. Rankin, who was making TV commercials under the banner of his company, Videocraft International.Mr. Bass joined Videocraft in the mid-1950s, and the two men produced commercials, occasionally using animation, for agencies that represented clients including General Electric and the A.&P. supermarket chain. They wearied of commercial production and shifted to animation in 1960 with a TV series, “The New Adventures of Pinocchio,” which used the stop-motion technique Mr. Bass had discovered in Japan.The company eventually changed its name to Rankin/Bass, and its work toggled between stop-motion and traditional cel animation.Although Rankin/Bass was best known for its Christmas programs, it also made TV movies like “The Ballad of Smokey the Bear” (1966), which was narrated by James Cagney,; “Here Comes Peter Cottontail” (1971); and “The Hobbit” (1977), which earned a Peabody Award. They also produced animated TV series like “King Kong” (1966), “The Reluctant Dragon & Mr. Toad Show” (1970), the “Jackson 5ive” (1971),“TigerSharks” (1985) and “Thundercats” (1987).Mr. Bass and Mr. Rankin ended their partnership in the late 1980s after their company was acquired by Lorimar-Telepictures, which was subsequently bought by Warner Communications, which is now Warner Bros. Discovery. Mr. Rankin died in 2014.Mr. Bass later wrote three children’s books. “Herb the Vegetarian Dragon” and “Cooking With Herb the Vegetarian Dragon,” illustrated by Debbie Harter, were both published in 1999. “The Mythomaniacs” (2013), with illustrations by Lawrence Christmas, is about a teenage magician who sends a group of readers of his father’s fairy tales into the books as characters.He also wrote an adult novel, “Headhunters” (2001), about four women from New Jersey who go to Monte Carlo and pretend to be among the world’s wealthiest women. It was adapted into a 2011 film, “Monte Carlo,” starring Selena Gomez.Mr. Bass leaves no immediate survivors. His daughter, Jean Nicole Bass, died this year. His marriages to Renee Fisherman and Sylvia Bass ended in divorce.The power of two of Rankin/Bass’s best-known productions has reverberated for decades since they were released: Both “Rudolph” and “Frosty” remain highly rated cornerstones of CBS’s pre-Christmas programming.In 2014, CBS promoted “Rudolph” on its 50th anniversary with ads that used stop motion to show the renowned reindeer and Sam the Snowman walking around the network’s backlot, meeting the stars of some of its other shows, including Mayim Bialik of “The Big Bang Theory” and Michael Weatherly of “NCIS.”“They’re the fabric of our Christmas hearth, the wood in the Christmas fire,” George Schweitzer, CBS’s former president of marketing, said in a phone interview. “You knew Christmas was coming when Rudolph and Frosty showed up on CBS.” More

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      in Music

      Toshi Ichiyanagi, Avant-Garde Composer and Pianist, Dies at 89

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      A former protégé of John Cage who was once married to Yoko Ono, he was part of a lively experimental music scene in New York and became a leading modern composer in Japan.Toshi Ichiyanagi, an avant-garde pianist and composer whose works mixed international influences, made unusual use of musicians and instruments, and combined music with other media, died on Oct. 7 in Tokyo. He was 89.The Kanagawa Arts Foundation, where he was general artistic director from 1996 until last year, said he died in a hospital. No cause was given.Mr. Ichiyanagi came to New York from Japan in the 1950s to study at the Juilliard School. While there he met Yoko Ono, whose parents had moved the family from Japan to Scarsdale, N.Y., in the early 1950s. Ms. Ono was also interested in experimental music and had studied briefly at Sarah Lawrence College.She and Mr. Ichiyanagi eloped in 1956 and immersed themselves in the experimental art and music scenes of the era, including the radical Fluxus movement. Mr. Ichiyanagi took a course taught by the composer John Cage at the New School (Ms. Ono sat in on the sessions), absorbing many of his Minimalist ideas.Mr. Ichiyanagi and Mr. Cage toured together, sometimes with Ms. Ono, and Mr. Ichiyanagi was instrumental in bringing Mr. Cage to Japan in 1962, introducing his music there. In the same period, Ms. Ono and Mr. Ichiyanagi hosted performances at their loft in TriBeCa that included music, dance and poetry. (“THE PURPOSE OF THIS SERIES IS NOT ENTERTAINMENT,” an announcement for one program said.)The marriage lasted until 1962. Ms. Ono later married John Lennon.In the early years of his career, Mr. Ichiyanagi staked out his claim as one of the most adventurous composers and performers of his day.In May 1961 he gave a recital at Carnegie Hall. His program included works by Mr. Cage, Morton Feldman and others, as well as one of his own pieces. Eric Salzman, describing Mr. Ichiyanagi’s performance of his work in a review for The New York Times, wrote that “a high, distant, cold glissando rubbed somehow out of the innards of the piano and a furious rumble of elbows and fists on the keyboard.”He was gaining attention beyond New York as well.