State Champ Radio obituary
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Glynis Johns, a Tony Award-winning stage and screen star who played the mother opposite Julie Andrews in the classic movie “Mary Poppins” and introduced the world to the bittersweet standard-to-be “Send in the Clowns” by Stephen Sondheim, has died. She was 100.
Mitch Clem, her manager, said she died Thursday at an assisted living home in Los Angeles of natural causes. “Today’s a sad day for Hollywood,” Clem said. “She is the last of the last of old Hollywood.”
Johns was known to be a perfectionist about her profession — precise, analytical and opinionated. The roles she took had to be multi-faceted. Anything less was giving less than her all.
“As far as I’m concerned, I’m not interested in playing the role on only one level,” she told The Associated Press in 1990. “The whole point of first-class acting is to make a reality of it. To be real. And I have to make sense of it in my own mind in order to be real.”
Johns’ greatest triumph was playing Desiree Armfeldt in “A Little Night Music,” for which she won a Tony in 1973. Sondheim wrote the show’s hit song “Send in the Clowns” to suit her distinctive husky voice, but she lost the part in the 1977 film version to Elizabeth Taylor.
“I’ve had other songs written for me, but nothing like that,” Johns told the AP in 1990. “It’s the greatest gift I’ve ever been given in the theater.”
Others who followed Johns in singing Sondheim’s most popular song include Frank Sinatra, Judy Collins, Barbra Streisand, Sarah Vaughan and Olivia Newton-John. It also appeared in season two of “Yellowjackets” in 2023, sung by Elijah Wood.
Back when it was being conceived, “A Little Night Music” had gone into rehearsal with some of the book and score unfinished, including a solo song for Johns. Director Hal Prince suggested she and co-star Len Cariou improvise a scene or two to give book writer Hugh Wheeler some ideas.
“Hal said ‘Why don’t you just say what you feel,”’ she recalled to the AP. “When Len and I did that, Hal got on the phone to Steve Sondheim and said, ‘I think you’d better get in a cab and get round here and watch what they’re doing because you are going to get the idea for Glynis’ solo.”’
Johns was the fourth generation of an English theatrical family. Her father, Mervyn Johns, had a long career as a character actor and her mother was a pianist. She was born in Pretoria, South Africa, because her parents were visiting the area on tour at the time of her birth.
Johns was a dancer at 12 and an actor at 14 in London’s West End. Her breakthrough role was as the amorous mermaid in the title of the 1948 hit comedy “Miranda.”
“I was quite an athlete, my muscles were strong from dancing, so the tail was just fine; I swam like a porpoise,” she told Newsday in 1998. In 1960’s “The Sundowners,” with Deborah Kerr and Robert Mitchum, she was nominated for a best supporting actress Oscar. (She lost out to Shirley Jones in “Elmer Gantry.”)
Other highlights include playing the mother in “Mary Poppins,” the movie that introduced Julie Andrews and where she sang the rousing tune “Sister Suffragette.” She also starred in the 1989 Broadway revival of “The Circle,” W. Somerset Maugham’s romantic comedy about love, marriage and fidelity, opposite Rex Harrison and Stewart Granger.
“I’ve retired many times. My personal life has come before my work. The theater is just part of my life. It probably uses my highest sense of intelligence, so therefore I have to come back to it, to realize that I’ve got the talent. I’m not as good doing anything else,” she told the AP.
To prepare for “A Coffin in Egypt,” Horton Foote’s 1998 play about a grand dame reminiscing about her life on and off a ranch on the Texas prairie, she asked the Texas-born Foote to record a short tape of himself reading some lines and used it as her coach.
In a 1991 revival of “A Little Night Music” in Los Angeles, she played Madame Armfeldt, the mother of Desiree, the part she had created. In 1963, she starred in her own TV sitcom “Glynis.”
Johns lived all around the world and had four husbands. The first was the father of her only child, the late Gareth Forwood, an actor who died in 2007.
