Cyril D. Tyson in 1970 when he was commissioner of New York City’s Manpower and Career Development Agency.CreditEddie Hausner/The New York Times
Cyril D. Tyson, who led antipoverty programs from inside and outside government in New York City and Newark in the 1960s in a tense racial atmosphere punctuated by violence, died on Thursday at his home in North Salem, N.Y. He was 89.
His wife of 64 years, Sunchita, said he died after a series of strokes.
“Athlete, educator, civil rights activist, public servant, dad,” his son Neil deGrasse Tyson, the astrophysicist, television host and director of the Hayden Planetarium in Manhattan, said on Twitter.
In 1963, Cyril Tyson was a former college track star who had worked on the staffs of the New York City Commission on Intergroup Relations and its successor, the Commission on Human Rights, when he joined Harlem Youth Opportunities Unlimited, a new, government-financed antipoverty organization that became widely known as Haryou.
He played a major role in designing the group’s programs, which were aimed at improving the area’s public schools and its residents’ job skills and opportunities. It included after-school remedial study centers and on-the-job training projects.
Urban affairs specialists at the time were urging such programs to remedy shortcomings that, they argued, fueled racial unrest — of the kind that erupted within months. In July 1964, the fatal shooting of a black teenager by a white police lieutenant led to rioting and looting in Harlem that left one person dead, many injured and extensive property damage.
Mr. Tyson said at an education conference that year that many black students were simply not learning. “Teachers are just not teaching,” he said. “They have low expectations and say the children can’t learn because they are black.”
He also defended welfare recipients, saying they had been unjustly stigmatized.
“The implication was there, in public attitudes and administrative regulations, that people in need were somehow innately inferior to other human beings,” he wrote in The Boston Globe. “In fact, the majority of those on welfare who are not children, aged or disabled are people who want the opportunity to be productive.”
While he worked on shaping Haryou’s programs, a fight for control of the group flared between its most prominent founder, Kenneth B. Clark, the psychologist and educator whose studies had influenced the Supreme Court a decade earlier, when it ruled against racial segregation in public schools, and Adam Clayton Powell Jr., the congressman from Harlem.
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Mr. Tyson helps his son, the future astrophysicist Neil deGrasse Tyson, build his first telescope, a gift for his 12th birthday.
Mr. Clark, with whom Mr. Tyson had worked closely, resigned from the group, and Mr. Tyson, then the acting executive director, followed suit in late 1964, when Mr. Powell was about to prevail in his choice for a permanent executive director. Mr. Tyson became executive director of the nonprofit United Community Corporation in Newark, newly created to run that troubled city’s antipoverty program.
The Newark organization, too, was soon involved in a battle with politicians. A City Council committee demanded that United Community be replaced by a commission controlled by City Hall. The committee contended that the group lacked controls to keep it from becoming a “grab bag and a pork barrel,” and that it paid excessive salaries. United Community said the “real issue” was a desire for political control over the programs.
The group was still running the programs when Mr. Tyson resigned in 1966 to became deputy administrator for minority economic development at the New York City Human Resources Administration under Mayor John V. Lindsay. (A year later, five days of rioting by blacks in Newark took 26 lives and inflicted millions of dollars in property damage.)
In New York, Mr. Tyson was later named commissioner of the city’s Manpower and Career Development Agency, where he centralized efforts to help the poor find work. The “piecemeal approach of the past,” he said, with programs carried out by numerous public and private agencies, was rife with inefficiencies.
But he found critics in New York, as well. A City Council committee said his agency’s job-training courses had failed to meet the needs of business. Mr. Tyson argued otherwise. He offered statistics from August 1970 showing that the agency had placed nearly 19,000 people in jobs and trained 15,000 others during the previous year.
He left the manpower agency that month for a fellowship at the Institute of Politics at Harvard. Later in the 1970s and in the ’80s, he was a public and community affairs official at City College of New York and the Port Authority of New York and New Jersey, where he also served as a transportation planning official. He wrote several books based on his years in antipoverty work.
Cyril deGrasse Tyson was born on Oct. 19, 1927, in Manhattan to Albert Tyson, a security guard, and Altima Tyson, who was active in community affairs.