“Tokyo music circles are buzzing about a recent concert which featured Toshi Ichiyanagi’s ‘IBM,’” The Star Tribune of Minneapolis reported in February 1962, “an electronic composition which had several novelties: a boy striking matches and dropping them into a bowl, which he proceeded to smash with a hammer; a man kicking a chair and scraping it on the floor; and finally another man stringing paper tape about the stage and into the audience, making a giant spider web.”Later that year, The Honolulu Star-Bulletin covered Mr. Ichiyanagi’s performance at the University of Hawaii.“Toshi Ichiyanagi’s ‘Music for Piano No. 4’ explored the harmonics of hand-stroked piano strings,” the newspaper reported, “and apparently, though frequently inaudible, the sounds to be derived from thrumming on the instrument’s wooden framework.”In 1966 Mr. Ichiyanagi joined with the conductor Seiji Ozawa and the composer Toru Takemitsu to create Orchestral Space, an annual festival that introduced new, mostly experimental works in Japan.“The experience called ‘Orchestral Space ’68’ mapped some new territory for the audiences,” Edmund C. Wilkes of The San Francisco Examiner wrote of that year’s festival in Tokyo. “Not all of it is habitable, but there were prospects that pleased.”Mr. Ichiyanagi’s works were not all experimental. As his career advanced he wrote operas, orchestral and chamber pieces, and other more conventional works. He also took an interest in traditional Japanese music, and in 1989 he began touring with his Tokyo International Music Ensemble — the New Tradition, a group that performed contemporary compositions played at least in part on instruments like the koto, an ancient member of the string family.The group became less active as its members aged and gave its last performance in about 2000, according to Tokyo Concerts, Mr. Ichiyanagi’s management agency.He continued to create new works into his 80s. His Ninth Symphony, which had its premiere in 2015 in Tokyo, was a meditation on the nuclear disaster at the Fukushima power plant in Japan in 2011 and on the 70th anniversary of the bombing of Hiroshima.Mr. Ichiyanagi received numerous honors throughout his career, including Japan’s Order of Culture in 2018.The Asahi Shimbun via Getty ImagesMr. Ichiyanagi was born into a musical family on Feb. 4, 1933, in Kobe, Japan, and grew up in Tokyo. His father, Shinji Ichiyanagi, was a cellist, and his mother, Mitsuko, gave piano lessons in their home and was Toshi’s first piano teacher.He later studied composition, first in Japan and then at Juilliard.After several years in New York, Mr. Ichiyanagi returned to Japan in 1961. He stayed there for most of his life.In 1963, he married Sumiko, a writer, and they had a son, Kei, in 1964, who survives him. Ms. Ichiyanagi died in 1993.Mr. Ichiyanagi composed more than 200 works and made a number of recordings for Japanese record labels.He often composed with his own notation system, spurning the traditional five-line Western sheets, and his imaginative scores could be considered artwork. Several are collected in the Museum of Modern Art.Having studied piano as a child, he first turned to composition as an inadvertent consequence of World War II.The family had to evacuate Tokyo when it was under bombardment, and young Toshi did not touch a piano for three years. When the family returned to the city after the war ended, they found that much of their property had burned down but the piano was still standing.“We had virtually nothing else left — no scores, nor anything else for studying music,” Mr. Ichiyanagi said in a 2016 interview for an oral history project conducted by the Kyoto City University of Arts. “So I just played it on my own in whatever way, and that turned my interest to music composition. It wasn’t like I started it with any clear ideas or plans.”Hisako Ueno More

