All Discussions Tagged 'tony' - Pittsburgh Jazz Network2024-03-29T07:44:07Zhttp://jazzburgher.ning.com/group/obituaries/forum/topic/listForTag?tag=tony&feed=yes&xn_auth=noIn Memorium: Tony Bennett, 1925 - 2023tag:jazzburgher.ning.com,2023-07-25:1992552:Topic:7157162023-07-25T23:00:35.215ZDr. Nelson Harrisonhttp://jazzburgher.ning.com/profile/NelsonHarrison
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<div class="container-fluid"><div class="container"><div class="row"><div class="col-sm-7 col-sm-push-2 pad-col"><hr class="margin-top-sm margin-bottom-sm"/><h1>In Memoriam: Tony Bennett, 1925–2023</h1>
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<a href="https://downbeat.com/archives/artist/tony-bennett">TONY BENNETT</a></div>
<span class="postinfo"><strong>By<span> </span><a href="https://downbeat.com/site/author/john-mcdonough">John McDonough</a><span> </span></strong></span><span class="text-primary"> I </span><span class="postinfo">Jul. 21, 2023</span><br />
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<p>Bennett, perhaps, has the honor of the longest sustained career as a star performer in the annals of show business history, writes John McDonough.</p>
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<p>Tony Bennett, who ascended to the top of American popular music a year<span> </span><i>before</i><span> </span>Queen Elizabeth ascended to the throne in England 71 years ago, died July 21 in New York City. He was 96.</p>
<p>His publicist, Sylvia Weiner, announced his death.</p>
<p>Bennett’s passing ends what is almost certainly the longest sustained career as a star performer in the annals of show business history.</p>
<p>The wonder of it all is that over that huge arc, Bennett managed to change so little. In his first extended DownBeat interview in June 1954, he seemed suspicious of his recent string of popular hits and charted his preferred future. “I’d like to make an album,” he told Nat Hentoff, “where I go in and just blow. No special arrangements. A very relaxed album of standards away from the commercially stylized records we’ve been making.” It would happen a number of times in different ways, none more elegantly than in his 1976 sessions with Bill Evans.</p>
<p>In a business where commerce dictates art and opportunism sustains survival, Bennett from the start planted himself like a sequoia in the soil of the American Popular Songbook and made himself a stubborn bulwark of tradition against the storms of fads, crazes, trends and trivia – all the things that drive success in his chosen trade. Like his royal counterpart in Buckingham Palace, he would become the eternal defender of the faith long after the rest of the world moved on. It was a repertoire he never aged out of, although by the time he passed 90 audiences might have chuckled at the irony of hearing him sing “as I approach the prime of my life” in the verse to “This Is All I Ask.”</p>
<p>His sprang into the big time at age 25 in the summer of 1951, propelled by strength of the sudden success of “Because of You,” which he had recorded for Columbia in April of that year. Network Radio and 78 rpm records were nearing the end of their reign as Bennett began his. Over the next seven decades, as he evolved from pop sensation to senior statesman of the American Song Book, he never seriously slipped from the top ranks of the most admired and respected singers in music. His celebrated recent partnerships with Lady Gaga, Diana Krall and others kept him a stadium act in the contemporary music scene, while his regular solo concerts at Radio City, Ravinia, Carnegie Hall and The Hollywood Bowl represented a lineage of living cultural memory that connected audiences to a distant and vastly different time in mid-20<sup>th</sup><span> </span>century America. For a diminishing few it was nostalgia. For most it became a rare chance to glimpse a surviving symbol of continuity winding back into the final days of the great songwriters a decade before singers became their own writers. It helped that well into his 90s, Bennett continued to perform at the top of his form, even as he became ravaged by Alzheimer’s Disease at the end. A fascinating<span> </span><a href="https://www.cbsnews.com/news/tony-bennett-lady-gaga-alzheimers-disease-60-minutes-2022-06-26/">CBS 60 Minutes</a><span> </span>piece documented his last show at Carnegie Hall, and his Alzheimer’s, in 2022.</p>