Bob Fead, who held key positions with such powerhouse labels as Liberty Records and A&M Records from the 1960s into the 2000s, died Tuesday (Jan. 2) at the Motion Picture and Television Fund Wasserman Campus in Woodland Hills, Calif. He was 89.
Fead was born and raised in Omaha, Nebraska — the youngest of four children and the son of a semi-pro baseball player who died at an early age. Fead found work in Omaha selling men’s clothing but had a dream to move west. He soon found himself in Los Angeles working for a shirt company, but a chance meeting at a party with a record executive landed him a promotions job, on the spot, at Liberty Records.
Fead thrived at Liberty and helped drive radio airplay for such artists as Bobby Vee, Gene Pitney, Willie Nelson, Jan and Dean, Del Shannon and Vikki Carr. He worked alongside famed producer (and longtime friend) Snuff Garrett.
After five years at Liberty, Fead was recruited by Herb Alpert and Jerry Moss to join them at their fledgling A&M Records, where he eventually rose to senior vp of sales and marketing. While there, Fead worked with such legendary acts as Herb Alpert & The Tijuana Brass, Sergio Mendes & Brasil ’66, Quincy Jones, the Carpenters, Cat Stevens and Peter Frampton. As part of a deal that moved manufacturing and distribution to RCA, Fead shifted to RCA to oversee all aspects of sales and distribution for A&M and associated labels.
Fead later launched Alfa Records, a U.S.-based division of Japan’s Alfa Music, and found immediate success with 1960s singing star Lulu, whose “I Could Never Miss You (More Than I Do)” made the top 20 on the Billboard Hot 100 in October 1981. Alfa also put Billy Vera and the Beaters on the map with a pair of Hot 100 hits that same year: “I Can Take Care of Myself” and “At This Moment.” The latter song belatedly reached No. 1 in January 1987 (on Rhino Records) after it was featured on the hit TV series Family Ties.
Fead also served as president of both Monument Records and Michael Nesmith’s Pacific Arts Video. In February 1982, A Pacific Arts Video release, Michael Nesmith in Elephant Parts, won a Grammy for video of the year — making it the first Grammy ever awarded for a video.
Fead was next tapped to be president of Famous Music, a division of Paramount Pictures, where he managed music rights related to such classic films as Breakfast at Tiffany’s, The Godfather and Footloose.
Fead next landed at Warner/Chappell Music, where he managed publishing rights for his old friend, Quincy Jones, and developed a longtime publishing relationship with Burt Bacharach, serving as president of Bacharach’s publishing company.
Bacharach died last February. A&M co-founder Moss died last August, as did Harold Childs, the label’s senior vice president of promotion and sales.
Fead gave his personal time to various philanthropic ventures, including serving as president of the music chapter of City of Hope. He also served as a board member and later became president of Society of Singers, a philanthropic organization that helped singers experiencing financial problems. He would often invite friends to entertain at a small venue in L.A. and donate all the money from ticket sales to the organization. Some of the artists who performed, at Fead’s request, included Mac Davis, Jeff Barry, Jerry Fuller and the long-married Jackie DeShannon and Randy Edelman.
Fead additionally served on the board of ASCAP and The Johnny Mercer Foundation.
Fead was introduced to his future wife, Beverlye, 40 years ago by music agent John Doumanian. The Feads were longtime residents of Montecito, Calif. In 2018, Beverlye wrote a warm recap of her husband’s life and career for The Montecito Journal. In the piece, she told the story of his fortuitous hiring at Liberty Records.
“After college, he came to California to work for a shirt company,” she wrote. “The first night he arrived in Los Angeles, he went to a party, and it changed the course of his life forever. He met a man who said Bob would make a good promotion man in the music business. He was willing to pay $85 a week, which was a lot of money in those days; Bob accepted the offer on the spot. He had no idea what to do, or what a promotion man was. His new employer gave him a record, told him to take it to radio stations to promote. He did. That was how he came to Liberty Records and to a business he has loved to this day.”