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      in Theater

      Seymour Press, a Behind-the-Scenes Fixture on Broadway, Dies at 98

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      He started playing in Broadway orchestras in 1957, and eventually he began recruiting those orchestras as well.Seymour Press, who for more than 60 years served an important role — though one that went largely unnoticed by audiences — in dozens of Broadway and Off Broadway shows, first as a member of pit orchestras and later as the person who assembled those orchestras, died on Monday at an assisted living facility in Hackettstown, N.J. He was 98.His daughter, Gwynn Press Anidjar, said the cause was advanced myelofibrosis, a bone marrow cancer.Mr. Press, known as Red because he had red hair in his younger days, played multiple instruments, including saxophone; he first sat in a Broadway pit for the 1958 musical “The Body Beautiful,” one of the first shows to feature music by Jerry Bock and lyrics by Sheldon Harnick. In the mid-1970s he began taking on the demanding job of musical coordinator (also called music contractor), although he continued playing in orchestras well into the 2000s.His primary duty as coordinator was hiring orchestras for shows. But he also scheduled rehearsals, made sure musicians were paid, handled issues between their union and management, and ironed out all manner of problems.“The guy who waves his arm is the music,” he said in a 2018 episode of the podcast “Behind the Curtain: Broadway’s Living Legends,” referring to the conductor. “Everything else that has to do with the orchestra is me.”For 28 years, he filled that role for the Encores! revival series at New York City Center; he announced his retirement only this spring. He was also working on Broadway until just a few months ago, receiving the coordinator credit on the current productions of “The Music Man,” “Funny Girl” and “Into the Woods,” all of which opened this year.In 2007, he received a Tony Honor for Excellence in Theater, which recognizes outstanding achievement in theater by those who do not qualify in a traditional Tony Award category.Mr. Press in 2016. He was the music coordinator for the Encores! series at New York City Center for 28 years before announcing his retirement this year.Walter McBride/Getty ImagesSeymour Press was born on Feb. 26, 1924, in the Bronx. His mother, Rose (Guttman) Press, was a homemaker, and his father, Arthur, was a salesman and “a frustrated musician,” as Seymour Press put it in the podcast. His father’s cousin, he said, played the saxophone and introduced him to the instrument; Mr. Press later added flute, clarinet, piccolo and others to his arsenal.Mr. Press graduated from DeWitt Clinton High School in the Bronx. In his second year at what is now the City University of New York, he enlisted in the Army. He had expected to be drafted, he said, so when he saw a poster recruiting for the Army band, he bit.He spent his service playing for troops as they shipped out of Newport News, Va. It was, he said, both a safe assignment and good music training.“I went in an amateur saxophone player,” he said on the podcast. “I came out a professional.”After mustering out in 1946, he toured with various bands, small-time ones at first and eventually those of Tommy Dorsey and Benny Goodman. But by the mid-1950s, big-band music was fading; “the musical style I thought would last my lifetime was gone,” he said. He married Nona Gwynn Holcomb in 1957 and began looking to trade life on the road for something at least somewhat more stable.“The Body Beautiful” didn’t last long, but in 1959, Mr. Press found himself in the pit for a show that did: the original production of “Gypsy.”“Not only was it the first hit show I had,” he said, but it was also “the first time I could look at myself and say, ‘I’m going to be working 52 weeks a year,’ which was a big thing.”Mr. Press’s wife died in 2021. In addition to his daughter, he is survived by a stepson, Edward Finkenberg, and two grandchildren.In his decades as a pit player and musical coordinator, Mr. Press saw lots of change: orchestra sizes and instrumentation varied, the pits moved (often to create more seats), and sound engineering became more sophisticated. He also fielded his share of odd requests. On the podcast, he recalled being asked to recruit a trio for one production: cello, violin, piano. But, the director told him, not just any players would do.“He wanted one to be tall and thin, one to be overweight and one to be very short,” Mr. Press said. “That was a problem.”Mr. Press got an insider’s view of countless shows, but his tastes weren’t infallible. He remembered working on “Annie 2: Miss Hannigan’s Revenge,” a sequel to the 1977 smash “Annie.” He first heard it at a backers’ audition.“I left that and I called my wife and said, ‘It’s going to be a giant hit,’” he said.Audiences at the pre-Broadway tryout in Washington in 1990 disagreed.“I watched them walk out — in throngs, not just four people, not just five people,” he recalled, adding, “We opened in Washington and closed in Washington.” More

