More stories

  • in

    The Offspring’s Drummer Says He Was Dropped For Being Unvaccinated

    “It has recently been decided that I am unsafe to be around, in the studio, and on tour,” Pete Parada said, citing medical reasons for not getting vaccinated.Pete Parada, the drummer for the pop-punk band the Offspring, says his decision not to get a Covid-19 vaccination for medical reasons has cost him his job.“Since I am unable to comply with what is increasingly becoming an industry mandate — it has recently been decided that I am unsafe to be around, in the studio, and on tour,” Mr. Parada said on Instagram on Tuesday. “I mention this because you won’t be seeing me at these upcoming shows.”His doctor had advised him not to get vaccinated, Mr. Parada said, because he has Guillain-Barré syndrome, a disorder in which the body’s immune system attacks nerves.“The risks far outweigh the benefits,” he said, adding that he had caught the virus last year and suffered mild effects from it.“I am confident I’d be able to handle it again,” he said of the virus, “but I’m not so certain I’d survive another post-vaccination round” of the syndrome. The Food and Drug Administration last month said Johnson & Johnson’s vaccine may be associated with a small increased risk of Guillain-Barré syndrome. There is not yet any data to suggest a link between the condition and Covid-19 vaccines made by Pfizer-BioNTech or by Moderna, both of which rely upon a different technology.Mr. Parada also said he did not support “those with the most power” dictating medical procedures to others, citing governments, corporations and employers.It’s unclear whether Mr. Parada was dropped permanently or temporarily from the band. The Offspring became famous in the 1990s with such songs as “Why Don’t You Get a Job?” and “Pretty Fly (For a White Guy).” Mr. Parada joined in 2007 and this year performed on its latest album, “Let the Bad Times Roll,” its first in nearly a decade.A request for comment from the band was not immediately returned early Wednesday.An Offspring concert scheduled for Sunday in Los Angeles is sold out, and dozens of other dates across the United States and Europe are scheduled through next summer.In recent weeks, there has been a deluge of vaccine mandates from companies amid concerns about the spread of the Delta variant. Tyson Foods and Microsoft were the latest to require employees to be vaccinated. Arts institutions have also begun to require vaccinations for people visiting museums, shows and concerts. Mayor Bill de Blasio announced Tuesday that New York City will become the first U.S. city to require proof of at least one dose of a coronavirus vaccine for indoor dining, gyms and other activities.Mr. Parada said he doesn’t have any negative feelings toward the band, adding, “They’re doing what they believe is best for them, while I am doing the same.” More

  • in

    Abrons Arts Center’s Fall Season Celebrates Trailblazers

    Highlights include a photography exhibition on female leaders in public housing and a contemporary play about the life of Mary Shelley, the author of “Frankenstein.”Abrons Arts Center’s lineup for the fall season is a salute to groundbreakers and innovators in the arts, public housing and emerging technology.“As we emerge from isolation, we wanted to focus on work that’s still been happening and developing in different ways during the pandemic,” Craig Peterson, the center’s executive artistic director, said in an interview. “Because it deserves an audience.”Several of the productions scheduled at the 300-seat playhouse for the coming season were booked before the pandemic and postponed because of it, said Peterson, who curated the season in collaboration with Ali Rosa-Salas, the recently appointed artistic director of the center.“Lots of them got displaced when we stopped live performance,” he said. “But we never stopped supporting artists and always intended to present them.”The center has scheduled a concert, “Holy Ground: Land of Two Towers,” by the jazz ensemble Onyx Collective on Sept. 11 to commemorate the 20th anniversary of the attacks on the World Trade Center.“It felt like an appropriate way to think about the long-term impacts of historical moments like the ones we’re in now,” Rosa-Salas said.A week later, the center will open a free outdoor photography exhibition, “Community Matriarchs of NYCHA” (for the New York City Housing Authority), celebrating five women who have transformed their neighborhood on the Lower East Side, where they organized food distribution, especially during the pandemic, to other residents of public housing. The exhibition, presented as part of the Photoville Festival 2021 in partnership with the digital storytelling platform My Projects Runway, will include portraits by Courtney Garvin and video interviews by Christopher Currence and remain on view through Dec. 1.“I’m really excited to uplift women activists in our community and reflect on the role of public housing in our neighborhood and city,” Rosa-Salas said.From there it’s on to Frankenstein, Bigfoot and Sasquatch as Abrons presents a streaming video adaptation of Sibyl Kempson’s “The Securely Conferred, Vouchsafed Keepsakes of Maery S.,” beginning Oct. 29. First performed as an experimental, four-part radio play in January, the production, presented by the 7 Daughters of Eve Thtr. & Perf. Co., is described as a visual journey through the layered universe of Mary Shelley, the author of “Frankenstein.” The new virtual video work will feature hand-cut collages, digital and analog animation and illustration and collaborations with more than a dozen artists. An in-person screening is also set for Halloween at the new Chocolate Factory Theater.Closing the season from Dec. 10-12 is a live motion-capture piece, “Antidote,” created in collaboration with Pioneer Works. Directed by the Jamaican-born choreographer Marguerite Hemmings and the new-media artist LaJuné McMillian, it explores the relationship between physical movement and motion-capture technology and how the latter can be used as a tool of personal power and liberation. The project is a collaboration with six young artists from high schools on the Lower East Side and in Brooklyn’s Red Hook neighborhood.“It’s an intergenerational experiment and a great way to end the season,” Rosa-Salas said.The full season lineup is available at abronsartscenter.org. More