Until his retirement at age 81, Fead commuted between his home in Montecito and L.A. for work. More recently, the Feads returned to L.A. to be closer to family.
Songwriter and current ASCAP president Paul Williams issued a statement on the passing of his longtime friend (and fellow Omaha native): “Bob was an important piece of so many success stories, including mine…his passion was wrapped in a camouflage that made people comfortable and accepting of his opinion of a new artist. Both [his] opinion and advocacy changed lives! To those who were blessed to know him, may your sweetest of memories grow stronger with every mention of his name. God bless you, Bob Fead.”
Fead is survived by his wife, Beverlye; children Michael (and his wife, Tera) and Laurella Fead (from a marriage to Marilyn Fead); brother Bill Fead; grandchildren Max Clark and Jackson Fead; and relatives from his wife’s side of the family, including Jim and Leslie Hyman, Terry Hamermesh, Tessa Hamermesh, Alex Hyman and Gideon Hyman.
In lieu of flowers, the family requests tribute donations be made to the Motion Picture Television Fund (Compassionate Care Fund) at https://mptf.com/ways-to-give/.
MEXICO CITY (AP) — Mexican actor Ana Ofelia Murguía, who gave voice to the character of “Mama Coco” in the popular Pixar film Coco, has died, Mexican officials said. She was 90. Mexico’s National Fine Arts Institute announced Murguía’s death Sunday without providing a cause of death. “She leaves an enormous void on our country’s […]
Shecky Greene, the gifted comic and master improviser who became the consummate Las Vegas lounge headliner and was revered by his peers and live audiences as one of the greatest standup acts of his generation, has died. He was 97.
His widow, Marie Musso Green, told the Las Vegas Review-Journal that her husband died early Sunday (Dec. 31) at their home. She said her husband of 41 years died of natural causes.
Those who saw Greene in his decades of comedy dominance on the Vegas Strip in the 1950s, ’60s and ’70s said that with a mic in his hand he could roam a room and work a crowd like no other.
He couldn’t wait to abandon written jokes for the shared thrill of improv.
“I’ve never had an act,” Greene told the Las Vegas Sun in 2009. “I make it up as I go along.”
Greene made huge fans of his fellow entertainers including Bob Hope, Johnny Carson, and, most famously, Frank Sinatra, who hand-picked him as his opening act for a stretch. Greene couldn’t resist the gig with the biggest star in America at the time, but the two big personalities butted heads frequently, and the relationship ended with the comic taking a beating from the singer’s cronies at the Fontainebleau hotel in Miami Beach.
It led to his most famous joke: “Frank Sinatra once saved my life,” Greene would say. “A bunch of guys were beating on me and Frank said, ‘OK that’s enough.’”
Sinatra wasn’t actually there, Greene later said, but the beatdown was real. Also true was the oft-repeated story of Greene driving his Oldsmobile into the fountains at Caesars Palace in 1968, a consequence of what he conceded was a serious alcohol problem and a dangerous desire to go for a drive when he was a few drinks in.
He got a famous joke out of that moment too, later saying that when the cops arrived at his submerged car, whose windshield wipers running, he told them, “No spray wax please!”
With a body like a linebacker’s, a wit as quick as lightning and a voice that suggested he could’ve been a lounge singer instead of a lounge comic, Greene in the course of a night would plow through dozens of impressions, do extended riffs at audience members’ tables and turn musical standards into parody songs on the spot.
Tony Zoppi, who for decades was entertainment director of the Riviera Hotel, said Greene was the finest comic mind he ever saw.
“He’ll walk out on a stage and do an hour off the top of his head,” Zoppi told the Los Angeles Times. “A waitress dropped a glass — he did 15 minutes.”
He made appearances in films including 1967’s Tony Rome with Sinatra, 1981’s History of the World Part I with Mel Brooks, and 1984’s Splash with Tom Hanks, showed-up on network sitcoms including Laverne & Shirley and Mad About You, and was a constant guest on talk and variety shows.