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      in Music

      Robert Gordon, Punk Rocker Turned Rockabilly Revivalist, Dies at 75

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      Weary of the angry and aggressive sound of New York’s musical underground of the late 1970s, he returned to rock’s roots and seeded a rockabilly revival.Robert Gordon, a 1950s-influenced rocker with a silky baritone and towering pompadour who emerged from the New York punk underground of the 1970s to help stoke a rockabilly revival, died on Oct. 18 in a hospice in Manhattan. He was 75.His sister Melissa Gordon Uram said the cause was acute myeloid leukemia.Mr. Gordon had been the frontman for the buzzy CBGB-era band Tuff Darts when he traded his punk attitude for a tin of Nu Nile pomade and released his first album, a collaboration with the fuzz-guitar pioneer Link Wray, in 1977. At the time, 1950s signifiers like ducktail haircuts and pink pegged slacks had scarcely been glimpsed for years outside the set of “Happy Days” or the Broadway production of “Grease.”But, turning his back on both the pomp of ’70s stadium rock and the rock ’n’ roll arsonist ethos of punk, Mr. Gordon helped seed a rockabilly resurgence that would flower during the 1980s, with bands like the Stray Cats and the Blasters hitting the charts and punk titans like the Clash and X also paying their respects.Neo-rockabilly became the soundtrack to a broader wave of ’50s nostalgia during the Reagan years, marked by Buddy Holly-esque Wayfarer sunglasses, James Dean haircuts and ubiquitous images of tail-fin Cadillacs in music videos, in retro-themed malt shops and at the Hard Rock Cafe.With a look and sound that seemed to travel by time machine from Sun Studio circa 1956, Mr. Gordon was a curious presence in an era when the rock world seemed split between Fleetwood Mac-type rockers with feathered tresses and Sex Pistols-style punks with spiked locks. Lester Bangs, the gonzo rock critic, once said of Mr. Gordon’s neo-hepcat look that he could be a museum display labeled “Bopcatus Americanus.”Mr. Gordon never achieved the fame of the musicians who followed in his wake, but his influence was felt. “Many fans and music historians believe that, had he been recording in the ’50s, he might have become a rockabilly legend,” the music journalist Mark McStea wrote in Guitar Player magazine last year. “Instead, he kick-started the worldwide rockabilly revival.”He never scored a hit on the level of the Stray Cats’ “Stray Cat Strut” or another ’50s-nostalgia chestnut, Los Lobos’ cover of Richie Valens’ “La Bamba,” which hit No. 1 on the Billboard singles chart in 1987.Mr. Gordon, left, with his band backstage at the Lone Star Cafe in New York in 1981. From left: the guitarist Chris Spedding, the drummer David Van Tieghem and the bassist Tony Garnier.John Kisch Archive/Getty ImagesBut, with Mr. Wray — who carved his place in rock history with the ’50s instrumental classics “Rumble” and “Raw-Hide” — he hit No. 83 on the Hot 100 with “Red Hot,” a cover of a 1955 R&B song by Billy “The Kid” Emerson that became a rockabilly staple when Billy Lee Riley and the Little Green Men covered it two years later. If it was too early for him to reap a windfall from the rockabilly wave he had helped begin, Mr. Gordon also had the misfortune of coming in early with songs that would become hits for other artists. His 1981 solo album, “Are You Gonna Be the One,” included the single “Someday, Someway,” a Gene Vincent-inspired number written by his fellow retro-rocker Marshall Crenshaw, which peaked at No. 76 a year before Mr. Crenshaw’s version hit the Top 40.His 1978 album, “Fresh Fish Special,” which featured the Jordanaires, a vocal group famous for backing Elvis Presley, included the song “Fire,” written by his friend Bruce Springsteen, with Mr. Springsteen himself on piano. The song became a smash for the Pointer Sisters, climbing to No. 2 on the Hot 100. Later in his career, Mr. Gordon bristled at the rockabilly pigeonhole, referring to his sound as “roots music” and citing his forays into country and other genres. Still, rockabilly was in his bones, and he said that his life changed the first time he heard Presley’s “Heartbreak Hotel.”“I just remember hearing that one as a kid, I guess I was 9 years old, and it just opened new horizons,” Mr. Gordon recalled in a 2010 Australian radio interview. “The sound of that echo, and of course his smoldering delivery, was great. For a little kid, it was just amazing.”Robert Ira Gordon was born in Washington on March 29, 1947, the second of four children of Samuel Gordon, an antitrust lawyer and later a judge, and Arline (Rose) Gordon, a painter who did sets for regional theater companies.Growing up in the Bethesda-Chevy Chase area of Maryland, Mr. Gordon lived in a house where a record player or radio was usually blaring, Ms. Uram said in an interview. Their parents had a huge record collection, heavy on jazz and opera, and the children cranked up the volume on everything from rockabilly to Motown to British Invasion bands.But Mr. Gordon set his sights on a different retro genre when he turned to a singing career. “He fashioned himself after crooners like Frank Sinatra and Jack Jones,” Ms. Uram said. “He could sing ballads like the best of them.”He moved to New York in the early 1970s to pursue a career in music, starting out in a folk trio called Reunion. But when punk hit, with its stripped-down sound and frenetic energy, an echo of early rock ’n’ roll, he joined the fray.His band Tuff Darts became a fixture in the scene centered on CBGB, the Bowery punk cauldron where future industry game-changers like Talking Heads, Blondie and the Ramones were launching careers.But Tuff Darts never broke out like the others, and Mr. Gordon left the band before it recorded its first album in 1978.“I left that group because, I’ll tell you the truth, because it was pretty sadistic,” he said on “The It’s Only Rock ’n’ Roll Podcast” in 2020. “The lyrics were pretty chauvinistic. I was into more of the roots thing.”With the pouty good looks and Eisenhower-era attire of an old-school Brooklyn street tough, Mr. Gordon also tried his hand at acting. He played a killer in a 1976 film, “Unmade Beds,” which also featured Blondie’s Debbie Harry, and a greaser thug in “The Loveless,” a low-budget “Wild Ones”-style motorcycle-gang movie from 1981 starring Willem Dafoe and co-directed by Kathryn Bigelow.Mr. Gordon in performance at a festival in Spain in 2020.Juan Naharro Gimenez/RedfernsIn addition to Ms. Uram, Mr. Gordon is survived by his wife, Marylee, whom he married in 1995; his son, Jesse, from a previous marriage; and another sister, Jackie Gordon Spalding.Over the course of a half century, Mr. Gordon continued to churn out albums, collaborating with influential musicians like Chris Spedding, who has played guitar with Elton John and Paul McCartney, and Danny Gatton, the guitarist known for what he called “redneck jazz.” His final album, “Hellafied,” with Mr. Spedding, is set to be released by Cleopatra Records in November.“I always thought that Rob never had the stardom that he should have had,” Ms. Uram said. “He was incredibly handsome and photogenic and his voice was amazing, and his choice of musicians to play with was always spot on.”Still, Mr. Gordon played an important role as a bridge between eras, helping keep a treasured American music genre alive. He recorded his first album in April 1977. His idol, Elvis Presley, died four months later. More