<p>It also helped that from the beginning his classicism was leavened by direct jazz influences. “I always wanted a jazzman with me,” he told Dom Cerulli in a May 1958 Down Beat interview. “I started with Fred Katz, and there was Chuck Wayne and Claude Thornhill. Chuck was the guy who really influenced me as to the guys playing good jazz.” Later on there was never a time when Bennett was not in proximity to the finest players. His musical directors came straight of out the jazz world: Ralph Sharon, Torie Zito, John Bunch, and Lee Musiker. Ruby Braff, Harold Jones, and Gray Sargent were part of his working groups, and there were encounters with Count Basie, Herbie Hancock, Candito, Herbie Mann, Neal Hefti and Bill Charlap among many others. “For me,” he told Cerulli, “having jazzmen with me means I never get stale.”</p>
<p>It also helped bring a certain distance between himself and his music, which he interpreted in the manner of a musician rather than inhabit as an actor. His personal life had its struggles, but they remained essentially private, insufficiently lurid or glamorous to attract the press. So the many torch songs he sang never invited invasive inferences of autobiography or personal disclosure. This was the domain of Frank Sinatra, whom Bennett worshipped as a fan. Long after he became Sinatra’s peer and such things were no longer necessary, Bennett’s concerts were introduced by a recorded “message from Frank Sinatra,” praising him as “my man.” It was an endorsement he treasured.</p>
<p>Tony Bennett was born on August 3, 1926, in lower middle class Astoria, New York. After the early deaths of his mother and father, he was raised by his grandparents. His first influences, Al Jolson and Eddie Cantor, were of an old show business sensibility that reached back before vaudeville to the minstrel men of the 19<sup>th</sup><span> </span>century. They were generations removed from Bennett, betrayed an intuitive faith in tradition. By the early ‘40s his taste moved to Frank Sinatra, Bing Crosby, Louis Armstrong and Jimmy Durante. Initially, he trained to be a commercial graphic artist. He attended the New York School of industrial Art and during his time in the army he studied painting at Heidelburg University in Germany. But by 16 he had decided that he wanted a career in music as a singer.</p>
<p>After the war he used the G.I. Bill to get into the American Theater Wing, where he learned the basics of bel canto vocal technique. By the end of the ‘40s, he was opening for Pearl Bailey when Bob Hope spotted him, took him on, and anglicized his name from Anthony Benedetto to Tony Bennett. In 1950, Mitch Miller, who was head to Columbia Records pop singles department, signed him, which set him up for his breakout in late 1951. After “Because of You,” he scored with “Rags to Riches,” Hank Williams’ country classic, “Cold Cold Heart,” and “Stranger in Paradise.” Those were the records that cemented his place among the top singers of the ‘50s. His first DownBeat cover was October 8, 1952.</p>
<p>The appearance of the first wave of rock and roll in 1955-56 with Bill Haley and then Elvis Presley failed to disturb his place in popular music. But Mitch Miller frequently brought him material he didn’t like. During his first period with Columbia, Bennett and Miller sparred in a lively creative tension. In 1957 “In the Middle of an Island” became a big hit. He disliked it from the beginning, and once it was behind him, it vanished from his working repertoire. It was symptomatic of a deeper problem, however, which was the decline of new song writing talent.</p>
<p>Yet, the signature song of his career was still ahead him. “I Left My Heart in San Francisco,” had been written in 1954 and sat undiscovered for eight years before Bennett made his definitive version. It became so completely associated with him that when planning the duets albums 45 years later, producer Phil Ramone decided that it was the one song Bennett should not share with another singer. Instead, his duet partner became pianist Herbie Hancock and then, when that session was discarded, Bill Charlap. The ‘60s also handed Bennett further hits, including “The Shadow of You Smile,” “I Wanna Be Around,” “The Good Life,” and “If I Ruled the World.”</p>
<p>If Elvis Presley was not able to rock Bennett’s boat in the ‘50s, the impact of the Beatles was not so easily disregarded. The English invasion and the larger shift toward the singer-writer changed the business models of the music business. Just as important, the arrival of Clive Davis as president of Columbia created new expectations of the talent roster. Bob Dylan and Simon & Garfunkel were slowly building young audiences. After the Monterey Pop Festival of 1967 brought Janis Joplin, Blood Sweat & Tears, Santana, Chicago and Pink Floyd to Columbia, the atmosphere inside the company became increasingly uncomfortable for Bennett. Finally in 1972, after 22 years, he left the label. After a brief period with Verve, Bennett found himself unaffiliated.</p>
