Aurelia Butler

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    Kjersti Flaa’s Celebrity Interviews Are Intended to Start Conversations

    Kjersti Flaa’s awkward interviews with Blake Lively and Anne Hathaway from years ago blew up online. She may release more because “the times are a little different.”Kjersti Flaa says she never intended for her uncomfortable encounter with Blake Lively to get so much attention. Ms. Flaa, a Norwegian journalist who is based in Los Angeles, had been having a conversation with a fellow Norwegian reporter about celebrity interviews gone wrong when her conversation with Ms. Lively, which took place during the 2016 press junket for the movie “Café Society,” came to mind.In a recent interview, Ms. Flaa, whose first name is pronounced SHER-sty, said she had decided to post the tense exchange with Ms. Lively to YouTube to “see what happens.” The clip, which runs four minutes and 17 seconds, is titled “The Blake Lively interview that made me want to quit my job,” and it has garnered more than 5.4 million views since it was published in August.In the clip, Ms. Flaa congratulates Ms. Lively, who had just announced her pregnancy, on her “little bump.” A visibly annoyed Ms. Lively shoots back, “Congrats on your little bump.” Ms. Flaa was not pregnant.Ms. Flaa said she had coincidentally published the clip while Ms. Lively was facing backlash for the tone of her press tour for the romantic thriller “It Ends With Us.” The timing instigated a new wave of criticism of the actress. And Ms. Flaa, a little-known junket reporter, was suddenly everywhere.“Back then, when I did that interview, I never wanted to post it on YouTube, because I knew if I did, A, I would probably never be invited again by her publicists, clients or the studio again,” she said. “And B, I think it was a different cultural landscape eight years ago, and they would have attacked me instead of her, right?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Eddie Van Halen Changed Rock History. Now His Brother Is Telling Their Story.

    On Oct. 4, 2015, Van Halen performed at the Hollywood Bowl in what proved to be its last show, capping a decades-long run as one of rock’s most successful and influential acts. The amphitheater is about 30 minutes from the 800-square-foot house in Pasadena, Calif., where the Van Halen brothers — the drummer Alex and the guitarist Eddie — grew up. But the journey between those spots took the group all over the world, through the highest highs and lowest lows of rock ’n’ roll glory, excess and tragedy.Alex, 71, has learned to be grateful for every moment of it. During a video call one morning in September from his home in the Los Angeles area, he cited an old saying: “‘In the effort lies the reward.’” He was dressed casually in a blue button-down check shirt underneath a leather jacket, sunglasses on and dark hair brushed back. On an otherwise bare wall behind him hung a gold record for Van Halen’s 1978 self-titled debut album.“That’s exactly how Ed and I felt,” he said. “The ride was the reward. And it’s been a hell of a ride.”That trek — the first 30 or so years of it, at least — is chronicled in “Brothers,” a book that will be published on Oct. 22, which Alex was moved to write after losing Eddie, his younger sibling by roughly 20 months, to cancer in October 2020. He characterized the project, told with the New Yorker writer Ariel Levy, as “a painful experience.” But, he said, “you’ve got to go through the pain to get to the other part.”Alex and his brother were extremely close. “Every day, the first thing I’d do is call him,” he said. “We would talk, we would yell and scream at each other. But we were always supportive.”Magdalena Wosinska for The New York TimesAlex was a commanding presence onstage, especially in Van Halen’s early years (recall him bare chested, furiously bashing away behind a massive drum kit in the 1981 video for “Unchained”), but he was always more reserved with the press. He ceded the role of mouthpiece to the band’s exhibitionist singer, David Lee Roth, and his brother, who was routinely hailed as one of the greatest guitarists of his generation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Sean ‘Diddy’ Combs Faces 6 Lawsuits From Lawyer With a Hotline