  • in

    Lincoln Center Names Shanta Thake as its New Artistic Leader

    Shanta Thake, a theater executive, faces challenges that include helping the center embrace new genres and attract virus-wary audiences.Feeling the pressure to attract new audiences and rethink its offerings even before being upended by the coronavirus pandemic, Lincoln Center announced on Tuesday that it had chosen a theater executive with a reputation for working across disciplines as its next artistic leader.Shanta Thake, most recently an associate artistic director at the Public Theater, will assume the role of chief artistic officer at the center, the nation’s largest performing arts complex, as it works to broaden its appeal beyond classical music and ballet into genres such as hip-hop, poetry and songwriting.Thake — who at the Public spent a decade managing Joe’s Pub, a cabaret-style venue, and more recently began overseeing Under the Radar, Public Works and other programs there — said she was eager to bring more popular and world music to Lincoln Center.“The goal is expansive reach,” Thake, 41, said in an interview. “What’s missing? What have we left out? What stories aren’t we telling that feel like they’re demanding to be told in this moment?”Lincoln Center is the landlord of the Metropolitan Opera, New York Philharmonic, New York City Ballet and other independent institutions, which are responsible for their own programming. But it is also a presenting organization in its own right, putting on hundreds of events each year and running the Mostly Mozart and White Light festivals, which have been primarily devoted to the classical arts. The center and its constituent organizations have competed, sometimes tensely, for rehearsal and performance space, ticket sales and donations.Thake will oversee the work Lincoln Center presents, and said in the interview that its robust classical offerings would be maintained. “We’re not looking to erase history here,” she said.But center officials say they are still working out the future of Mostly Mozart, which was put on hold amid the pandemic, other than a few small events this week. In 2017, as it grappled with budgetary constraints, the center dissolved the Lincoln Center Festival to focus on reinventing Mostly Mozart, its summertime sibling.Thake, who starts next month, replaces Jane Moss, who played a key role in programming for nearly three decades and stepped down as artistic director last year — and who also came from a theater background. (The chief artistic officer title is a new one.) Thake joins the center at one of the most challenging moments since it opened in 1962. Its woes predate the coronavirus: It struggled for years from leadership churn and money problems.Then the pandemic wiped away tens of millions in revenue and forced the cancellation of hundreds of events. About half of Lincoln Center’s staff of 400 was furloughed or laid off, and its top leaders took pay cuts.While many workers have been rehired and indoor performances are set to resume in the fall, the center will likely be grappling with the financial fallout for years. It remains to be seen whether audiences will return at prepandemic levels, especially given the recent spread of the Delta variant of the virus.Henry Timms, Lincoln Center’s president and chief executive, said the organization had turned to Thake for her experience programming creatively across genres. “We wanted someone who could kind of help us think about some new territory,” he said.Timms said the virus would continue to pose a challenge for the center’s artistic ambitions, but added that he believed audiences were eager to return. “There will be a great deal of demand for what we do and there will be a great deal of re-imagination,” he said.As infections have eased in recent months and vaccines have become widely available, Lincoln Center has started to come back to life, building several outdoor stages and transforming its plaza into a summer gathering place by covering it in a synthetic lawn. When indoor performances resume, the center plans to require vaccines for audience members, production staff and artists. Children under 12 will not be permitted to attend performances since they are currently not eligible for vaccines.Thake said she saw her mission as, in part, to “lift up the city that is still reeling from the ongoing trauma” of the pandemic. She said Lincoln Center could play a role in helping smaller arts organizations, for example by sharing best practices for reopening venues.“Hopefully we can make it to the other side all together,” she said.Thake, whose mother is Indian and whose father is white, said she was committed to presenting artists who represent a variety of racial and ethnic backgrounds. Cultural institutions have in general been slow to respond to demands for a reckoning over racial justice in the United States. But Lincoln Center is one of the few arts organizations to show substantial progress in bringing more diversity to its upper ranks. People of color now make up about half of its leadership team. More