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      in Movies

      John Jay Osborn Jr., Author of ‘The Paper Chase,’ Dies at 77

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      His 1971 novel became a movie, with John Houseman giving an award-winning performance as the imperious Professor Kingsfield, and later a television series.John Jay Osborn Jr., who while attending Harvard Law School wrote “The Paper Chase,” a 1971 novel following the tense relationship between an earnest student and his imperious contract law professor that was made into a feature film and then a television series, died on Oct. 19 at his home in San Francisco. He was 77.His daughter, Meredith Osborn, said the cause was squamous cell cancer.“The Paper Chase,” Mr. Osborn’s best-known book, tells the story of two antagonists: Kingsfield, an austere, curmudgeonly Harvard elder, and Hart, an industrious first-year student from the Midwest who is trying to survive the cutthroat intellectual world of an elite law school.“For days I sit in that damn class,” Hart says to his girlfriend, who is Kinsgfield’s daughter, late in the novel. “Then I read his books in the library and I abstract the cases he’s chosen. I know everything about him. The stripe of his ties. How many suits he has. He’s like the air or the wind. He’s everywhere. You can say you don’t care, but he’s there anyway, pounding his mind into mine. He screws around with my life.”Although Mr. Osborn said that Kingsfield was a composite of several of his law professors, Martha Minow, a former dean of the law school, said in an email, “I do know that some now long-gone law professors here vied over who was the real model for Kingsfield.”When “The Paper Chase” was made into a film in 1973, Kingsfield was played by John Houseman, who was a longtime theater, film and television producer and a former colleague of Orson Welles’s but had only occasionally acted, and Hart was portrayed by Timothy Bottoms. Mr. Houseman won the Academy Award for best supporting actor.In the movie, which was written and directed by James Bridges, Kingsfield famously tells his class: “You teach yourself the law but I train your mind. You come in here with a skull full of mush. You leave thinking like a lawyer.”Mr. Houseman reprised his role in the series that ran, first on CBS and later on Showtime, between 1978 and 1986. James Stephens took on the role of Hart.“The Paper Chase” was a reflection of Mr. Osborn’s experiences at Harvard Law amid an era of fervent student protests over the Vietnam War.The school “did not have the flexibility to allow individuals to express themselves,” he wrote in the Harvard Law Bulletin in 2003. “It did not allow for reciprocity between faculty and students. In short, it really had no desire to be loved, or even to be respected.”“The Paper Chase” started as a required third-year writing project. Because it was a work of fiction, Mr. Osborn used it to hedge against following the career path to a major Wall Street firm that Harvard Law was preparing him for.“It was an attempt to create more options for myself, a new story with a new ending,” he wrote in 2011 in the preface to the 40th-anniversary edition of the book.He went outside the law school to find an adviser, William Alfred, a Harvard English literature professor who was also a poet and playwright. Ms. Osborn recalled her father saying that Mr. Alfred was effusive about the first rough draft but suggested some changes.When he made the fixes, she said, Mr. Alfred told him: “Thank goodness. It was terrible when you first gave it to me. Now it’s a lot better and it’s got a lot of promise.”A year after Mr. Osborn’s graduation in 1970, Houghton Mifflin published “The Paper Chase.”Reviewing “The Paper Chase” in The Philadelphia Inquirer, David Appel wrote that it was written in a “lean, forthright manner” that “captured the urgency and immediacy of the law school experience.”For the rest of his career, Mr. Osborn would balance writing novels, as well as television and film scripts, with teaching law — even, like Kingsfield, contract law.20th Century Fox, via Everett CollectionJohn Jay Osborn Jr. was born on Aug. 5, 1945, in Boston. His father was a doctor and an inventor of one of the first heart-lung machines. His mother, Ann (Kidder) Osborn, was an abstract painter. The Osborns are descendants of John Jay, the first chief justice of the United States, and Cornelius Vanderbilt, the railroad baron.In 1967, Mr. Osborn graduated from Harvard College, where he had met Emilie Sisson, a student at Radcliffe College, whom he married in 1968.“As a jaded graduate of Harvard College,” he wrote in 2011 of his law school experience, “all I wanted was not to be browbeaten (and I was).”After Harvard Law, Mr. Osborn clerked in Wilkes-Barre, Pa., for Judge Max Rosenn of the United States Court of Appeals for the Third Circuit. He then worked for about a year as an associate at the white-shoe law firm Patterson, Belknap, Webb & Tyler in Manhattan.He left for postgraduate work at Yale Law School, then taught law, first at the Benjamin N. Cardozo School of Law at Yeshiva University and then at the University of Miami School of Law. At about the same time, he was writing novels: “The Only Thing I’ve Done Wrong” (1977), a family drama, and “The Associates” (1979), about life at a Wall Street law firm.A sitcom based on “The Associates,” starring Martin Short, Alley Mills and Wilfrid Hyde-White, made its debut in 1979. But it lasted only 13 episodes.Between 1978 and 1988, Mr. Osborn was credited with writing 14 episodes of “The Paper Chase” and one episode apiece of “L.A. Law” and “Spenser: For Hire.” In that period, he also wrote his fourth novel, “The Man Who Owned New York” (1981), about a lawyer trying to recover $3 million missing from the estate of his firm’s biggest client.In the 1990s, he became a private estate planner and taught at the University of California, Berkeley, School of Law, and then at the University of San Francisco School of Law, where he taught contract law until his retirement in 2016.His approach to teaching contract law was quite different from Kingsfield’s. The balance of power, he wrote, rested with the students, not the professor. He said that in his first class of each semester, he stood at the lectern until the students were totally silent.“I explain to them that I’m not going to call on anyone,” he wrote in 2011. “They will have to volunteer to talk. Why am I not going to just call on students? I am not clairvoyant like their other professors. I have no idea which students have something to contribute to the discussion. Therefore I’m going to have to rely on them to tell when they have something to say.”Two years after his retirement, he published his final novel, “Listen to the Marriage” (2018), set entirely in the office of a marriage counselor.In addition to his daughter, who graduated from Harvard Law in 2006, Mr. Osborn is survived by his wife, a retired doctor; his sons, Samuel and Frederick; six grandchildren; his brothers, Oliver, Joseph and Ed; and his sisters, Mimi Oliver, Cindi Garvie and Anne Weiser-Truchan.At the end of Mr. Osborn’s novel, Hart stops Kingsfield on campus to tell him how much his class had meant to him.“Good,” Kingsfield says. “That’s fine.” And, as the professor starts to smile, he asks, coldly, “What was your name?”“Hart, Mr. Hart,” Hart says.“Well, thank you, Mr. Hart,” Kingsfield says.Mr. Osborn, who was a technical adviser for the “Paper Chase” film, recalled that at their first meeting, Mr. Houseman asked him if Kingsfield really knew Hart’s name.“Of course he had to know it,” Mr. Osborn told SFGate.com in 2003. “But I think the ambiguity was important, and Houseman understood that.” More