He competed in military track and field events while in the Army. Later, as a member of the track team at St. Francis College in Brooklyn, he was the metropolitan intercollegiate 600-yard champion in 1950 and 1951. He earned a master’s degree in social work at Columbia University.
Tyrus Wong, ‘Bambi’ Artist Thwarted by Racial Bias, Dies at 106
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Tyrus Wong was one of the most celebrated Chinese-American artists of the 20th century, but he passed much of his career unknown to the general public.CreditSara Jane Boyers
When Walt Disney’s “Bambi” opened in 1942, critics praised its spare, haunting visual style, vastly different from anything Disney had done before.
But what they did not know was that the film’s striking appearance had been created by a Chinese immigrant artist, who took as his inspiration the landscape paintings of the Song dynasty. The full extent of his contribution to “Bambi,” which remains a high-water mark for film animation, would not be widely known for decades.
Like the film’s title character, the artist, Tyrus Wong, weathered irrevocable separation from his mother — and, in the hope of making a life in the United States, incarceration, isolation and rigorous interrogation — all when he was still a child.
In the years that followed, he endured poverty, discrimination and chronic lack of recognition, not only for his work at Disney but also for his fine art, before finding acclaim in his 90s.
Mr. Wong died on Friday at 106. A Hollywood studio artist, painter, printmaker, calligrapher, greeting-card illustrator and, in later years, maker of fantastical kites, he was one of the most celebrated Chinese-American artists of the 20th century.
But because of the marginalization to which Asian-Americans were long subject, he passed much of his career unknown to the general public.
Artistic recognition, when Mr. Wong did find it, was all the more noteworthy for the fact that among Chinese immigrant men of his generation, professional prospects were largely limited to menial jobs like houseboy and laundryman.
Trained as a painter, Mr. Wong was a leading figure in the Modernist movement that flourished in California between the wars. In 1932 and again in 1934, his work was included in group shows at the Art Institute of Chicago that also featured Picasso, Matisse and Paul Klee.
As a staff artist for Hollywood studios from the 1930s to the 1960s, he drew storyboards and made vibrant paintings, as detailed as any architectural illustrations, that helped the director envision each scene before it was shot.
Over the years his work informed the look of animated pictures for Disney and live-action films for Warner Brothers and other studios, among them “The Sands of Iwo Jima” (1949), “Rebel Without a Cause” (1955) and “The Wild Bunch” (1969).
But of the dozens of films on which he worked, it was for “Bambi” that Mr. Wong was — belatedly — most renowned.
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Mr. Wong spent two years painting the illustrations that would inform every aspect of “Bambi.” His influence is unmistakable in the finished film.CreditWalt Disney Productions
“He was truly involved with every phase of production,” John Canemaker, an Oscar-winning animator and a historian of animation at New York University, said in an interview for this obituary in March. “He created an art direction that had really never been seen before in animation.”
In 2013 and 2014, Mr. Wong was the subject of “Water to Paper, Paint to Sky,” a major retrospective at the Disney Family Museum in San Francisco.
From the museum’s windows, which overlook San Francisco Bay, he could contemplate Angel Island, where more than nine decades earlier, as a lone 10-year-old, he had sought to gain admission to a country that adamantly did not want him.
Wong Gen Yeo (the name is sometimes Romanized Wong Gaing Yoo) was born on Oct. 25, 1910, in a farming village in Guangzhou, the province then known in the West as Canton. As a young child, he already exhibited a love of drawing and was encouraged by his father.
In 1920, seeking better economic prospects, Gen Yeo and his father embarked for the United States, leaving his mother and sister behind. Gen Yeo would never see his mother again.
They were obliged to travel under false identities — a state of affairs known among Chinese immigrants as being a “paper son” — in the hope of circumventing the Chinese Exclusion Act of 1882.
Signed into law by President Chester A. Arthur, the act, which drastically curtailed the number of Chinese people allowed to enter the country, was among the earliest United States laws to impose severe restrictions on immigration.
But in 1906, an unforeseen loophole opened in the form of the San Francisco earthquake and fire. Because a huge number of municipal documents, including birth and immigration records, were destroyed, many newly arrived Chinese capitalized on the loss, maintaining that they had been born in San Francisco before the fire.