  • in

    The Tao of Snoop Dogg

    Nearly 30 years after emerging as a profane gangster rapper from Long Beach, Calif., Snoop Dogg has transcended his hip-hop roots and become culturally ubiquitous.Here he is in the new Addams Family movie. There he is on a Corona commercial. He has a show with Martha Stewart on VH1 and an investment fund, and is still releasing new music.Celebrities who cross genres can risk diluting their brand, spreading themselves too thin or alienating the core fans who propelled their rise to fame. Snoop has so far managed to avoid these pitfalls while, in crucial ways, remaining relentlessly on message.Zooming from his compound in Los Angeles, he smoked an enormous blunt while discussing how he went from a shy musician to a multiplatform entrepreneur with several new ventures in the burgeoning cannabis industry.To the brands he endorses, including Corona, Beyond Meat and Bic lighters, he is a gregarious spokesman. Yet Snoop has strong feelings about what he says is persistent racism in the business world, and is uninhibited in his critique of the status quo.This interview was condensed and edited for clarity.How have you managed to stay relevant for so long?The easiest thing you can do is just do you. I felt like doing me would be the easiest path to me remaining relevant in the industry. It’s originality and uniqueness. I just try to do me.OK. At what point did you think your career was going to be about more than just music?Probably after I did the “Murder Was the Case” movie. In the beginning, I wasn’t comfortable on camera. I was kind of shy. But once I got to that stage, as far as to be able to shoot a movie that I asked for, that I wanted to be a part of, and it came to life — it was fascinating to me.How did you overcome that shyness?Success and practice. The more success you have and practice you have, the more familiar you become with it. Either love it or hate. I love what it do for me and I love what it do for other people when they see me onscreen. It’s a feeling of joy when people understand it and they get it.How did you think about building out a career beyond music?We weren’t into branding or any of that at first. We were just into making good music and trying to be the dopest [expletive] in the world. My branding and my business came when I was able to go to No Limit Records with Master P, and be under his guidance and his tutelage and his wisdom. He taught me how to be a better businessman, how to be more than just a rapper, but to be about my business. It’s called show business. I had mastered show. But Master P showed me how to master the business.Who were your mentors besides Master P?Dr. Dre. Definitely Puffy. Russell Simmons. Guys like that, that were in my field but were able to jump outside of it and become bigger.I’m not really somebody that likes taking information from people. I’m more about: We trading game, chopping it up, bettering each other, giving information on how my business is going, how your business is working, how I see it from the outside looking in.I got a lot of relationships. Quincy Jones and Charlie Wilson are like uncles to me, where they shape and mold the lifestyle of Snoop Dogg, not just the business. What you learn about being a better person from somebody is more important than what you learn business-wise or career-wise.How did you make sure you had honest brokers around you as you were getting involved in new ventures?Sometimes you have to have the wrong people around you to know what the wrong people around you look like and what they act like. My experience came from having the wrong people in my business, to where they didn’t benefit me or didn’t teach me anything.A lot of people say don’t mix family and business, but you recently hired your wife as your business manager.Why not? You got to have people in your life that understand you, and understand business. She’s been my best friend for like 35 years, so she understands everything about me and how I get down. I don’t trust nobody like I trust her. At the end of the day, if something was to go wrong with me or if I wasn’t able to do it anymore, I know that everything would be in the right hands, and things would continue to run just like an operation.How do you think about which brands you want to work with these days?It’s got to be fun. And it’s going to make funds. So long as the word “fun” is involved, it’s cool.Do you consider potential partners through any moral or ethical lens?I think about all of it. I don’t want to associate myself with people who don’t have a like mind as me, just like they don’t want to associate themselves with me if I don’t have the same mind as them. Companies that get down with me know how I get down. They know the extracurricular things that I do. They know the things that I do in the hip-hop world and in the business world.They have to accept all of that when you’re dealing with Snoop Dogg. That’s the way I branded myself, to where when you get Snoop Dogg, you get all of it. It’s just, what version did you pay for? Did you pay for the version with the kids, the G-rated Addams Family movie? Or did you pay for the rated-R Snoop Dogg, the one the adults like? Which one did you pay for?