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      in Theater

      Lucy Simon, Singer and Broadway Composer, Is Dead at 82

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      She and her sister Carly Simon were a folk duo in the 1960s. Years later, she wrote the Tony-nominated music for “The Secret Garden.”Lucy Simon, who with her sister Carly began performing and recording as the Simon Sisters during the folk revival of the 1960s, and who then almost three decades later became a Tony Award-nominated composer for the long-running musical “The Secret Garden,” died on Thursday at her home in Piermont, N.Y., in Rockland County. She was 82.Her family said the cause was metastatic breast cancer.Ms. Simon was the middle of three musical sisters. Her younger sister, Carly, became a best-selling pop star after their folk-duo days, and her older sister, Joanna, was an opera singer with an international career. Joanna Simon, at 85, died in Manhattan a day before Lucy Simon’s death.Lucy and Carly started singing together as teenagers. Their father, Richard, was the “Simon” of Simon & Schuster, the publishing house, so a heady list of guests came through the household, including Richard Rodgers and Oscar Hammerstein II. Their mother was Andrea (Heinemann) Simon.“We would go to cocktail parties and bring our guitar and sing,” Lucy Simon told The New York Times in 2015. “And people loved it.”Eventually, she added, they said to each other, “Let’s see if we can pay our way by singing.”Carly was a student at Sarah Lawrence College and Lucy was studying at the Cornell University-New York Hospital School of Nursing in New York in the early 1960s when, during summer break, they took a bus to Provincetown, Mass. (They had wanted to hitchhike, but their mother squashed that plan.) They quickly landed a gig at a bar called Moors, whose musical act had just been drafted. They arrived for their first show in carefully selected matching blouses.“Only later did we learn that the Moors was a gay and lesbian bar,” Carly Simon wrote in her 2015 memoir, “Boys in the Trees.” “What the mostly uncombed, ripped-jeans-and-motorcycle-jacketed audience made of these two sisters is lost to time. Lucy and I had taken our wardrobe at the Moors pretty seriously, and in return the audience probably thought we were twin milkmaids from Switzerland, or escapees from a nearby carnival.”They called themselves the Simon Sisters, even though, as Carly Simon wrote, “Lucy and I agreed that our stage name sounded schlocky and borderline embarrassing, plus neither of us wanted to be labeled — or dismissed — as just another novelty sister act.”In that book, Ms. Simon recalled the sisterly dynamic during that first foray into performing.“Anyone paying close attention would have seen how hard I, Carly, the younger sister, was trying to look and act like Lucy, the older sister,” she wrote. “I was now taller than Lucy, but emotionally speaking, Lucy was still the high-up one, the light, the beauty, the center of it all. Then as now, my sister was my grounding influence, my heroine, my pilot.”Soon they had a contract with a management company and were booked into the Bitter End, the Greenwich Village club that gave numerous future stars their start. An appearance on the musical variety television show “Hootenanny” in the spring of 1963 (along with the Chad Mitchell Trio and the Smothers Brothers) further boosted their profile. They appeared on the show again in early 1964.Some years earlier, Lucy Simon had composed a setting of the Eugene Field children’s poem “Wynken, Blynken, and Nod,” and the song became a staple of the Simon Sisters’ performances. Released as a single in 1964, titled “Winkin’, Blinkin’ and Nod,” it reached No. 73 on the Billboard chart. It also anchored one of the two albums they quickly recorded.The two sisters toured for a time, but after her marriage in 1967 to Dr. David Y. Levine, a psychiatrist, Lucy Simon pulled back from performing to focus on their two children. In 1975, she released a solo album, titled simply “Lucy Simon,” followed in 1977 by another, “Stolen Time.” But she found she had lost her zeal for performing.In the early 1980s, she and her husband produced two compilation albums featuring James Taylor, her sister Carly, Linda Ronstadt, Bette Midler and other stars singing children’s songs. The albums, “In Harmony: A Sesame Street Record” and “In Harmony 2,” both won Grammy Awards for best children’s album.In the 1980s, Ms. Simon took a stab at musical theater, working on an effort to make a musical out of the “Little House on the Prairie” stories. That project never bore fruit, but a connection provided by her sister Joanna led her to one that did.Joanna Simon was for a time the arts correspondent for “The MacNeil/Lehrer NewsHour” on PBS, and in 1988 she interviewed the playwright Marsha Norman. She asked Ms. Norman what she was working on, and the playwright mentioned an adaptation of “The Secret Garden,” the Frances Hodgson Burnett children’s novel, and said that she and the producer Heidi Landesman were looking for a composer.Lucy, left, and Carly Simon singing in Shubert Alley along Broadway in 1982. Lucy Simon was later nominated for a Tony Award for best original score, for the hit musical “The Secret Garden.”Nancy Kaye/Associated PressLucy Simon proved to be a good fit for Ms. Norman’s lyrics. The show opened on Broadway in April 1991. Reviews were mixed — Frank Rich, in The Times, said that Ms. Simon’s music was “fetching when limning the deep feelings locked within the story’s family constellations” but not always successful — yet the show was a hit, giving 709 performances over almost two years. Ms. Simon earned a Tony nomination for best original score. (The award went to Cy Coleman, Betty Comden and Adolph Green for “The Will Rogers Follies.”)Ms. Simon reached Broadway again in 2015 as composer of the musical “Doctor Zhivago,” but the show lasted just 23 performances.Lucy Elizabeth Simon was born on May 5, 1940, in Manhattan.“We all came out singing,” she once said of herself and her sisters. “And we kept on singing. At dinner we wouldn’t just say, ‘Please pass the salt, thank you.’ We’d sing it. Sometimes in the style of Gershwin. Sometimes as a lieder.”Carly Simon wrote in her book that the pass-the-salt singing started as a way to help her — Carly — with a vexing stammer. Their mother had suggested that instead of speaking the phrase, Carly try singing it. With Joanna and Lucy joining in to encourage their sister, it worked.Lucy and Carly Simon during an interview with The New York Times in 2015 at Carly Simon’s home on Martha’s Vineyard, Mass.Ryan Conaty for The New York TimesLucy Simon’s greatest hit as a folk singer, the “Winkin’” song, had a self-help element to it. At 14, she was given a school assignment to memorize a poem, but dyslexia made it difficult. She found that she could memorize the Eugene Field poem by setting it to music. Her version was later recorded by numerous artists.Ms. Simon’s credits also included composing the music for a wild 1993 HBO movie, “The Positively True Adventures of the Alleged Texas Cheerleader Murdering Mom,” which won Emmy Awards for Holly Hunter and Beau Bridges.Ms. Simon’s brother, Peter, a photographer, died in 2018. In addition to her husband and her sister Carly, she is survived by two children, Julie Simon and James Levine, and four grandchildren.In 1985, Ms. Simon was in the hospital for surgery. She told a reporter that her two sisters had turned up to give her support.“When the stretcher came to take me to the operating room, we sang three-part harmony,” she said. “It lifted me.” More