<p>He started his own company, a kind of boutique operation called Improv Records which issued the 1976 sessions with Bill Evans. Though widely praised, Improv lacked the muscle to compete in an industry that was dominated by a handful of super powers. (The Improv recordings are now part of the Concord collective.) By the end of the ‘70s his career was at its lowest ebb, though he was still headlining in Los Vegas. This was compounded by simultaneous marital, I.R.S. and cocaine problems. Though still a famous brand, his options seemed few. He had tried television in the ‘50s, but never made it to the fall schedule. He had appeared as Hymie Kelly in the movie “The Oscar” in 1966. Both the film and Bennett’s movie debut were initially ballyhooed as possible Oscar material. But he was uneasy in front of the camera, and the film was sleazy and ultimately unsuccessful. The Bennett magic refused to transpose from the recording studio and night club atmosphere to other media.</p>
<p>In 1979 his son Danny, who had been pursuing a minor career in rock, began to look at his father’s situation in a rigorously strategic manner. He saw possibilities for the long term by building a new younger audience for him. But it would not happen overnight and required careful management. That would be his job. After he helped him clean up his finances and persuaded him to leave Las Vegas and return to New York, he began putting together a touring schedule of one-nighters focusing on the college concert circuit and theater dates in college towns. The days when Bennett could play night clubs like the Copa Cabana or the Chez Paree for two weeks at a time to small audiences of 4 or 500 were mostly over. Besides, that’s not where the audiences that Danny Bennett needed would be found.</p>
<p>In 1986 Bennett returned to Columbia, which was now under new management and about to be acquired by the Sony Corporation. His first album,<span> </span><i>The Art of Excellence</i>, was a proclamation of his intention to reestablish his recording career, but according to his standards, not the wishes of the “money men.” With creative control in his hands, he would make the kind of albums he had described to Nat Hentoff in DownBeat four decades before. There would be no compromises or concessions, no efforts cater to top 40 repertoire. As a throwback, Bennett began to acquire a reputation for integrity that was negotiable with the young. With Ralph Sharon back as musical director, Bennett’s first Columbia album would put him back on the charts for the first time in nearly 20 years.</p>
<p>His son’s strategy carried Bennett to younger audiences through the hipper late night TV shows (Letterman and Conan O’Brian), in addition to the bourgeoning MTV music pipeline. A cartoon version of Bennett became one of the first cultural references to be written into<span> </span><i>The Simpsons</i>. Professionally, he was seen in the company of Elvis Costello, k.d. lang, even as a steady stream of Columbia albums devoted themselves to the music of Frank Sinatra, Fred Astaire, Duke Ellington, Jerome Kern and most recently George Gershwin. The message was, when something is good it’s always in style. By the turn of the century, he was said to be worth $20 million, probably a conservative number.</p>
<p>Bennett is survived by his wife, Susan Crow, daughters Antonia and Joanna, and sons, Daegal and D’Andrea (a.k.a. Danny).<span> </span><b>DB</b></p>
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</div> TONY MOWOD passes on January 6, 2021tag:jazzburgher.ning.com,2021-01-14:1992552:Topic:5237072021-01-14T04:11:53.658ZDr. Nelson Harrisonhttp://jazzburgher.ning.com/profile/NelsonHarrison
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<h1>Anthony J. "Tony" Mowod</h1>
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<div class="top-dates"><span>July 8, 1935</span><span> - </span><span>January 6, 2021</span></div>
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<div class="obituary-information"><div><p>ANTHONY J. "TONY" MOWOD</p>
<p>Noted Jazz host of WDUQ, WZUM and founder of the Pittsburgh Jazz Society, of Brookline, on Wednesday, January 6, 2021. He was the son of the late John and Nageba Mowod; husband for over 62 years of the late Elizabeth A.; beloved father of Maryann, John (Courtney), Anthony and Joseph Mowod; brother of the late Mary (Mike) Ayoob, Sadie (Bill) Sporcic, Joseph (Eva) Mowod, George (Theresa) Mowod, Carrie (Bill) Moses, Yvonne (John) Boris, Lorraine (Tony) DeMaio and Madeline (Joe) Makhlouf; survived by several grandchildren and one great-grandson, Gino Walter; he was predeceased by his granddaughter, Dena Walter.</p>