“I helped make this business famous before it became legal.”Maggie Shannon for The New York TimesBack when you started making music, did you ever imagine how big the legal cannabis market would get?No. Not as many times as I went to jail for it. And it’s still on my criminal record. I don’t understand how it could go from being the most hated, the most vicious thing that you could do, to now everybody’s capitalizing off of it, and they’re leaning toward a demographic that can prosper off of it, as opposed to the demographic that created the business.We should be able to have some of our people — that look like me — as executives, as C.E.O.s, as platform owners. You know, the top of the chain, not just the spokesperson or the brand ambassador. We need to be the brand owners.Is that part of the reason you’re involved in the business?I helped make this business famous before it became legal. The forefathers were the ones before me. The jazz musicians, the Bob Marleys, the Cheech and Chongs, the Willie Nelsons. All of those guys laid the foundation down. I just continued what they were doing and put a little bit more spice on. I’m still paying respect to them, and knowing that this is a love branch. Cannabis, marijuana, whatever you want to call it, is all about love and bringing people together.Is the issue of trying to close the Black wealth gap something you’re thinking about beyond the cannabis industry?That’s why I’m trying to be one of those examples, of someone who creates his own everything, owns his own everything, and has a brand strong enough to compete with Levi’s and Miller and Kraft and all of these other brands that have been around for hundreds of years. That’s what I want the Snoop Dogg brand to be.Do you think the platforms like Apple and Spotify are treating artists fairly?I just don’t understand how you only get this little bit amount of money per stream. I just don’t understand the dynamics of those numbers, and how they can create these systems without Black people up top, while Black people are the ones generating the most money from these systems through the music. So I’m just trying to figure out when they’re going to cut us in in the beginning, as opposed to always letting us be the ones who get it to a point where these platforms can sell for billions of dollars, and then the Black people that made it famous get nothing.Just like the TikTokers. All of the young Black content creators on TikTok have boycotted because they see that when they do the dances they don’t get the attention or the money. But as soon as the white dancers do it, it’s the biggest [expletive] in the world and they on Jimmy Fallon. That’s not fair. It’s not cool to just keep stealing our culture right in front of us and not include us in the finances of it all.We need to be involved early. They always cut us out. They call Snoop after they got their companies up and are like, “Hey, Snoop, you want to be a brand ambassador?” I want some equity. Give me a piece of the pie. If I can’t get no equity, [expletive] you and your company.We’re seeing more of that with athletes like Kevin Durant and Steph Curry, who are making investments in start-ups.Right, because they understand that they got to get it. I mean, you would think that those businesspeople up top would say: “You know what? It’s time to change the world. We’ve got to stop treating Black people like they’re less. They’re always the ones who do the hard work, the groundwork, but we never cut them in.”Like, why don’t we have an owner in an N.F.L.? That’s just racist. Period, point blank. We need to own an N.F.L. team. We got one half-owner in the N.B.A., Michael Jordan. But the whole league is 90 percent Black. So we still the slaves and they still the masters.That’s why in the music game, we took the initiative to say, [expletive] that. We’re the masters, and we own our masters. We’re going to negotiate with you the way we think it should be. We changed that industry years ago, with our mentality of having our own labels. More