    The Houston lawyer Tony Buzbee filed suits in New York with new allegations of rape and sexual assault from 1995 to 2021. Mr. Combs denied the accusations.The embattled music mogul Sean Combs is facing six more sexual assault lawsuits in New York, including one from a man who accused Mr. Combs of groping his genitals when he was 16, in what a team of lawyers say are the first filings from dozens of plaintiffs.The lawsuits, filed on Monday in Federal District Court in Manhattan, also accuse Mr. Combs of raping two men and two women and forcing another man to perform oral sex in allegations that span from 1995 to 2021. All of the claims were filed anonymously.The filings further intensify the legal troubles facing Mr. Combs, the longtime record executive and performer known as Diddy and Puff Daddy, as he awaits a trial for federal racketeering and sex trafficking charges in a Brooklyn jail. He has pleaded not guilty, and his lawyers said in a statement in response to the new lawsuits that “Mr. Combs has never sexually assaulted anyone — adult or minor, man or woman.”The new lawsuits were brought by a personal injury lawyer in Houston, Tony Buzbee, who has used Instagram and a widely publicized news conference to solicit clients. Mr. Buzbee detailed the scope of his work at the news conference this month, where he spoke in front of a backdrop displaying a large red hotline number that people with claims against Mr. Combs could call.“After the indictment of Sean Combs and the announcement that we were pursuing these claims, the floodgates opened,” Mr. Buzbee said at the news conference.In one of the lawsuits filed on Monday, a plaintiff recounts a 1998 encounter with Mr. Combs at one of the entertainer’s famous White Parties at his mansion in the Hamptons. The suit says the plaintiff, who was 16 at the time, bumped into Mr. Combs and shared his dreams of “becoming a star,” after which Mr. Combs told him that he needed to drop his pants. When the plaintiff complied, the suit says, Mr. Combs grabbed and squeezed his genitals.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Philharmonic’s Afromodernism Festival Gathers Black Artists

    An Afromodernism festival at the New York Philharmonic shines a light on Black artists, who are vastly underrepresented in classical music.At the New York Philharmonic’s festival Afromodernism: Music of the African Diaspora, the composer Nathalie Joachim plans to showcase the richness of Black musical expression, like Haitian funeral brass bands, swing and New York Minimalism.“We are not a monolith,” she said.Black artists have long struggled to be seen or heard in classical music. And despite some recent progress, they remain vastly underrepresented among orchestra players, soloists, composers and conductors.But this week, Black musicians will be front and center at the Philharmonic, which is devoting a series of concerts and events to the music of the African diaspora. On Thursday and Friday, the orchestra will play works by living composers like Joachim and Carlos Simon and revered figures like William Grant Still, whose Symphony No. 4 celebrates the fusion of musical cultures in the United States.On Saturday, the orchestra will host a Young People’s concert focused on diasporic experiences. And later this month, the Philharmonic will also present a concert by the International Contemporary Ensemble, the contemporary music group, featuring a variety of Black composers.The composer Carlos Simon wants to shatter stereotypes about Black American culture, with a piece highlighting dance forms including tap, holy dance, ring shout and waltz.“There will be people in the audience who had no idea that Black people were doing a waltz,” he said about wealthy Black Americans in the 1930s who had debutante balls for their children. “It’s going to be a learning experience.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Ka Made Rap on His Own Terms. Hear How in 7 Songs.

    Remembering the hip-hop artist (and New York City firefighter), who died over the weekend at 52.Ka onstage in 2014.Brecheisen/WireImage, via Getty ImagesDear listeners,One of the great joys of being a pop music critic is being able to ingest an artist’s whole body of work, find the throughlines and themes and meaningful resonances, and then be a bullhorn, sharing them with the world. And perhaps the job’s greatest grimness is to do the very same, but in service of memorial.That’s what I’ll be doing below, about the unfailingly and perspective-shiftingly great Brooklyn rapper Ka, who died this weekend, at a far-too-young 52.Ka’s music was a frame of mind as much as a sound — beginning in the late 2000s, when he was in his mid-30s, he made rap music as if by ancient, tattered blueprint. His raw material was the hip-hop of the late 1980s through the mid-1990s, but he didn’t seek to faithfully remake it. Instead, he distilled it, burned off its excesses, and created a thing of extreme concentration, thick poetry and icy tone.He was an inheritor of the woozily intricate narrative work of MF Doom, of the cocksure twistiness of his childhood friend Smoothe Da Hustler, and the more esoteric members of the Wu-Tang Clan, like GZA and Killah Priest.Ka produced most of his own music, though words were always his primary concern. Sometimes, he went drumless, or something very close to it — a negative-space perversion that served to outline his words in hard chalk.“They’re not for the radio, the club or the masses,” Ka wrote of his songs, in an early biographical statement on his website. “My music is for those who miss early ’90s hip-hop when pain and struggle were the dominant themes.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    The Violinist María Dueñas Makes a Carnegie Hall Debut