As United States citizens, they were entitled to bring over their relatives — or, in the case of Gen Yeo and his father, “paper sons” posing as relatives.
Attuned to the deception, United States immigration officials put Chinese arrivals through a formidable inquisition to ensure they were who they claimed to be.
The questions came like gunfire: In which direction does your village face? How many windows are in your house? Where in the house is the rice bin? How wide is your well? How deep? Are there trees in your village? Are there lakes? What shops can you name?
The sponsoring relative was interrogated separately, and the answers had to match. For the new arrival, a major mistake, or a series of smaller ones, could mean deportation.
To stand a chance of passing, aspirants memorized rigorous dossiers known as coaching papers. The ensuing interrogation was hard enough for adults. Ten-year-old Gen Yeo would undergo it alone.
On Dec. 30, 1920, after a month at sea, the Wongs landed at Angel Island Immigration Station. The elder Mr. Wong was traveling as a merchant named Look Get; his son as Look Tai Yow.
“Angel Island is considered to be the Ellis Island of the West Coast,” Lisa See, the author of “On Gold Mountain” (1995), a nonfiction chronicle of her Chinese-American family, said in an interview this year. However, she continued:
“The goal was really very different than Ellis Island, which was supposed to be so welcoming. Angel Island opened very specifically to keep the Chinese out.”
Because Mr. Wong’s father had previously lived in the United States as Look Get, he was able to clear Immigration quickly. But as a new arrival, Gen Yeo was detained on the island for nearly a month, the only child among the immigrants being held there.
“I was scared half to death; I just cried,” Mr. Wong recalled in “Tyrus,” an award-winning documentary directed by Pamela Tom, which premiered in 2015. “Every day is just miserable — miserable. I hated that place.”
On Jan. 27, 1921, in the presence of an interpreter and a stenographer, young Gen Yeo, posing as Look Tai Yow, was interrogated by three inspectors. His father had already been questioned.
Gen Yeo was well prepared and answered without error. In Sacramento, where he joined his father, a schoolteacher Americanized “Tai Yow” to “Tyrus,” and he was known as Tyrus Wong ever after.
Soon afterward, father and son were separated once more, when the elder Mr. Wong moved to Los Angeles to seek work. For reasons that have been lost to time, he could not take his son. Tyrus lived on his own in a Sacramento boardinghouse while attending elementary school.
Two years later — possibly more — Tyrus traveled to Los Angeles to join his father, who had found work in a gambling den. They lived in a vermin-infested boardinghouse sandwiched between a butcher shop and a brothel. After school, Tyrus worked as a houseboy for two Pasadena families, earning 50 cents a day.
His first art teacher was his father, who trained him nightly in calligraphy by having him dip a brush in water and trace ghostly characters on newspaper: They could not afford ink or drawing paper.
When Tyrus was in junior high, a teacher, noting his drawing talent, arranged a summer scholarship to the Otis Art Institute in Los Angeles.
By his own account an indifferent student in public school, Tyrus found his calling at the institute, now the Otis College of Art and Design. When his scholarship ended he declined to return to junior high.
His father scraped together the $90 tuition — a small fortune — to let him stay on as Otis’s youngest student.
He studied there for at least five years, simultaneously working as the school janitor, before graduating in the 1930s. Not long afterward his father died, leaving young Mr. Wong entirely on his own.
From 1936 to 1938, Mr. Wong was an artist for the Works Progress Administration, creating paintings for libraries and other public spaces.
With friends, including the Japanese-American artist Benji Okubo, he founded the Oriental Artists’ Group of Los Angeles, which organized exhibitions of members’ work — an unheard-of level of exposure for Asian artists at the time.
Mr. Wong, newly married and needing steady work, joined Disney in 1938 as an “in-betweener,” creating the thousands of intermediate drawings that bring animated sequences to life.
Asians were then a novelty at Hollywood studios, and Mr. Wong was made keenly aware of the fact, first at Disney and later at Warner Brothers. One co-worker flung a racial epithet at him. Another assumed on sight that he worked in the company cafeteria.
Then there was the affront of the in-betweener’s job itself: Painstaking, repetitive and for Mr. Wong quickly soul-numbing, it is the assembly-line work of animation — “a terrible use of his talents as a landscape artist and a painter,” Mr. Canemaker said.