<p>Family and friends will be received at Frank F. DeBor Funeral Home on Monday only, 1-8 p.m. Divine Liturgy on Tuesday, at 11 a.m., in Our Lady of Victory Church, 1000 Tropical Avenue, Pittsburgh, PA 15216.</p>
<p>As Tony would say, "Keep a bit of love in your heart...and a taste of jazz in your soul.</p>
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</div> TONY MOWOD passes on January 6, 2021tag:jazzburgher.ning.com,2021-01-14:1992552:Topic:5237982021-01-14T04:09:19.828ZDr. Nelson Harrisonhttp://jazzburgher.ning.com/profile/NelsonHarrison
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<h1>Anthony J. "Tony" Mowod</h1>
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<div class="top-dates"><span>July 8, 1935</span><span> - </span><span>January 6, 2021</span></div>
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<div class="obituary-information"><div><p>ANTHONY J. "TONY" MOWOD</p>
<p>Noted Jazz host of WDUQ, WZUM and founder of the Pittsburgh Jazz Society, of Brookline, on Wednesday, January 6, 2021. He was the son of the late John and Nageba Mowod; husband for over 62 years of the late Elizabeth A.; beloved father of Maryann, John (Courtney), Anthony and Joseph Mowod; brother of the late Mary (Mike) Ayoob, Sadie (Bill) Sporcic, Joseph (Eva) Mowod, George (Theresa) Mowod, Carrie (Bill) Moses, Yvonne (John) Boris, Lorraine (Tony) DeMaio and Madeline (Joe) Makhlouf; survived by several grandchildren and one great-grandson, Gino Walter; he was predeceased by his granddaughter, Dena Walter.</p>
<p>Family and friends will be received at Frank F. DeBor Funeral Home on Monday only, 1-8 p.m. Divine Liturgy on Tuesday, at 11 a.m., in Our Lady of Victory Church, 1000 Tropical Avenue, Pittsburgh, PA 15216.</p>
<p>As Tony would say, "Keep a bit of love in your heart...and a taste of jazz in your soul.</p>
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</div> Well loved and respected pianist Don Depaolis passes at 71.tag:jazzburgher.ning.com,2019-03-31:1992552:Topic:4479612019-03-31T19:51:45.438ZDr. Nelson Harrisonhttp://jazzburgher.ning.com/profile/NelsonHarrison
<h2>DON'S OBITUARY</h2>
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<p><span>Don DePaolis, a noted pianist and composer in Pittsburgh’s jazz community for the past five decades, passed away March 20th, 2019. He was 71.</span></p>
<p><span>His life and career were marked by his voracious musical and intellectual appetites. Academia brought DePaolis to Pittsburgh as a young man. He would receive a BA in Physical Anthropology as a student of Dr. F. Marion Crawford at the University of Pittsburgh, becoming a member of Phi Gamma Delta. His…</span></p>
<h2>DON'S OBITUARY</h2>
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<p><span>Don DePaolis, a noted pianist and composer in Pittsburgh’s jazz community for the past five decades, passed away March 20th, 2019. He was 71.</span></p>
<p><span>His life and career were marked by his voracious musical and intellectual appetites. Academia brought DePaolis to Pittsburgh as a young man. He would receive a BA in Physical Anthropology as a student of Dr. F. Marion Crawford at the University of Pittsburgh, becoming a member of Phi Gamma Delta. His post-graduate activities included work towards a Ph.D in Human Genetics and cleft palate research in Mexico with Dr. Seishi Oka. But the lure of musical expression would win out. While he would return to academic pursuits from time to time, and do what was necessary to provide for his family, music and mind would be his life’s work.</span></p>
<p><span>DePaolis was born November 18, 1947 in Uniontown, PA to parents Helen (nee Blatnick) and Louis DePaolis. Louis, a pianist and arranger, became the proprietor of two Uniontown music stores in the late 1950s (Frederick’s and The Turntable). Through his father, DePaolis began his life in music as a toddler. Louis sponsored his son's membership in the Uniontown Muscians’ Union, which Don later transferred to the Pittsbugh Musicians’ Union Local 60-471. While his early studies in classical piano literature would remain a lodestar, DePaolis’ involvement with jazz began shortly after his moving to Pittsburgh in 1965, when the contemporary explorations of John Coltrane and Miles Davis caught his imagination. By the end of the decade, he was playing with the likes of saxophonists Eric Kloss and Kenny Fisher, flutist Tom Lee, and drummer Allen Blairman.</span></p>
