Aurelia Butler

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    Neil Sedaka Executed One of Pop’s Great Comebacks. Now, He Just Plays.

    After the man in a dark cashmere sweater and tortoise shell glasses sat down at a piano and leaned into the microphone, his first words were a declaration: “Sedaka’s back … again!”It was late March and the lounge at Vitello’s — an old-school Italian restaurant in the heart of Studio City, Calif. — was packed for a show by the irrepressible 86-year-old singer and songwriter Neil Sedaka. He had booked a series of semiregular Sunday night appearances here to mark the golden anniversary of his professional resurrection.Fifty years ago, Sedaka completed one of the most remarkable comebacks in pop music. A smiling star of the teen idol era, he’d made his name with run of hummable hits — “Oh Carol,” “Calendar Girl,” “Happy Birthday Sweet Sixteen,” “Breaking Up Is Hard to Do” — but his bubbly tunes, sung in a high tenor, were soon swept away, first by the arrival of the Beatles and then by the turmoil of the 1960s.In the difficult years that followed, Sedaka lost his fortune, his record deal and his sense of self. At his lowest, he would walk down the street and people would ask: “Didn’t you used to be Neil Sedaka?”Neil Sedaka gave up his classical pursuits after hearing the Penguins’ 1954 hit “Earth Angel,” and instead learned his trade as a pop songwriter at the Brill Building.Philip Cheung for The New York TimesIn the early ’70s, Sedaka exiled himself to England, where he gradually rebuilt his career, playing small clubs as he rediscovered his muse and a new group of collaborators. A fellow piano man and avowed fan, Elton John, eventually midwifed his return to the American charts in 1975, helping release the hit LP “Sedaka’s Back,” which has just been reissued in a deluxe vinyl package.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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    ‘Jurassic World Rebirth’ Review: Wonder, Gone Extinct

    With its seventh entry, the popular dinosaur franchise is starting to show signs of wear.In the 32 years since dinosaurs started roaming the earth again — that is, since “Jurassic Park” opened in theaters — a list of required ingredients for entries in the franchise has evolved. They always center on scientists and adventurers, usually bickering with one another. There’s always some shadowy billionaire, or billion-dollar corporation, lurking in the background. Kids are always in peril. And of course, there are always dinos.Save for the dinosaurs, this could describe pretty much any summer Hollywood blockbuster. But the “Jurassic” movies — of which the new film, “Jurassic World Rebirth,” is the seventh — have a particularly distinctive quality, something I rarely encounter in big-budget cinema. They’re action-packed and filled with peril, yes. But each movie also gives way, however briefly, to a sense of quiet awe.Cinema is well-suited to provoking wonder. In the art form’s early days, just seeing moving images left viewers astonished (and, in some cases, panicked). It has always felt a little like magic, the experience of watching another world emerge, drawn with lights, through a frame hung on a wall. Adding sound to the experience made it even more amazing, and most cinematic innovations over the past century — everything from Smell-o-Vision to 3-D to 4DX — try to wow the audience even more.Jonathan Bailey and Scarlett Johansson in “Jurassic World Rebirth.”Jasin Boland/Universal Pictures and Amblin EntertainmentBut mainstream movies have often leaned more on spectacle (a shark chomping in the water, superheroes zooming through the air, Tom Cruise hanging off the side of a plane) than awe, which is a quieter thing. Awe makes us feel small, and it feels good. The first “Jurassic Park” movie introduces the dinosaurs in a way that makes the characters, and the audience, stop talking and thinking about anything else and just stare. These giant, stately creatures — the franchise is especially fond of the sort with long, curving necks — are tremendous to behold, and John Williams’s score swells to symphonic heights. Yeah, you know that’s not a real dinosaur. But who cares? You feel small and hushed in the presence of something great, and ancient, and achingly beautiful.Every “Jurassic” movie has repeated this moment, trying to re-evoke in the audience that feeling of awe, with somewhat diminishing returns. But sometimes they still manage it. For instance, the 2022 installment, “Jurassic World: Dominion,” is not a very good movie. But it succeeds on this one specific front by moving the big dinosaur moment to a wintry landscape. Two Brachiosauruses have wandered into a place where loggers are working. They’re being slowly led away from the spot, and the burly men are silently watching. These animals can’t move quickly, but they’re not in a hurry either. Their ancestors were here long before ours, and their bodies carry the memory of a land before time.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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    100 Years After His Death, Will We Ever Understand Satie?