A reprieve came in the late 1930s, when Mr. Wong learned that Disney was adapting “Bambi, a Life in the Woods,” the 1923 novel by the Austrian writer Felix Salten about a fawn whose mother is killed by a hunter.
In trying to animate the book, Disney had reached an impasse. The studio had enjoyed great success in 1937 with its animated film “Snow White and the Seven Dwarfs,” a baroque production in which every detail of the backgrounds — every petal on every flower, every leaf on every tree — was meticulously represented.
In an attempt to use a similar style for “Bambi,” it found that the ornate backgrounds camouflaged the deer and other forest creatures on which the narrative centered.
Mr. Wong spied his chance.
“I said, ‘Gee, this is all outdoor scenery,’” he recalled in a video interview years afterward, adding: “I said, ‘Gee, I’m a landscape painter!’”
Invoking the exquisite landscape paintings of the Song dynasty (A.D. 960–1279), he rendered in watercolors and pastels a series of nature scenes that were moody, lyrical and atmospheric — at once lush and spare — with backgrounds subtly suggested by a stroke or two of the brush.
“Walt Disney went crazy over them,” said Mr. Canemaker, who wrote about Mr. Wong in his book “Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch Artists” (1996). “He said, ‘I love this indefinite quality, the mysterious quality of the forest.’”
Mr. Wong was unofficially promoted to the rank of inspirational sketch artist.
“But he was more than that,” Mr. Canemaker explained. “He was the designer; he was the person they went to when they had questions about the color, about how to lay something out. He even influenced the music and the special effects: Just by the look of the drawings, he inspired people.”
Mr. Wong spent two years painting the illustrations that would inform every aspect of “Bambi.” Throughout the finished film — lent a brooding quality by its stark landscapes; misty, desaturated palette; and figures often seen in silhouette — his influence is unmistakable.
But in 1941, in the wake of a bitter employees’ strike that year, Disney fired Mr. Wong. Though he had chosen not to strike — he felt the studio had been good to him, Mr. Canemaker said — he was let go amid the lingering climate of post-strike resentments.
On “Bambi,” Mr. Wong’s name appears, quite far down in the credits, as a mere “background” artist.
Mr. Wong joined Warner Brothers in 1942, working there — and lent out on occasion to other studios — until his retirement in 1968.
The indignities he endured were not confined to the studios. Trying to buy a house, he and his wife, the former Ruth Kim, were told that each property they inquired about had just been sold. “Then in a month you’d go back there and the sign was still there,” Mr. Wong recalled in “Tyrus.”
After the Japanese attack on Pearl Harbor in December 1941, Mr. Wong, like many Chinese-Americans, took to wearing a lapel button proclaiming his heritage, lest an angry American beat him up on the street.
The war permanently dispersed the fledgling Oriental Artists’ Group. Mr. Wong’s friend Mr. Okubo was sent, with tens of thousands of other Japanese-Americans, to an internment camp.
“If World War II hadn’t happened when it did, I think these artists, even the Chinese-American artists, would have more of a name than they do today,” Ms. See said. “And that’s because this little movement that had just barely started was split apart by the war.”
Mr. Wong, who became a United States citizen in 1946, also designed Christmas cards for Hallmark and painted elegant Asian-inflected designs on dinnerware, now sought after by collectors.
During the last 15 years of Ruth Wong’s life, when she was ill with dementia, Mr. Wong forsook his work to care for her. After her death in 1995, he slowly began making art again.
In 2001, in formal recognition of his influence on “Bambi,” Mr. Wong was named a Disney Legend. The honor — whose previous recipients include Fred MacMurray, Julie Andrews and Annette Funicello — is bestowed by the Walt Disney Company for outstanding contributions.
In 2003, a retrospective of his work, curated in part by Ms. See, was the inaugural exhibition at the Chinese American Museum in Los Angeles. Disney’s own retrospective, “Water to Paper, Paint to Sky,” traveled in 2015 to the Museum of Chinese in America, in Lower Manhattan.
Mr. Wong’s death, at his home in Sunland, was confirmed by the filmmaker Ms. Tom. His survivors include three daughters, Kay Fong, Tai-Ling Wong and Kim Wong; and two grandchildren.