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      Jody Miller, Singer of ‘Queen of the House’ and More, Dies at 80

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      Best known for a 1965 homemaker’s reply to a hobo’s refrain, the Oklahoma native had a hit the same year with the very different “Home of the Brave.”Jody Miller, a versatile singer with a rich, resonant voice who won a Grammy Award for “Queen of the House,” a homemaker’s reply to a hobo’s refrain, and had her biggest hit with a teenage anthem, “Home of the Brave,” died on Oct. 6 at her home in Blanchard, Okla. She was 80.Her daughter, Robin Brooks, said the cause was complications of Parkinson’s disease.Signed by Capitol Records as a folk singer, Ms. Miller released her first album in 1963 and cracked the Billboard Hot 100 the next year with the pop song “He Walks Like a Man.”Her career took off in 1965 when Capitol, seizing on the popularity of Roger Miller’s “King of the Road,” had her hastily record “Queen of the House,” which set distaff lyrics by Mary Taylor to Mr. Miller’s melody and finger-snapping rhythm.Where Mr. Miller (no relation to Ms. Miller, although they both grew up in Oklahoma) sang of “trailers for sale or rent; rooms to let, 50 cents,” Ms. Miller rhapsodized in a similarly carefree fashion about being “up every day at six; bacon and eggs to fix.”“I’ll get a maid someday,” she sang, “but till then I’m queen of the house.”The song was a crossover hit, reaching No. 5 on Billboard’s country chart and No. 12 on the Hot 100, and earned Ms. Miller the Grammy Award for best female country and western vocal performance in 1966. (Mr. Miller won five Grammys for “King of the Road” that year.)That accolade did not prevent some country radio stations from shunning another single she put out in 1965, “Home of the Brave,” an empathetic ode to a boy who is bullied and barred from school because he doesn’t wear his hair “like he wore it before,” has “funny clothes” and is “not like them and they can’t ignore it.”“Home of the brave, land of the free,” went the chorus of the song, written by the Brill Building stalwarts Barry Mann and Cynthia Weil. “Why won’t you let him be what he wants to be?”Despite the opposition of some radio programmers to its anti-establishment theme, “Home of the Brave” became Ms. Miller’s best-selling U.S. single.“I loved that song,” she said in a 2020 interview for an Oklahoma State University oral history project. “Unfortunately, it got a bad rap.”Over time, Ms. Miller landed about 30 singles on the Billboard charts, 27 of them in the country category and several of those in the top five. In the 1970s she worked with the prominent Nashville producer Billy Sherrill, who guided her to another crossover hit with a cover of the Chiffons’ 1963 song “He’s So Fine,” which reached No. 5 on the country chart and No. 53 on the pop chart in 1971.Ms. Miller made her last major-label album in 1979, then mostly stayed in Oklahoma to raise her daughter and to help her husband, Monty Brooks, with his quarter-horse business. She resurfaced later with an album of patriotic material and then, after becoming a born-again Christian, sang gospel music.“I like to sing all kinds of songs, so I didn’t fit into a mold,” she told The Tulsa World in 2018.Ms. Miller at the Grammy Awards in 1966 with her fellow winners Johnny Mandel, left, and Herb Alpert. Her “Queen of the House” was named the year’s best female country vocal performance.Bettmann/Getty ImagesMyrna Joy Miller, the youngest of five sisters, was born on Nov. 29, 1941, in Phoenix, a stop on her family’s move from Oklahoma to Oakland, Calif., where her father, Johnny Bell Miller, a mechanic, had a job lined up. Her mother, Fay (Harper) Miller, was a homemaker.The family often played music and sang together. Johnny Miller was a skilled fiddler, and Myrna’s sister Patricia, whom she idolized, taught her to harmonize.Aware of their daughter’s talent, Myrna’s parents entered her in singing contests, and her father sneaked her into bars, where she would climb atop tables and, she said, “sing my heart out.” She became known as “the little girl with the big voice,” according to Hugh Foley’s book “Oklahoma Music Guide III.”The Millers eventually divorced, and when Myrna was 8 she was put on a bus to Blanchard, a small town just outside Oklahoma City, to live with her paternal grandmother.Two songs Ms. Miller heard growing up made her want to become a professional singer. One was Mario Lanza’s version of “La Donna è Mobile” from “Rigoletto.” The other was a No. 1 hit for Debbie Reynolds in 1957.“The day I knew I would devote my life to singing was the day I first heard Debbie Reynolds sing ‘Tammy,’” Ms. Miller wrote on her website.After graduating from Blanchard High School in 1959, she got a job as a secretary in Oklahoma City and moved into the Y.W.C.A., where she would practice the folk songs she learned at a local library.Her hopes of a recording career got a jump-start one night at a coffeehouse where she was the opening act for the singer Mike Settle. The popular folk trio the Limeliters came in to see Mr. Settle, but also caught Ms. Miller’s performance. Impressed, the group’s Lou Gottlieb urged her to move to California if she was serious about a singing career.She married her high school sweetheart, Mr. Brooks, in January 1962, and together they headed to Los Angeles. After arriving, they contacted the actor Dale Robertson, a fellow Oklahoman and a friend of Mr. Brooks’s family. He helped arrange an audition at Capitol Records, which quickly signed Ms. Miller and suggested that she change her first name.Her first record, “Wednesday’s Child Is Full of Woe,” was a collection of folk songs on which she was accompanied by session players like Glen Campbell and, she told the Oklahoma publication 405 magazine in 2012, an “unknown teenager” providing some of the backup vocals who later became known as Cher.The record’s timing was unfortunate.“By the time I cut my first LP with Capitol, folk music was on its way out,” she said. Thus began her pivot to pop and country and a career that took her to, among other places, Hawaii on a tour with the Beach Boys; television shows like “American Bandstand,” “Hullabaloo” and “Hee Haw”; and a 15-year run as a top draw in Las Vegas and Lake Tahoe.Her album of patriotic songs, recorded in 1987, found its way to Vice President George Bush, who invited her to sing at his campaign rallies when he ran for president the next year. When he was elected, she sang at an inaugural ball.In addition to her daughter, Ms. Miller is survived by two sisters, Carol Cooper and Vivian Cole, and two grandchildren. Her husband died in 2014.Ms. Miller’s final recording, “Wayfaring Stranger,” is to be released next month on what would have been her 81st birthday. A mix of country and gospel songs, it includes a new version of “Queen of the House” and the title song, a 19th-century spiritual that was part of her repertoire when she started out as a folk singer 60 years ago.Alain Delaquérière contributed research. More