    If you’ve ever looked up a playlist to help you relax, focus or fall asleep, you’ve probably come across the music of Erik Satie.Most likely, you will have heard his “Gymnopédie No. 1”: a swaying foundation of chords that seem to step forward yet stay in place, somehow both independent of and supporting an instantly alluring melody.This piece’s popularity transcends genre, exemplifying the composer Virgil Thomson’s idea that Satie is the only composer “whose works can be enjoyed and appreciated without any knowledge of the history of music.”But Satie, while one of the most popular composers, is also one of the most enigmatic. He was a mystery to many during his lifetime and, a century after his death, remains elusive: a house of mirrors full of tricks, distortions and dead ends.Satie’s caricature of himself.API/Gamma-Rapho, via Getty ImagesThe more you try to understand Satie, the more difficult it becomes. His “Gymnopédies” are just a taste of a much bigger, stranger collection of works that are rarely heard. They were composed outside any fashion, and beyond traditional forms like the symphony and concerto, with scores idiosyncratic to the point of absurdity. To some they are a joke; to others they are disarming, a way to clear your mind and allow it to question the nature of music and performance. More

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    Review: On ‘Virgin,’ Is Lorde Finally Done With the Spotlight?

    Her fourth album, “Virgin,” is her most erratic and least convincing. But the pop skeptic has a new target: herself.“What Was That,” the lead single on Lorde’s fourth album, “Virgin,” found one of the most thoughtful and interrogative pop stars of the last decade futzing around with aftermarket Charli XCX-isms in an up-tempo thumper that indicated that, after years of reluctant anti-hits and even more reluctant hits, she finally might be caving in to eagerness.Thankfully, it’s followed by “Shapeshifter,” the album’s best song, which is far stranger, and far more successful. Over a brittle, skittish post-drum-and-bass beat, Lorde sings about sexual hunger, and what parts of yourself you have to release to embrace it. But in the chorus, the song morphs into a metaphor about fame and untouchability, and how unfulfilling those things ultimately are. “I’ve been up on the pedestal,” she sings icily, smearing out the words. “But tonight I just wanna fall.”Were this the through line of “Virgin,” it would make for a fascinating album. A dozen years after “Royals” turned Lorde from a New Zealand bedroom prodigy into a prophet, she’s angling for something of a restart. Sloughing away her celebrity and her preciousness is a bold choice. But “Virgin” is a far emptier album than that hefty premise would imply. It is neither lean-in gratuitous hitmaking, nor philosophical treatise on the lameness of success.It is, in the main, an album of fits and starts, notions that don’t pan out — her most piecemeal work to date. “Man of the Year” begins with a slow plucked guitar and Lorde singing about ego death, and then limply lingers. The singing on “Clearblue,” about unprotected sex, is so heavily digitized and filtered that it lacks any emotional oomph. “GRWM” revisits the theme of erotic liberty — “Soap, washing him off my chest / Keeping it light, not overthinking it” is her opener — but the lyrics about searching for oneself are at odds with the production, which feels like it’s drowning her. Jim-E Stack is a co-producer (with Lorde) on every track; together they’ve chosen erratic eccentricity, with moods that shift so suddenly there’s little to grab onto.Lorde sings conspiratorially, but often on this album, when you listen closely, there’s no secret wisdom being conveyed. The discussion of sexual awakening is promising, but it’s not explored at much depth. And throughout the album, and also its marketing, there’s muddled messaging about gender identity that scans as surface level.Perhaps Lorde is simply a victim of the tyranny of high expectations. For a decade now, she has stood for resistance within the machine — the machine she’d never quite chosen to be a part of, yet which accepted her anyway.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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    8 Key Text Exchanges at the Sean ‘Diddy’ Combs Trial

    The words sent between the mogul and his girlfriends have been cited as crucial evidence by both sides in a case that turns on whether sex marathons he directed were coercive.A jury began deliberating on Monday over the fate of Sean Combs, the music mogul facing charges of sex trafficking and racketeering conspiracy. Inside the jury room in Lower Manhattan, the 12 New Yorkers will have access to hundreds, if not thousands, of pages of evidence presented during the seven-week trial, including years worth of text messages that chronicle Mr. Combs’s relationships with the two women at the center of the case.The prosecution has highlighted dozens of those text messages in an effort to prove that Mr. Combs used violence, financial control and threats to manipulate his girlfriends into physically taxing sex sessions with hired men, while he masturbated and filmed.The mogul’s defense lawyers have maintained that these nights of sex — known as “freak-offs” and “hotel nights” — were fully consensual, and they spent hours throughout the trial parsing messages in which the women appeared to convey enthusiasm for the encounters.The trove of texts that jurors have seen provided intimate glimpses into the dynamics of two tumultuous relationships, the first with Casandra Ventura, the singer known as Cassie, and the second with a woman who testified under the pseudonym “Jane.”Both sides have had to contend with the complexities reflected in the years of communications: expressions of love and anger, lust and reluctance, excitement and anxiety.The total collection of evidence in the case includes 28 days of witness testimony, videos of some of the drug-fueled sex sessions and the surveillance footage of Mr. Combs’s assault on Ms. Ventura in 2016. But the text messages play a crucial role in knitting together a narrative of events. More