But he never really clicked on the screen. He needed a crowd he could interact with, and a whole night to woo them. That meant never becoming as famous as comic contemporaries like Don Rickles, Buddy Hackett or Carson. But he pulled the same six-figure-a-week paychecks as they did for live shows.
Born Fred Sheldon Greenfield, Greene took to singing, acting, making jokes and doing mock accents while growing up on the North Side of Chicago.
He served in the Navy in World War II in the Pacific.
On returning to Chicago, he went to community college and thought he might become a gym teacher, but started doing comedy nightclub gigs for money.
An offer of a two-week gig at the Prevue Lounge in New Orleans turned into a six-years stint.
He did his first show in Las Vegas in 1953. He found he and the Strip were a perfect match, and within a few years he owned the town. In 1956, he opened for a young Elvis Presley at the New Frontier.
“The kid should never have been in there,” Greene told the L.A. Times in 2005. “He came out in a baseball jacket. Four or five musicians behind him had baseball jackets on. It looked like a picnic. After the first show they switched the billing, and I headlined.”
Greene would remain a Vegas mainstay, his playgrounds places like the Riviera and the Tropicana, for the next 30 years.
From 1972 to 1982 Greene was married to Nalani Kele, a dancer whose show, the Nalani Kele Polynesian Revue, was a long-running nightclub hit. And in 1985, he married Marie Musso, daughter of jazz saxophonist Vido Musso.
Greene gained his share of national fame eventually. He could fill Carnegie Hall, and guest-hosted both Carson’s Tonight Show and The Merv Griffin Show.
He grappled with addictions to both drinking and gambling, neither ideal for a man who spent most of his time in Las Vegas. He also struggled with what were later diagnosed as severe depression and panic attacks, both of which made it increasingly difficult to perform as he got older.
Greene moved to Palm Springs in an attempt at retirement in his late 70s in 2004, but the stage still had appeal, and he returned for a stint in Las Vegas at the Suncoast Hotel and Casino in 2009.
Returning to a city now dominated by the likes of Celine Dion and Cirque du Soleil, Greene found he could stroll through casinos anonymously.
“I’m a legend,” he told the Sun in 2009, “but nobody knows me in Vegas anymore.”
Tommy Smothers, one half of the boundary-pushing comedy folk duo the Smothers Brothers, has died at age 86. His younger brother Dick Smothers, with whom he delivered eyebrow-raising political satire on network TV in the ‘60s, shared a statement on his brother’s Tuesday (Dec. 26) passing with The Hollywood Reporter and the National Comedy Center.
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According to the statement, Tommy Smothers died “peacefully… at home with his family” following a “recent battle with cancer.”
“Tom was not only the loving older brother that everyone would want in their life, he was a one-of-a-kind creative partner,” Dick Smothers said in the statement. “I am forever grateful to have spent a lifetime together with him, on and off stage, for over 60 years. Our relationship was like a good marriage – the longer we were together, the more we loved and respected one another. We were truly blessed.”
With Tommy on acoustic guitar and Dick on double bass, the duo performed satiric and farcical folk music with a socio-political bent beginning in the late ‘50s. By the early ‘60s, they were making regular appearances on various variety programs, from The Judy Garland Show to The Jack Paar Show.
The duo’s first album, The Smothers Brothers at the Purple Onion, was released in 1961 and followed by several popular comedy LPs: 1962’s The Two Sides of the Smothers Brothers, which hit No. 40 on the Billboard 200 the following year; 1963’s Curb Your Tongue, Knave!, their highest-charting album at No. 13 in 1964; and their final album, Smothers Brothers Comedy Hour, which reached No. 164 in 1968. The top 40 1966 album Mom Always Liked You Best! was titled after Tommy’s signature phrase, which was often delivered in the midst of staged feuds with his brother, who would play the smarter straight man to Tommy’s sillier, innocent persona. Mom Always Liked You Best! and 1963’s (Think Ethnic!) were both nominated for the best comedy performance Grammy.