<p><span>Beginning with a notable association with Nathan Davis upon the educator’s arrival at the University of Pittsburgh in 1970 (including his recording debut on Davis’ 1971 album <em>Makatuka</em>), DePaolis’ career proceeded apace, with memorable stints with Roger Humphries, Eric Kloss, and Spider Rondinelli. DePaolis appeared at many of the area’s legendary jazz spots of the time, including Sonny Daye’s Stage Door, the Manteca, the Tender Trap, Walt Harper’s Attic, and the Black Magic—and in later years, the Pyramid, Crawford Grill No. 2, the Balcony, and James Street Tavern. Later associations included the John Wilson Band, Kenny Blake, and the 90's edition of Roger Humphries’ RH Factor (a particularly influential lineup to a generation of young Pittsburgh musicians, thanks to their regular Tuesday night jam sessions). His career also included road work with Buddy Rich, and Pittsburgh area performances with Joe Williams and Milt Jackson. In addition to his work as a performer, DePaolis continued developing his voice as a composer, producing a formidable body of work. His compositions have been recorded by Eric Kloss, Pat Martino, Eric Leeds, and Andy Bianco.</span></p>
<p><span>DePaolis appeared often through the years with his wife, vocalist Kathy Connor. They were married in 1978, and have three sons.</span></p>
<p><span>While DePaolis’ influence on the music community of Pittsburgh was not extensively documented, it was deeply felt by those in the know. Many players of a certain age have remarked on the knowledge and hard-won encouragement he shared with them, including Dwayne Dolphin, Christopher Dean Sullivan, Ken Karsh, Max Leake, Eric Susoeff, the late Donna Davis, Tony Campbell, John Shannon, and countless others. Passing on knowledge was of a highest priority. During the mid-1970s, DePaolis taught at the nascent Bidwell Training Center, the forerunner of the Manchester Craftsman’s Guild. Letters from his students remained in his possession for the rest of his life.</span></p>
<p><span>DePaolis’ last decade saw extensive work with his son Tony, a bassist. Frequent appearances with quartets featuring saxophonists Erik Lawrence and Jacob Yoffee, and drummers Thomas Wendt and James Johnson III featured original compositions of both father and son. Many were released on Tony’s recording “Contemporary Dynamic,” and Andy Bianco’s “Homefront.” The two also regularly accompanied legendary guitarist Jimmy Ponder in his last years. At the time of his passing, work on a final recording project, an album by drummer Reid Hoyson featuring several of DePaolis' originals, was nearing completion. It is due to be released in the next year.</span></p>
<p><span>Don is survived by his wife Kathy, sons Tony, Julian and Rafael, sister Rita Dorobish (Michael), and brother David DePaolis. Funeral arrangements are private, but an informal memorial gathering will be announced at a later date.</span></p>
<p><span>Arrangements by Schellhaas Funeral Home and Crematory Services, Inc.</span></p> Obituary: Rosslyn Leiber Litman / Jewelry entrepreneur, wife of nightclub ownertag:jazzburgher.ning.com,2012-12-23:1992552:Topic:2755072012-12-23T03:58:10.697ZDr. Nelson Harrisonhttp://jazzburgher.ning.com/profile/NelsonHarrison
<div class="story_headline"><h1>Died Dec. 20, 2012</h1>
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<div class="story_lastupdate">December 22, 2012 12:13 am</div>
<div class="story_byline">By Mackenzie Carpenter / Pittsburgh Post-Gazette</div>
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<div class="thisStory"><p>She mingled with the stars during Downtown Pittsburgh's heyday in the 1950s, the sleek, lovely wife of Copa nightclub owner and Pittsburgh Press columnist Lenny Litman. She hosted Tony Bennett and Erroll Garner in her Squirrel…</p>
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<div class="story_headline"><h1>Died Dec. 20, 2012</h1>
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<div class="story_lastupdate">December 22, 2012 12:13 am</div>
<div class="story_byline">By Mackenzie Carpenter / Pittsburgh Post-Gazette</div>
<div class="story_byline"></div>
<div class="thisStory"><p>She mingled with the stars during Downtown Pittsburgh's heyday in the 1950s, the sleek, lovely wife of Copa nightclub owner and Pittsburgh Press columnist Lenny Litman. She hosted Tony Bennett and Erroll Garner in her Squirrel Hill home. She built her own successful retail business, bringing good costume jewelry to the city's better stores. And she also raised a family.</p>
<p>Rosslyn Leiber Litman would never have called herself a feminist, but she ended up having it all. She was a mother and entrepreneur by day and a constant presence at her husband's nightclub at night, said her daughter, Rebecca Litman of Highland Park, because "she loved the bigger-than-lifeness of my father, and she loved his life, of being a nightclub owner and a newspaperman, someone who ate breakfast when she was serving the kids dinner."</p>