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    How ‘Colors of the Wind’ Became a Generational Rallying Cry

    Thirty years after Disney released “Pocahontas,” the film’s Oscar-winning song has taken on a life of its own with millennial and Gen-Z fans.In January, Lanie Pritchett expressed her displeasure with the second inauguration of President Trump by passionately lip-syncing a 30-year-old Disney song.“I had this rage in me,” the 22-year-old theater major at Stephen F. Austin State University in Texas said in an interview. “It was a rough day for a lot of people. I thought, I can’t do much, but I can share my thoughts.”Her thoughts were encapsulated in a few lines from “Colors of the Wind,” the power ballad from Disney’s 1995 animated film, “Pocahontas.” Specifically, “You think the only people who are people are the people who look and think like you / But if you walk the footsteps of a stranger, you’ll learn things you never knew you never knew.”She uploaded a TikTok video with the overlay, “me arguing with magas for the next four years” — and a caption explaining that her progressive views partly stem from “Pocahontas” being her “favorite princess movie growing up.” It quickly racked up more than half a million views.Pritchett, who is a lesbian, was raised in a conservative household in East Texas, where she and her sister would give living-room performances of “Colors of the Wind” while the “Pocahontas” DVD played in the background. She now views the song as an important commentary on queer inclusivity, cross-cultural understanding and environmentalism.“Obviously, that movie has its problems,” Pritchett said, “but the music was really good.”In fact, 30 years after Disney released “Pocahontas” in theaters in June 1995, the film’s Oscar- and Grammy-winning track has broken out as a beloved entity with millennial and Gen Z fans.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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    At the Sean ‘Diddy’ Combs Trial, Jurors Are Ready to Deliberate

    The panel of 12 will be asked to decide whether the music mogul is guilty of racketeering conspiracy and sex trafficking.A jury in the federal trial of the music mogul Sean Combs will begin deliberating on Monday after receiving legal instructions from the judge in the complex sex-trafficking and racketeering conspiracy case.The panel, made up of eight men and four women, heard closing arguments from the government prosecutors on Thursday, followed by a presentation by the defense and a final rebuttal from the government on Friday.Judge Arun Subramanian, who is overseeing the trial, then opted to send the jurors home for the weekend so they could “come back fresh on Monday morning” to receive his directions. The judge estimated it would take him a few hours to go over the fine points of the laws at the core of the government’s case, a process known as “charging the jury,” before the jurors could start deliberations.The anonymous group was not sequestered throughout the trial and spent the weekend at home following the passionate final pleas from both sides last week.“You’ve heard the closing arguments, but I will ask you to continue to keep an open mind about the case,” Judge Subramanian told jurors on Friday, before adding the standard instructions he has given throughout the trial: “Do not speak with each other about the case. Do not speak with anyone else about the case. Do not read or research or look up anything about the case.”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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    Beyoncé Pauses Houston Concert After Car Prop Malfunction Left Her Dangling Over Crowds

    She was singing “16 Carriages,” as she sat in the back of a red convertible prop high above the crowds on Saturday, when it suddenly slanted in the air.The superstar singer Beyoncé gave thousands of fans a scare during a concert in Houston on Saturday, as a car prop in which she sang high above the crowds suddenly tilted sharply to one side in an apparent malfunction.The moment, which was caught on video, showed Beyoncé wearing a white cowboy hat with an American flag by her side performing her song “16 Carriages” from the back of a red convertible when it slanted in the air over the crowds.“Stop. Stop, stop, stop, stop. Stop,” the singer calmly announced as she paused the performance over the roaring crowd, which called for her to be brought down.The car and Beyoncé were harnessed to cables and she could be seen gripping one as the vehicle continued to dangle over concertgoers, who held up their illuminated smartphones like candles.In April in Los Angeles, Beyoncé appeared in a car similar to the one that malfunctioned on Saturday in Houston.The New York TimesThe singer, 43, was slowly lowered to safety, much to the joy and relief of her fans who cheered her.“OMG she scared me,” one fan shared in a video.In another clip when she was back onstage, Beyoncé told the crowd, “If ever I fall, I know y’all would catch me.”It was not clear what led to the mishap. Parkwood Entertainment, the singer’s management company, said in an Instagram post that “a technical mishap caused the flying car, a prop Beyoncé uses to circle the stadium, and see her fans up close, to tilt.” The company said, “She was quickly lowered and no one was injured.” A representative for the stadium did not give further details.In a compilation of images from the show, the company also included one of Beyoncé performing from the dangling prop.The concert was held at the NRG Stadium in Houston, her hometown, and was the first of two shows there this weekend.The concerts are part of her international Cowboy Carter Tour, which opened in April in Los Angeles, to support her 2024 album “Cowboy Carter,” which won album of the year at the Grammys this year. More