Only one song from the group, “Jenny Brown,” hit the Billboard Hot 100, reaching No. 84 on Oct. 12, 1963.
Following a one-season sitcom from 1965-1966, The Smothers Brothers Show, the duo landed a network variety show, The Smothers Brothers Comedy Hour, which aired on CBS from 1967-1969. CBS hoped the show would bring in a younger, savvier audience during a decade marked by massive generational change but ended up getting more than it bargained for. Despite playing an unworldly, stammering goof on television, Tommy was the more liberal and politically driven of the two behind the scenes, pushing their comedy in a direction that gently skewered American culture, religion and the U.S. involvement in the Vietnam War. Following complaints from viewers and sponsors, CBS censors and network execs clashed with the Smothers Brothers, but Tommy was steadfast in refusing to self-censor or kowtow. The show was canceled in April 1969 despite the Smothers Brothers having a contract through 1970; the duo filed a breach-of-contract suit against CBS, which they won in 1973 to the tune of $776,300.
In June, the same month the show’s final episode aired, it won an Emmy for outstanding writing achievement in comedy, variety or music for its platoon of writers, which included a young Steve Martin and the versatile writer/musician Mason Williams, who had had a No. 2 hit on the Billboard Hot 100 in 1968 with “Classical Gas.” In 1968, Pat Paulsen won an Emmy for special classification of individual achievements for his appearances on the show. He ran for president that year under the slogan “If nominated I will not run, and if elected I will not serve.”
In announcing his candidacy on the Smothers Brothers’ show, Paulsen said, “Now I ask you: Will I solve our economic problems? Will I ease the causes of racial tension? Will I bring a peaceful end to Vietnam? Sure, why not?” Paulsen’s campaign slogans included “We’ve upped our standards, now up yours.”
Prior to its cancelation, The Smothers Brothers Comedy Hour boasted performances from edgier acts than what you’d find on most network variety shows. Aside from Cream, Joan Baez, Harry Belafonte, Donovan, Ray Charles, Pete Seeger, Simon & Garfunkel, the show hosted a performance from The Who that ended with the band smashing their guitars (as per usual) and an explosives accident that sent a piece of metal into drummer Keith Moon’s arm and briefly set Pete Townshend’s hair on fire. Baez’s stint on the show was also notable: She saluted her then-imprisoned husband at the time, David Harris, who was jailed for refusing military service; CBS censors edited out Baez explaining the reason for his jail time.
The duo made a few other TV shows in the ’70s, which were less successful than their highly influential Comedy Hour, which is now celebrated as an essential piece of television and cultural history that paved the way for the arrival of the button-pushing, irreverent variety show Saturday Night Live in 1975. They appeared sparingly over the ensuing decades, popping up for a televised 1988 anniversary special and a 2009 episode of The Simpsons. The Smothers Brothers officially retired from touring in 2010, over a half century after their live debut.
Tom Smothers is survived by his children Bo and Riley Rose Smothers, grandson Phoenix, Marcy Carriker Smothers, sister-in-law Marie Smothers, and several nephews and a niece. His son Tom and sister Sherry Smothers preceded him in death.
Additional reporting by Paul Grein.
Bobbie Jean Carter, the sister of Nick and Aaron Carter, has died. She was 41.
Bobbie Jean’s sister, Angel Carter, confirmed her sibling’s passing through Instagram on Sunday (Dec. 24).
“To my older sister Bobbie. You had a great sense of humor, and a lively spirit. Growing up, I was your baby, and you were my best friend,” she captioned a montage of childhood photos. “Life wasn’t fair to you, that I know. Sometimes, it feels like you didn’t have a shot, no matter what.”
Angel’s remembrance also referenced the substance abuse-related deaths of her sister Leslie, who died in January 2012 at age 25, and her twin brother, Aaron, who passed away in November 2022 at 34 years old.