<p>Ms. Litman, of Shadyside, died of pulmonary disease Thursday at UPMC Shadyside. She was 85.</p>
<p>A native of Donora, Ms. Litman was the daughter of a prominent glass bottle manufacturer who operated the Donora Bottle Works and who lost all his money in the Depression. At age 5, she moved from the biggest house in town to the small apartment over a jewelry store. Smart, beautiful and street savvy, she graduated first in her class from Donora High School and, at a time when few women at her high school went to college, she went to the University of Pittsburgh.</p>
<p>In her senior year, she met Mr. Litman, then owner of Lenny Litman's Copa at 818 Liberty Ave., where Johnny Mathis, Ella Fitzgerald, Vic Damone, Sarah Vaughan and other big acts appeared between 1948 and 1959.</p>
<p>The two actually met at Lenny Litman's other big venue -- Mercur's Music Bar, which he owned with his brothers Archie and Eugene and which hosted some of the most prominent jazz artists in Pittsburgh -- Art Tatum, Ethel Waters, George Shearing and Walt Harper.</p>
<p>The 6-foot, 4-inch former Hollywood agent "decided very quickly he wanted to marry her," their daughter said, noting that her mother "had known a certain amount of struggle herself and was really attracted to the idea that he lived an unconventional life."</p>
<p>Growing up in the modest house on Burchfield Avenue with her brother, the late David M. Litman, Rebecca Litman remembers a domestic life far different from those of her friends, with lots of interesting visitors -- including a left-behind puppet of Senor Wences, a ventriloquist and a staple on "The Ed Sullivan Show," who had left town without it.</p>
<p>"We were the only ones I knew with a Pitney Bowes postage machine in our kitchen," said Rebecca Litman, noting that between mother's jewelry business and her father's side job as a correspondent for Variety, it was in frequent use.</p>
<p>"They were out every night and she worked every single day, which a lot of women her age didn't do," she said. "One of the great things was that my father never questioned her, never made any demands on her. She must have told me a million times -- he wanted her to do what she wanted to do."</p>
<p>There were some bumps in the road -- at 24, Ms. Litman was diagnosed with Hodgkin's disease and spent seven years in and out of treatment.</p>
<p>"If anything, that experience gave her a sense of urgency," her daughter said, noting that after a visit to an older sister in Manhattan, Ms. Litman decided to bring costume jewelry and accessories to Pittsburgh. She worked out of the family's Squirrel Hill kitchen, initially selling items to gift shops for fundraisers, before starting a company called Fabulous Frauds by Roz.</p>
<p>She also was a mentor to other young entrepreneurs. "She took me under her wing and guided and taught me so much about the business," said Debbie Bragle, owner of Cosmetique DeStefino in Shadyside. "She knew what she was doing, she had an eye and a sense of what women wanted and what was affordable."</p>
<p>As the business prospered, she started selling more glamorous items to the Tres Chic boutique at Kaufmann's and other stores. "We'd open a drawer to look for a fork and there'd be a dozen bracelets," said her daughter.</p>
<p>Even though the Copa closed in 1962, Mr. Litman, who went on to write a nightlife column for The Pittsburgh Press, remained passionate about bringing new entertainment to Pittsburgh -- from Mort Sahl; Bob Dylan; the Rolling Stones; Peter, Paul and Mary and The Band to one of the first big Broadway road productions, "Hello, Dolly!" starring Carol Channing.</p>
<p>"I think my mom must have bought her Shadyside house with the 'Hello, Dolly!' money," her daughter said.</p>
<p>"You could have a big hit one week and a bomb the next, but my mother rolled with it. No sane woman would have opted for the life she did, but she was by my father's side every step of the way, at the club and in everything he did in his life," she said.</p>
<p>There will be no visitation, but a service will be held at 10 a.m. Sunday at Ralph Schugar Chapel, 5509 Centre Ave. in Shadyside, followed by burial at Ahavath Achim Congregation Cemetery.</p>
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<p>Read more: <a style="color: #003399;" href="http://www.post-gazette.com/stories/local/obituaries/obituary-rosslyn-leiber-litman-jewelry-entrepreneur-wife-of-nightclub-owner-667412/#ixzz2FqMyM4sp">http://www.post-gazette.com/stories/local/obituaries/obituary-rosslyn-leiber-litman-jewelry-entrepreneur-wife-of-nightclub-owner-667412/#ixzz2FqMyM4sp</a></p>