  • in

    City Plans Central Park Concert for the Vaccinated: LL Cool J, Santana and More

    LL Cool J, Elvis Costello, Andrea Bocelli, Carlos Santana and the New York Philharmonic will join Bruce Springsteen in performances Aug. 21 on the Great Lawn.LL Cool J, Elvis Costello, Andrea Bocelli, Carlos Santana and the New York Philharmonic will join Bruce Springsteen and other artists next month at the starry Central Park concert that the city is planning to herald its comeback from the pandemic, Mayor Bill de Blasio announced Tuesday.The mayor said that concertgoers would need to show proof of vaccination.Mayor Bill de Blasio of New York announced that next month there will be a concert in Central Park to celebrate the city’s recovery from the coronavirus, with performances from LL Cool J, Elvis Costello and Bruce Springsteen.“We want this to be a concert for the people,” Mr. de Blasio said at a video news conference, announcing more of the headliners — and the name — of the event, “We Love NYC: The Homecoming Concert,” which will be held on the Great Lawn on Aug. 21. “But I also want to be clear: It has to be a safe concert. It has to be a concert that helps us keep moving forward our recovery.”“So, if you want to go to this concert, you need to show proof of vaccination,” he added.The lineup features artists and musical icons from a number of eras, genres and styles, including the Killers; Earth, Wind & Fire; Wyclef Jean; Barry Manilow, and the previously announced performers, including Paul Simon, Jennifer Hudson and Patti Smith.While 80 percent of the tickets will be free, proof of vaccination will be required to attend. (Reasonable accommodation would be provided for those unable to get vaccinated because of a disability, the city said in a news release.) Masks will be optional, given the vaccination requirement and the fact that it is being held outdoors.Free tickets will be released to the public in batches at nyc.gov/HomecomingWeek beginning Monday at 10 a.m. Others will be available for purchase Monday.Gates will open for the concert, which is being produced in partnership with Live Nation, at 3 p.m. on Aug. 21, and the show will start at 5 p.m. CNN will also air the event live worldwide, including on CNN en Español.The venerable music producer Clive Davis, a Brooklyn native, has been working on the concert since May. He has lived almost his whole life in New York, he said at the news conference, but has never witnessed anything like the events of the past year and a half.“As a born, bred and true New Yorker, I well know how resilient we are, and how New York always comes back,” Mr. Davis said. “And yes, ladies and gentlemen, we are coming back. And I cannot think, really, of a more appropriate way to celebrate this than an unforgettable concert in the most special venue in the world: the Great Lawn at Central Park.” More

  • in

    Little Island Unveils Free Monthlong Festival With Over 450 Artists

    The festival, which runs from Aug. 11 to Sept. 5, features a flurry of music, dance, and comedy performances from both established and emerging artists.Little Island was dreamed up as a haven for the performing arts on the Hudson River, and in its first months, it is also being put forward as a playground for artists who have been kept from the stage for far too long.The operators of the island announced on Tuesday that it would host a free monthlong arts festival starting in mid-August that would feature more than 450 artists in more than 160 performances.There will be dance, including works curated by Misty Copeland, Robert Garland and Georgina Pazcoguin. There will be music, including the pianists Jenny Lin and Adam Tendler, the composer Tyshawn Sorey and the saxophonist Lakecia Benjamin and her band. And there will be live comedy, with television stars like Ziwe and Bowen Yang in the lineup.The festival — which is being produced by Mikki Shepard, formerly the executive producer of the Apollo Theater — is another major effort by New York’s performing arts community to revive the arts after the pandemic darkened theaters and concert halls for over a year. For the performers, it is an opportunity to get paid to create new work and explore where their art is heading after months of pandemic restrictions, and in the wake of racial justice protests that swept the country.“We wanted artists to have a voice in terms of, where are they now?” Shepard said. “Coming out of this pandemic, where do they want to be?”By offering free performances, the festival’s objective is to host an audience that combines typical arts patrons with people who might not normally buy tickets to see live music or dance. The performances in Little Island’s 687-seat amphitheater will be ticketed, but shows located elsewhere on the island will not be, allowing tourists and other park visitors to stumble upon them as they’re walking around the 2.4-acre space.“Nothing about it is refined,” said George C. Wolfe, a senior adviser working on the festival, which is called NYC Free. “It’s to give people a place to play.”Copeland and Garland are co-curating a performance on Aug. 18 that features eight Black ballet dancers from three major companies: American Ballet Theater, New York City Ballet and the Dance Theater of Harlem, where Garland is resident choreographer. During the performance, Copeland will read aloud from American history texts on top of hip-hop, soul and funk music.Other dance performances include Ballet Hispánico performing an evening of new works by Latina choreographers on Aug. 18, an evening of dance curated by the choreographer Ronald K. Brown on Aug. 25 and a performance by the tap dancer Dormeshia on Sept. 1.As for music, the first day of the festival on Aug. 11 will feature John Cage’s work “4’33”” — in which the score instructs that no instruments be played. It will be performed by students of the Third Street Music School Settlement, led by Tendler. Other musicians include the jazz duo Cécile McLorin Salvant and Sullivan Fortner; Flor de Toloache, an all-women mariachi band; and Ali Stroker, the Tony-winning “Oklahoma!” performer, who will sing and tell stories onstage. The final night of the festival includes an all-women jazz performance, curated by the drummer and composer Shirazette Tinnin.The comedy lineup features a stand-up show hosted by Michelle Buteau and a live show called “I Don’t Think So, Honey!,” hosted by Yang and Matt Rogers, that grew out of a segment on their podcast.The festival is funded by Barry Diller, the mega-mogul who paid for Little Island and whose family foundation will bankroll the first two decades of the park’s operations. It will run from Aug. 11 to Sept. 5. More