When his daughters were small, Mr. Wong encouraged them to make art, as his father had encouraged him. Yet he would not let them have coloring books.
The reason was simple: He did not want his children constrained, he said, by lines laid down by others.
The cause was cancer, said Karyn Scott-Harden, his stepdaughter.
Mr. Cranshaw, who had a bedrock authority with rhythm and a keen ear for harmony, appears on more than a few jazz albums regarded as classics, including the trumpeter Lee Morgan’s“The Sidewinder” and the saxophonist Joe Henderson’s “Inner Urge.” His first with Mr. Rollins, in 1962, was “The Bridge,” another classic; his last was “Holding the Stage: Road Shows, Vol. 4,” a compilation released this year.
“He was impeccable,” Mr. Rollins said in a recent interview. “And he had a steady gig with me, but Bob also played with probably every musician in New York. I mean, that might be a slight exaggeration. But it attests to his versatility, and to the fact that he was a great bass player.”
Mr. Cranshaw worked closely for decades with Local 802 of the American Federation of Musicians, which elected him to its executive board in 2012. He had experience with the life of a session musician, contributing to countless jingles and film scores and to albums by pop artists like Paul Simon.
He was also a member of the first “Saturday Night Live” band and held prominent positions in the bands on several late-night talk shows, notably those of Dick Cavett and Merv Griffin. As the house bassist for the Children’s Television Workshop, he can be heard on many songs featured on “Sesame Street,” including the show’s original theme song.
Melbourne Robert Cranshaw was born on Dec. 3, 1932, in Chicago. He grew up in the nearby suburb of Evanston, Ill., to Stanly Cranshaw, a choir director, and the former Evelyn Brown.
He played bass in his high school orchestra and, after serving in the Army in Korea, returned to Chicago and became a presence on the local jazz scene.
He first met Mr. Rollins in 1959, in a highly public setting: the inaugural Playboy Jazz Festival, at the Chicago Stadium. Mr. Rollins needed a last-minute substitute bassist, and Mr. Cranshaw made a favorable impression. He moved to New York soon afterward, and was quickly in demand.
In addition to Ms. Scott-Harden, Mr. Cranshaw is survived by his wife of 39 years, Bobbi; another stepdaughter, Stacey Stearns; three children from his first marriage, Myra Grissom, Kim Cranshaw and Cheryl Blue; and seven grandchildren. His first two marriages ended in divorce.
Mr. Cranshaw injured his back in a car accident in the early 1970s, leading him to switch to electric bass, on which he developed a ripe and swinging style. “He made the electric bass sound very much like an acoustic bass,” said Mr. Rollins, who still endured criticism for featuring the instrument in his bands.
“I couldn’t always get Bob when I wanted him,” Mr. Rollins added, citing the high demand for Mr. Cranshaw’s services and his occasional reluctance to go on tour. “I would have liked to get him more than I was actually able to work with him. But whenever I could, I did.”
Melbourne Robert "Bob" Cranshaw[1] (December 10, 1932 – November 2, 2016) was an American jazz bassist. His career spanned the heyday of Blue Note Records to his recent involvement with the Musicians Union. He is perhaps best known for his long association with Sonny Rollins. Cranshaw performed in Rollins's working band on and off for over five decades, starting with a live appearance at the 1959 Playboy jazz festival in Chicago and on record with the 1962 album The Bridge.[2]
Some of Cranshaw's best-known performances include Lee Morgan's The Sidewinder and Grant Green's Idle Moments. Cranshaw also served as the sole session bassist to Sesame Street and The Electric Company songwriter and composer Joe Raposo, and played bass guitar on all songs, tracks, buttons and cues recorded by the Children's Television Workshop during Raposo's tenure. In addition, he was the bass player for Saturday Night Live from 1975 to 1980 and musical director and bassist for Dick Cavett's talk show in the early 1980s. He performed in pit orchestras for numerous Broadway shows including Jesus Christ Superstar, Lena Horne: The Lady and Her Music Sergeant Pepper's Lonely Heart's Club Band: The Musical and many more. He recorded innumerable recording dates for television shows, films and jingles. He is among the most recorded bassists in history.[citation needed]
Along with Wes Montgomery's brother Monk, Cranshaw was among the early jazz bassists to trade his upright bass for an electric bass. He was criticized for this by jazz purists, although he was forced to switch by a back injury incurred in a serious auto accident.