“Experiencing innocence instead of being burdened by trauma, pain, and suffering is incredibly important for children, particularly at such a young age,” she continued. “I know why Leslie, Aaron, and now you ended up in the circumstances that you did. I share that pain we experienced during our childhood and I’m sorry you didn’t have an opportunity for a better life.”
The cause of Bobbie Jean’s death had not been provided at press time, but Angel asked her Instagram followers to “break down barriers” and “reduce stigmas” around mental health.
“The generational dysfunction stops now,” she wrote. “Please visit @onoursleevesofficial to learn more about how you can get involved, and how to be there for your loved ones.”
Bobbie Jean served as a wardrobe stylist and makeup artist during Aaron’s tours in the early 2000s, according to TMZ. She also appeared on the Carter family’s 2006 E! reality TV show, House of Carters, where her struggles with addiction and substance abuse were documented. Since then, she has led a relatively private life outside of the spotlight, but was arrested on alleged drug and theft charges earlier this year.
She died in Florida on Saturday morning (Dec. 23), TMZ reports, citing her mother, Jane Carter.
“I am in shock from learning of the sudden death of my daughter, Bobbie Jean, and I will need time to process the terrible reality of this happening for the third time,” Jane told the outlet, referencing the deaths of Bobbie Jean, Leslie and Aaron. “When I am able to think clearly, I’ll release a fuller statement, but until then, I would request to be left to grieve in private.”
She continued, “[H]owever deeply a parent feels the loss of a child, the suffering of a young child at the loss of a parent must be much greater. So, I would ask the sympathetic to say a prayer for my precious 8-year-old granddaughter Bella, who previously lost her father and is now also left without her mother.”
Bobbie Jean is survived by a daughter, Bella.
See Angel’s tribute to her sister below.
Laura Lynch, a founding member of The Dixie Chicks, has reportedly died after being involved in a car accident in Texas. She was 65. The musician was instantly killed on Friday (Dec. 22) after another vehicle slammed head-on into her car as it was attempting to pass another vehicle on Highway 62 outside of El […]
Ruth Seymour, the hard-driving broadcast pioneer who transformed KCRW into a public radio powerhouse during her 32-year run at what was a sleepy Santa Monica-based station, died Friday. She was 88.
Seymour died after a long illness at her home in Santa Monica, former KCRW producer/publicity director Sarah Spitz announced.
The Bronx-born Seymour joined the FM station in 1977 as a consultant and became general manager a few months later. Her mission statement for KCRW was “to matter,” and she built it to be “singular, idiosyncratic, daring, independent, smart and compelling” — six words she employed over and over in her fundraising letters and on-air subscription drives.
During her tenure, KCRW became the West Coast flagship station for National Public Radio and launched a mix of news, talk, music, current affairs and cultural programming that included the signature music show Morning Becomes Eclectic; Which Way L.A.?, hosted by Warren Olney in the wake of the 1992 L.A. riots; Le Show, hosted by Harry Shearer; the political roundtable Left, Right and Center; To the Point; and The Politics of Culture.
“I believe we catch a lot of listeners by surprise,” she told the Los Angeles Times in a 1982 interview. “They tune in for one thing, just leave the radio on, and then find themselves wrapped up in something they didn’t expect.”
Through the internet and popular podcasts like The Business, hosted since 2009 by The Hollywood Reporter’s Kim Masters, KCRW gained a strong national profile and reputation before she retired in February 2010 and was succeeded by her onetime assistant, Jennifer Ferro, now station president.
“Ruth was singular in every way. She had a powerful vision that never wavered. There was a spirit in Ruth that no one else has,” Ferro said in a statement. “She didn’t just save NPR or create a new format — Ruth took chances and made decisions because she knew they were right. She trusted her gut. She broke rules and pursued excellence in ways that can’t easily be explained. She was a force of nature.
“Ruth’s legacy lives on at KCRW. She inspires us to be original, to host the smartest people, the most creative artists and to talk to our audience with the utmost respect for their intellect.”