    The stage of the Felsenreitschule, a theater carved from the side of a mountain in Salzburg, Austria, is about 130 feet wide. During concerts, artists come out from catacombs at the side, beginning a walk to the center that, depending on nerves, can feel punishingly long.The 21-year-old violinist María Dueñas made that journey under the spotlights for her debut at the prestigious Salzburg Festival one night this summer. But, instead of nerves, she felt comfort the moment she saw the seated orchestra.“I could tell, that I was in a safe space,” she said the next morning over coffee.She looked beyond the lights to the full house, taking in the audience’s energy. Once she found her place, nestled in the semicircle of the Vienna Radio Symphony Orchestra, she raised her bow and let out a steady, then soulful open G at the start of Bruch’s First Violin Concerto. During the slow second movement, she listened to the hall as she played and noticed that she couldn’t hear people breathing.Dueñas with the Vienna Radio Symphony Orchestra at the Salzburg Festival.Marco Borrelli/Salzburg Festival“That, for me,” she said, “is a very good concert.” Stunned silence is common at performances by Dueñas, who, in an industry always eager for the next prodigy, has emerged as something particularly special: a strong-willed young artist with something to say, and the skill to say it brilliantly.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Tim Berne, a D.I.Y. Jazz Institution

    The saxophonist and composer has spent 50 years in the New York scene. As he turns 70, he’s commanding gigs at a Brooklyn bar and continuing to inspire.For the saxophonist and composer Tim Berne, the Brooklyn bar Lowlands is a favorite neighborhood hangout. Lately, it has also become his musical laboratory.During the past two years, Berne has regularly walked the block and a half from his Gowanus home to the cozy establishment on a sleepy stretch of Third Avenue. Tall, with a moseying gait and a mop of gray hair, he blends in easily. There is no stage, so he and his bandmates, a rotating cast of newer and longtime associates, set up on the floor, amid purple Christmas lights and an illuminated Miller High Life sign.Passers-by might expect a classic-rock covers gig, but that changes when Berne begins warming up. His alto sound, chiseled and neon-bright, cuts through the space like a laser beam. It’s an instant reminder that one of the true thought leaders in progressive jazz — an unassuming yet undeniable force in the music for more than four decades — is still operating at peak strength as he approaches his 70th birthday on Wednesday. (He returns to Lowlands on Oct. 22.)“That Lowlands gig, he takes it as seriously as if he was going to be playing at Carnegie Hall,” the guitarist Bill Frisell, a frequent Berne collaborator in the ’80s who has re-entered his orbit, said in a video interview. “It’s like his life is on the line.”Frisell said that after their early work together, he didn’t keep close tabs on Berne’s music. “I heard him again, and it was like, ‘Man alive,’” he said, going on to describe “how these germs of ideas that were there at the beginning had blossomed and expanded, and his sense of all the parts — the melody, the rhythm, the harmony, the counterpoint — all of that had just kept on getting richer and richer.”“I’m not an artist; I’m just playing music,” Berne said.Malike Sidibe for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    3 Day Trips From Nashville

    Fall is the perfect time to take excursions from bustling Music City into the surrounding countryside, where a variety of natural and cultural adventures await.Little more than a decade ago, Nashville, a.k.a. Music City, wasn’t so much a tourist town as it was a destination for musicians — a place where performers like Taylor Swift could still play the Bluebird Cafe without creating a scene.These days, visitors come in droves. And with more to do both in the heart of the city and in newly popular outlying neighborhoods, many people are staying longer. They might even want to work in a brief escape from what has become a lively, even raucous, city, and explore the lush, surrounding countryside.Here are three day trips from Nashville, all within a two-hour drive. Tennessee is a beautiful state, especially in the fall, when tulip poplars, sugar maples and hickory trees turn bright red, gold and copper, making the drive as joyful as the destination. Why not see more of it while you’re visiting?Fall Creek Falls State ParkThe 30,638-acre Fall Creek Falls State Park, situated on the rugged Cumberland Plateau, is just a few hours from Nashville.Sarah ReidKnown for its bluff-top vistas and stunning waterfalls, Fall Creek Falls State Park (free), about 100 miles east-southeast of Nashville, is one of Tennessee’s most popular — not to mention beautiful — state parks. The 30,638-acre natural area is situated on the rugged Cumberland Plateau, which traverses Tennessee diagonally. Here, you’ll find waterfalls, an extensive cave system, gorges, crystal clear streams and stands of virgin hardwood. In the fall, the park is lit with the bright yellow of towering green ash trees and the russet of red oaks.A good first stop is the Betty Dunn Nature Center at the north entrance, where you can learn about the park’s flora and fauna and history, stock up on snacks and have a park ranger plan the day’s journey with a curated map.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More