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      Ahmed Alshaiba, Yemeni Music Master, Is Dead at 32

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      He taught himself to play the oud, a lutelike stringed instrument, and made a splash on social media with his cover versions of pop songs.Ahmed Alshaiba, who as a teenager in Yemen taught himself the oud, a fretless lutelike Arabic instrument, and who after immigrating to the United States built an online following with his cover versions of pop songs that deftly blended Western and Middle Eastern influences, died on Sept. 28 in a car accident. He was 32.His brother Ali Shibah confirmed the death, in New York State, but provided no other details. Working from a studio in his apartment in Mamaroneck, N.Y., in Westchester County, Mr. Alshaiba recorded videos of himself playing instrumental versions of popular songs, movie themes and Arabic music — sometimes with other musicians, sometimes unaccompanied — and posted them on his YouTube channel. He also played guitar and percussion instruments like the congas and the daf, a large drum.His oud playing added a distinctly Middle Eastern sound to his versions of Luis Fonsi’s “Despacito,” which has had nearly 7.3 million YouTube views; Alan Walker’s “Faded” (6.9 million); Ed Sheeran’s “Shape of You” (6.8 million); and other songs. His oud seems to deepen the mood of alienation that Simon & Garfunkel brought to “The Sound of Silence” (nearly 1.8 million), and brings a different kind of energy to Michael Jackson’s “Smooth Criminal” (1.4 million).In all, his YouTube videos have generated nearly 113 million views.A charismatic performer who interacted enthusiastically with his fans on YouTube and social media platforms, Mr. Alshaiba also produced his own takes on music from “Star Wars” (during which he wore disguises like a Darth Vader helmet and a Yoda mask) and “The Hobbit: An Unexpected Journey.”One of the last videos he posted before his death, on TikTok, was a snippet of his version of the music from HBO’s “House of the Dragon,” the prequel to “Game of Thrones.”“He was one of a kind,” Ravid Kahalani, a founder of Yemen Blues, a band that is influenced by Yemenite, West African, Latin and jazz music, said in a phone interview. Mr. Alshaiba, he added, “had a different intelligence on the oud and a special, soulful touch that was softer than other oud players.”Mr. Alshaiba occasionally played with or opened for Yemen Blues at Joe’s Pub, Brooklyn Bowl and Symphony Space in New York City. He also performed in Saudi Arabia, Oman, Abu Dhabi and Kuwait.But, his brother Ali said in an email, he also “did lots of charity shows; that’s why he remained broke.”Mr. Kahalani said that he once asked Mr. Alshaiba why he recorded so many covers.“He said to me something beautiful: ‘I want people to understand that the oud is not only Arabic, it’s everything.’ But the really special thing is how he played traditional Yemeni music, which really opened the gates of God.”Ahmed Alshaiba was born Ahmed Nasser Shibah on May 15, 1990, in Sana, Yemen. His father, Nasser, was a businessman, and his mother, Fanda Zeyad, was a homemaker.Ahmed had no musical ambitions until he was 14, when he watched his brother Hussein take lessons on an oud that their sister Malkah had bought him as a gift in Egypt.“When my other brother lost interest,” Ali Shibah said, “Ahmed picked up the oud and started his self-taught journey.”In an interview with The Times of Israel in 2018, Mr. Alshaiba said: “I would play for hours until my fingers hurt. I would listen to a song and could play it immediately after.” He skipped school to spend time in a music store where, he said, “I would help clean and tune every shipment of oud instruments, and in return the owner would let me stay in the store and practice.”Mr. Alshaiba moved to the United States in 2012 and worked for several years at his brother’s convenience store in Mamaroneck while starting to post cover songs online. In 2017, the Australian singer Sia posted his version of her song “The Greatest” which has more than 1.7 million views on Instagram“I was having doubts about succeeding in the U.S.,” Mr. Alshaiba told The Times of Israel, “but this gesture gave me the validation I needed.” Encouraged, he soon left his job to pursue music full time.A month before Mr. Alshaiba died, he released his first album, “Malahide,” which he produced himself and had been working on for several years. He wrote all the songs.In addition to his sister Malkah Shibah and his brothers Ali and Hussein Shibah, Mr. Alshaiba is survived by his mother; two other sisters, Fauziah and Thahaba Shibah; and two other brothers, Mohammed and Najib Shibah.In an interview and mini-concert at TED Studios in 2017, Mr. Alshaiba discussed his passion for the oud.“When you’re playing this instrument, you’re hugging it,” he said. “So you’re feeling the notes coming out in the body of this lovely instrument.” More