Throughout his long career he also performed on hundreds of television shows and film and television scores.[citation needed] He appears in The Blue Note Story, a 90-minute documentary of the jazz label.
Cranshaw was also a founding member of the short-lived MJT + 3 (Modern Jazz Two) that included Frank Strozier on alto saxophone, Harold Mabern on piano, Willie Thomas on trumpet, and Walter Perkins on drums. The Chicago-based group produced several albums, a number for Vee-Jay Records. Another Cranshaw appearance, Shirley Scott and Stanley Turrentine's Blue Flames (1964), featuring Otis Finch, was recorded for Prestige Records. Cranshaw also played live shows for tap dancer Maurice Hines, along with friend and drummer Paul Goldberg.
Since the 1990s he worked for the musicians union in New York City as an advocate for the rights of jazz musicians. He fought for better pension plans for jazz musicians, to make sure they or their widows received the royalties owed them and for other related issues. Because of his work in television, film and on Broadway, Cranshaw was compensated financially in a way that many jazz musicians were not. He credited his involvement in the union as his way of trying to insure that his fellow jazz musicians receive the same treatment and financial compensation that he did because of his work in other genres and in other media.
Cranshaw died at the age of 83 on November 2, 2016 in Manhattan, New York from Stage IV cancer.[3]
Melbourne Robert "Bob" Cranshaw (b. December 10, 1932, Chicago, Illinois – d. November 2, 2016, Manhattan, New York) was an American jazz bassist. His career spanned the heyday of Blue Note Records to his recent involvement with the Musicians Union. He is perhaps best known for his long association with Sonny Rollins. Cranshaw performed in Rollins' working band on and off for over five decades, starting with a live appearance at the 1959 Playboy jazz festival in Chicago and on record with the 1962 album The Bridge.
Some of Cranshaw's best-known performances include Lee Morgan's The Sidewinder and Grant Green's Idle Moments. Cranshaw also served as the sole session bassist to Sesame Street and The Electric Company songwriter and composer Joe Raposo, and played bass guitar on all songs, tracks, buttons and cues recorded by the Children's Television Workshop during Raposo's tenure. In addition, he was the bass player for Saturday Night Live from 1975 to 1980 and musical director and bassist for Dick Cavett's talk show in the early 1980s. He performed in pit orchestras for numerous Broadway shows including Jesus Christ Superstar, Lena Horne: The Lady and Her Music, Sergeant Pepper's Lonely Heart's Club Band: The Musical and many more. He recorded innumerable recording dates for television shows, films and jingles. He is among the most recorded bassists in history.
Along with Wes Montgomery's brother Monk, Cranshaw was among the early jazz bassists to trade his upright bass for an electric bass. He was criticized for this by jazz purists, although he was forced to switch by a back injury incurred in a serious auto accident.
Throughout his long career, he also performed on hundreds of television shows and film and television scores. He appears in The Blue Note Story, a 90-minute documentary of the jazz label.
Cranshaw was also a founding member of the short-lived MJT + 3 (Modern Jazz Two) that included Frank Strozier on alto saxophone, Harold Mabern on piano, Willie Thomas on trumpet, and Walter Perkins on drums. The Chicago-based group produced several albums, a number for Vee-Jay Records. Another Cranshaw appearance, Shirley Scott and Stanley Turrentine's Blue Flames (1964), featuring Otis Finch, was recorded for Prestige Records. Cranshaw also played live shows for tap dancer Maurice Hines, along with friend and drummer Paul Goldberg.
During the 1990s, Cranshaw worked for the musicians union in New York City as an advocate for the rights of jazz musicians. He fought for better pension plans for jazz musicians, to make sure they or their widows received the royalties owed them and for other related issues. Because of his work in television, film and on Broadway, Cranshaw was compensated financially in a way that many jazz musicians were not. He credited his involvement in the union as his way of trying to insure that his fellow jazz musicians receive the same treatment and financial compensation that he did because of his work in other genres and in other media.
Cranshaw died at the age of 83 on November 2, 2016 in Manhattan, New York from Stage IV cancer.