  • in

    Elliot Lawrence, Award-Winning Conductor, Dies at 96

    He led a big band, conducted on Broadway, collected Emmys and for nearly 50 years led the orchestra on the annual Tony Awards broadcast.Elliot Lawrence, who after leading a big band in the 1940s and ’50s won a Tony Award for his conducting on Broadway and spent nearly a half-century in charge of the orchestra that plays on the Tonys’ annual broadcast, died on July 2 in Manhattan. He was 96.His son Jamie confirmed the death, at New York-Presbyterian Hospital.A pianist by training, Mr. Lawrence was a leader from a young age, forming one youth ensemble, the Band Busters, at age 12. In his 20s he started Elliot Lawrence and His Orchestra, which was voted the most promising new big band in Billboard’s college polls in 1947 and 1948.His later work as conductor of the Tony Awards orchestra — a job he got because of his success on Broadway and in television — earned him two Emmy Awards.“He was happiest in front of an orchestra,” said Jamie Lawrence, who is also a musician and conductor.The big-band era was waning after World War II, but Mr. Lawrence’s orchestra found success playing colleges, proms and concerts. In 1949 alone, it traveled 65,000 miles.The band’s members variously included the saxophonist Gerry Mulligan, who wrote some of its arrangements, and the trumpeter Red Rodney. It performed at the Paramount Theater in Manhattan and at the Hollywood Palladium in Los Angeles.“He knew how to rehearse, and he had great ears,” Joe Soldo, who played saxophone for Mr. Lawrence’s band from 1949 to 1951, said by phone. “He had instrumentation, like a separate oboe and a French horn. He brought classical input to his arrangements.”But Mr. Lawrence decided to stop touring in 1954 after a trombone player in his band, Ollie Wilson, had given him bad news about some of the other musicians.“He came to me one night on the road and said, ‘El, I’m sorry to tell you this, but out of the 16 guys in the band, 14 of them were junkies.’ Only Ollie and I were clean,” Mr. Lawrence recalled in 2009 in an interview with the alumni magazine of his alma mater, the University of Pennsylvania.He occasionally reassembled the band in various configurations to record albums, including “Elliot Lawrence Plays Gerry Mulligan Arrangements” (1955), “Swinging at the Steel Pier” (1956) and “Jazz Goes Broadway” (1957).By then he had begun to find work in television. In 1959, he conducted a 42-piece orchestra that the television host Ed Sullivan took to the Soviet Union.While there, one of the many performers on the trip, the choreographer Gower Champion, asked Mr. Lawrence to be the musical director of “Bye Bye Birdie,” which Mr. Champion was directing and which was to open on Broadway the next year.Mr. Lawrence was conducting the “Bye Bye Birdie” orchestra — on his way to a Tony nomination — when the composer Frank Loesser hired him for the same job on his new musical, “How to Succeed in Business Without Really Trying,” which opened in October 1961.Their collaboration proved fruitful. Mr. Lawrence won a Tony, one of seven that the show received, including best musical and best actor (Robert Morse).Mr. Lawrence, at the piano, in 1946. He found success leading several bands, including Elliot Lawrence and His Orchestra.CBS RadioElliot Lawrence Broza was born on Feb. 14, 1925, in Philadelphia. His father, Stan Lee Broza, was a founder and executive of the local radio station WCAU. He and Elliot’s mother, Esther (Malis) Broza, produced the long-running variety show “The Horn and Hardart Children’s Hour” on radio and later on television.Elliot began taking piano lessons at age 3. In 1930 he contracted polio, which affected his fingers and neck, but he recovered and began playing again, and at 10 he was accompanying his mother when she sang tunes from the Great American Songbook at parties in their