The older of two sisters, Ruth Epstein grew up across the street from the Bronx Zoo. Her father was a furrier and her mother a garment worker, and the family didn’t have a telephone until she was 15.
She attended Sholem Aleichem Folk School in addition to public school and then City College of New York, where she studied one-on-one with the renowned Yiddish linguist Max Weinreich.
Seymour came to Los Angeles in 1961 to accompany her husband, the poet Jack Hirschman, who had landed a teaching job at UCLA after a stint at Dartmouth University, and she was hired as the drama and literary critic at the FM station KPFK. There, she interviewed the likes of Andy Warhol and Anne Sexton.
After freelancing in Europe for station parent Pacifica Radio, she returned to KPFK to serve as program director in 1971, and she produced a celebrity cast reading of selected scenes from the Watergate tapes with Shearer, Rob Reiner and, as President Nixon, Christopher Guest.
However, she was fired in 1976, a couple of years after the FBI had raided the station looking for a cassette from Patty Hearst and the Symbionese Liberation Army that KPFK had put on the air.
When Seymour arrived at KCRW, it was owned by the Santa Monica School District, had just five employees and was operating out of two converted classrooms on a playground at John Adams Junior High School.
Seymour replaced the oldest transmitter west of the Mississippi with a new one in 1979. Also that year, she ran NPR’s new two-hour Morning Edition program three times each weekday starting at 3 a.m. in a bid to outmaneuver L.A.’s then-leading public station, KUSC. “That way nobody was going to have [the programs] when I didn’t have them,” she said.
She let Shearer do pretty much anything he wanted on his weekly one-hour program.
“Ruth was a towering figure in public radio, embracing a breadth of subject matter and styles that, frankly, does not seem possible anymore,” he said in a statement. “She imagined a listener who was endlessly curious, open to a wide range of opinions and music, and worked tirelessly to satisfy that listener. There will not be one like her again.”
Said Seymour in 1987: “Our audience always understood what we were trying to do. From the very beginning, we were regarded as slightly demented. Not exactly irresponsible but adventurous, interesting. And idealistic.”
She would get the station a new home in the basement of the student activities building at Santa Monica College, which licenses KCRW, in 1984. She also advocated for passage of a 2008 municipal bond that built the station’s first stand-alone building, now located on the campus of SMC’s Center for Media and Design.
In 1996, Seymour made KCRW the first station to carry Ira Glass’ This American Life outside of its home base, Chicago’s WBEZ. She also did interviews, including one with poet Allen Ginsberg in 1985.
“My favorite mental image of Ruth was during the first war in Iraq,” NPR special correspondent Susan Stamberg recalled. “She put on a radiothon to raise money to send NPR correspondents to cover it (the great Anne Garrels and others). And to make her on-air pitches, she wore camouflage and combat boots! She knew it would be war to raise the funds, and she dressed for the challenge. I loved and admired her enormously and found her to be a great teacher and inspirer.”
The Times wrote in 1995 that Seymour ruled “with an iron fist … she is renowned for attracting and nurturing brilliant on-air talent and for swiftly cutting them loose if they step out of line or their Arbitron ratings slump.” In 2004, she would fire radio personality Sandra Tsing Loh after she said “fuck” on the air.
“Well, you’re not allowed to do that, especially if you use it as a verb, which she did, and especially if you use it as a verb on Sunday morning in the middle of Weekend Edition,” she recalled a few years later. (The engineer on duty, however, is supposed to replace an expletive with a bleep).
Seymour replaced Claude Brodesser-Akner as host of The Business with Masters, who heard from the exec minutes after she had been laid off by NPR during the 2008 recession. “She called me before I had even gotten into my car,” Masters recalled. “I didn’t know her. She said, ‘Sweetheart, are they meshuga? Their loss will be my gain.’”
During every Hanukkah from 1979-2007, Seymour hosted the three-hour live show Philosophers, Fiddlers and Fools, which featured Yiddish folk music, songs and stories and a memorial to the Holocaust. “I always broadcast the program on Friday evenings so I could bid my listeners a gut yontif,” she said in 2010.
Years after she divorced Hirschman, she changed her surname in 1993 to honor her paternal Polish-born great-grandfather, a rabbi.
Survivors include her daughter, Celia; her sister, Ann, and brother-in-law, Richard; her niece, Jessica; her nephew, Daniel; and cousins Anita and Greg. Her son, David, died at age 25 from lymphoma.
A public memorial service is being planned.
This story was originally published by The Hollywood Reporter.
Groundbreaking Los Angeles-based disc jockey Jim Ladd, whom Tom Petty & The Heartbreakers immortalized in their 2002 song “The Last DJ,” died suddenly Sunday of a heart attack. He was 75.
A Los Angeles fixture, Ladd worked up and down the Los Angeles radio dial, including stints at KNAC, KMET and KLOS. He was considered the last freeform DJ in the country, allowed to pick his own song selections.
After leaving KLOS in 2011, he was quickly picked up by SiriusXM’s Deep Tracks channel, where he appeared until his death. Over the decades, he was well known for his interviews with such artists as John Lennon, Pink Floyd, Stevie Nicks and Led Zeppelin.
The Doors drummer John Densmore paid tribute to Ladd on social media, posting on X, “’The Last DJ’ has crossed the tracks. There wasn’t a more soulful spinner of music. The songs he played were running through his blood, he cared so much for rock n’ roll. Irreplaceable… a very sad day, which can only be handled by carrying his spirit forward.”
Densmore’s Doors bandmate Robby Krieger also posted, “Rest in peace, Jim Ladd. He was the best friend in radio The Doors ever had. Even when people forgot about us in the late ‘70s, he kept playing our music.“
Ladd started his career at Long Beach, Calif.’s KNAC in 1969 as FM radio was burgeoning and quickly established himself as one of Southern California’s leading rock voices. In an undated interview with Michael Simone, he said of his mentors and being at the forefront of FM radio, “We were inventing this thing as we were going along, so what I would say in radio [for role models], it is pretty much everybody that I’ve worked with that I’ve learned from or borrowed from. … As far as role models in my life, Martin Luther King would be one, and certainly when I was growing up, John Lennon and Jim Morrison were two others who had a great influence on me, as well as [Roger] Waters.”
Waters and Ladd had a long friendship, with Ladd playing a rebel DJ on Waters’ 1987 Radio K.A.O.S. album and touring with Waters on the Radio K.A.O.S. On the Road outing.
From KNAC, Ladd moved to KLOS in 1971 and then had stops at Los Angeles stations KMET, KMPC and KLSX before returning to KLOS in 1997, where he stayed for 14 years. As Billboard reported in 2011, when he was let go from KLOS after Cumulus bought the station, he signed off with Pink Floyd’s “Shine On Your Crazy Diamond.”
Ladd inspired “The Last DJ” song, which Petty told journalist Jim DeRogatis was “about a DJ who becomes so frustrated with his inability to play what he wants that he moves to Mexico and gets his freedom back.”
Flowers will be placed on Ladd’s star on the Hollywood Walk of Fame at 11 a.m. on Tuesday. He received his star in 2005. “His legendary voice and unparalleled contribution to the world of radio have left an indelible mark on the industry,” Ana Martinez, producer of the Hollywood Walk of Fame star ceremonies, stated in a statement. “Jim’s passion for music and his unique ability to connect with his listeners will always be remembered fondly.”
SiriusXM is airing tributes to Ladd, who is survived by wife Helene, on Deep Tracks as well as other classic rock channels.
Colin Burgess, the original drummer for AC/DC, has died. He was 77. The legendary rock band announced Burgess’ death through social media on Saturday (Dec. 16). A cause of death was not given. “Very sad to hear of the passing of Colin Burgess,” AC/DC captioned a photo of the drummer on Instagram. “He was our […]