home.He went on to perform with the Band Busters on his parents’ “Children’s Hour.” At 16 he entered the University of Pennsylvania on a music scholarship and became student director of the marching band, writing, he recalled, jazz arrangements for the school’s fight songs when the football team faced Army in a sold-out game at Franklin Field in Philadelphia.After graduating in 1944 with a bachelor’s degree in music, Mr. Lawrence took over WCAU’s house band, which played live on the air. He formed his big band a year later. Around that time he changed his surname to Lawrence and made Broza his middle name.In 1949, as a veteran bandleader of 24, he was focused on the music as well as the business of overseeing a touring group of 17 members, including two singers, that was grossing $300,000 a year but losing money nevertheless because of salaries, transportation, uniforms, booking agency fees and other costs.“You can see it isn’t a way to get rich quick,” Mr. Lawrence told The Kansas City Star, adding: “My father is my business manager. I don’t have to worry about my money being stolen.”The big-band work yielded to conducting on Broadway, where, after “How to Succeed,” he was the musical director of eight more shows, including “1776,” which opened in 1969. By then he was a year into his run as conductor of the Tony Awards orchestra, a gig that would last until 2013.In addition to the Emmys he won for his work on the Tonys, Mr. Lawrence also won Emmys for his musical direction of the television specials “’S Wonderful, ’S Marvelous, ’S Gershwin,” a tribute to George and Ira Gershwin in 1972, and “Night of 100 Stars” (1982), an all-star variety show celebrating the centennial of the Actors’ Fund of America.His television credits include writing music for soap operas like “The Edge of Night,” for which he won two Daytime Emmys, and two ABC Afterschool Specials, which earned him two more Daytime Emmys.He also wrote music for the opening sequence of “The French Connection” (1971) and for “Network” (1976). But most of his “Network” score was cut, Jamie Lawrence said.“Paddy Chayefsky came into the edit room and said, ‘I don’t want to hear music,’” Mr. Lawrence said, referring to the film’s screenwriter. “He only wanted dialogue.”“My dad,” he added, “was very proud of that score.”In addition to his son Jamie, Mr. Lawrence is survived by his daughters, Alexandra and Mia Lawrence; another son, Danny; and five grandchildren. His wife, Amy (Bunim) Lawrence, died in 2017.Ricky Kirschner, the executive producer of the Tonys broadcast, recalled Mr. Lawrence as a gentlemanly leader of the orchestra until he was nearly 90.“Think about it,” he said by phone. “It’s a three-hour show, with 15 performances, and you have to arrange and rehearse music for every possible winner. And when they say who the winner is, you have to be fast enough to play it while the director is in your ear, telling you to cut after 20 or 30 seconds”He added, “Think of doing that when you’re 88.” More

  • in

    Songs to Accompany a Dreamy Summer Dinner Party

    John Cale, Sharon Van Etten, Donavon Smallwood and other creative types make suggestions for an eclectic playlist sure to help set a festive mood.When creating a playlist for a dinner party, it can be useful to think ahead and imagine the end of the night — should things conclude with whiskey and delayed goodbyes on the couch or with dancing into the wee hours? Because music, after all, can not only set the tone but also help determine the entire trajectory of an evening. Where to begin, though? Curating the perfect lineup can feel like a daunting task, and even music obsessives can fall into ruts and benefit from others offering up song suggestions. Recently, we asked a range of artists, musicians and other creative types to do just that, and to share a few tips on putting your selections together. More