Aurelia Butler

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    Who’s Afraid of Being Black? Not Kamala, Beyoncé or Kendrick.

    With her response to Donald Trump’s comments about her background, Kamala Harris showed that Blackness doesn’t need to be explained or defended — an idea underscored by her campaign theme song.Vice President Kamala Harris didn’t take the race bait.A few hours after Donald J. Trump falsely claimed that she suddenly decided to become “a Black person,” Ms. Harris reminded the crowd at a Black sorority convention in Houston that Mr. Trump was resorting to a familiar script. It was the “same old show,” she said, of “divisiveness and disrespect.”She chose not to deflect attention away from her multicultural heritage or to double down on it. That tactic nullified an implication that being Black is something that needs to be authenticated, explained, disavowed or defended. It underscored that Blackness isn’t something that can be turned on or off.Like Ms. Harris, my father is the child of an Indian mother and a Black father. Both he and his parents were born in and emigrated from Trinidad and Tobago. Because of him, I saw up close what Ms. Harris is conveying: that it’s possible to refuse to pit one heritage against the other even as you embrace Blackness as your primary political identity.“My mother understood very well that she was raising two black daughters,” Ms. Harris wrote in “The Truths We Hold: An American Journey,” her 2019 memoir. “She knew her adopted homeland would see Maya and me as black girls, and she was determined to make sure we would grow into confident, proud black women.”Ms. Harris, like my dad, considers her Blackness something to be celebrated and, at times, protected.Beyoncé and Kendrick Lamar perform her song “Freedom,” now used by the Kamala Harris campaign, at the BET Awards in 2016.Matt Sayles/Invision, via Associated PressWe 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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    Untitled (The Playlist)

    Hear songs with no firm names from the Cure, D’Angelo, Kate Bollinger and more.Robert Smith of the Cure.Ronald Wittek/EPA, via ShutterstockDear listeners,Today, Jack White released a new solo album named “No Name,” joining the ranks of the many artists throughout history who have finished a piece of music and, confronted with the challenge of giving it an all-encompassing title, simply shrugged and said, “I’d rather not.” Elliott Smith, for example, had a whole numbered series of “No Name” songs, while the Breeders called their 2002 album “Title TK,” publishing shorthand for “to come later.” The rapper Noname has confused things further, cheekily titling a recent song “Namesake.” The mind boggles.But when it comes to music without a name, one particular title has been used more often than any other: “Untitled.” And so we have arrived at the theme of today’s playlist, filled entirely with untitled tracks.“Untitled,” that neutrally toned cop-out of a name, has been used by all kinds of artists past and present, Interpol, R.E.M. and Mk.gee among them. To call a song “Untitled” can be either pretentious or practical, depending on the ear of the beholder. Sometimes, as on Kendrick Lamar’s demo collection “Untitled Unmastered,” it’s used to suggest that there is a certain rough, unpolished quality to the material. Other times, as illustrated here in songs by Kate Bollinger and the Cure, a lack of a title echoes a narrator’s struggle to communicate the right sentiment. Every so often, it’s all a bit of a lark. Consider the playful wink that D’Angelo gave this whole phenomenon when he titled what is perhaps his most famous song, “Untitled (How Does It Feel).”What’s in a name? These nine songs just might make you wonder. For all their differences, though, they share an understanding that an untitled song lets the music speak for itself.Never quite said what I wanted to say to you,LindsayListen along while you read.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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    ‘Trap’ Review: Josh Hartnett Plays a Father With a Secret

    Josh Hartnett stars as a father with a secret in this M. Night Shyamalan film set at a concert.“Dad, this is the literally the best day of my life,” the teenager Riley (Ariel Donoghue) beams to her doting father, Cooper (Josh Hartnett), in the opening minutes of M. Night Shyamalan’s “Trap.” That feeling won’t last — but for the first half of this mischievous thriller, we’re also having fun.Riley is ecstatic to have stadium floor seats for her favorite pop icon, Lady Raven (Saleka). The child’s attention is on the stage. Ours is on her father who is having visible difficulty concentrating on the show. He’s clocking the cameras, the exits, the unusual number of cops, the no-nonsense F.B.I. profiler (Hayley Mills) muttering into her walkie-talkie. The police are hunting a serial killer named the Butcher, but all they’ve got to go on is that he’s a middle-aged man in this majority girl crowd. Underneath the thumping bass and the squeals, Shyamalan wordlessly clues us in that the unassuming Cooper is also a slayer desperate to escape.Instead of telegraphing evil, Hartnett cranks up that gee-willikers likability that once trapped him as one of Hollywood’s factory-stamped generic leading men. At his most devilish, he’s all apple cheeks, grinning so amiably that a merch salesman (Jonathan Langdon) reveals that the Butcher has his own obsessives. When no one’s watching, Cooper’s eyes narrow at whatever is on his mind. Should he pull the fire alarm? Slip through the hydraulic lift in the floor? Can his daughter tell he’s acting weird?It takes cleverness and control to pull off this unspoken tension. Shyamalan boasts the former and feigns the latter for a while before his hotdogging impulses take over. He’s like a guy who karaokes Hitchcock and then starts ad-libbing his own tune. We’re never onboard with the premise that a 20,000-plus crowd is the perfect place to arrest an unknown man. But we’re willing to play along until it starts to feel like Shyamalan so enjoys being inside Cooper’s head that he doesn’t want to leave. One fairly satisfying ending launches into encore after encore, with Shyamalan holding court past the time the audience is antsy to wrap up.The plot is at its best when it’s simply a dad, a daughter and the puzzle he must solve to stay in her life. Hartnett and Donoghue have an affectionate, believable chemistry that’s boosted by the young actor’s natural charm — she doesn’t hit a phony note. To root for Riley’s happiness means rooting for Cooper’s, so every so often, particularly after we’ve cheered his latest brazen bit of genius, we’re reminded there’s a victim (Mark Bacolcol) handcuffed in his murder house. Worse, whenever Cooper needs a diversion, he’s willing to send a stranger’s daughter to the E.R.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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    Hear Billie Eilish and Charli XCX’s ‘Guess’ Remix

    Hear tracks by MJ Lenderman, Miranda Lambert, ASAP Rocky featuring Jessica Pratt and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Charli XCX featuring Billie Eilish, ‘Guess’In the slightly less than two months since its release, Charli XCX’s sixth album, “Brat,” has transformed from a clubby cult classic into a mainstream phenomenon, fueled by a sense of cool so elusive yet galactically powerful that a CNN panel recently convened to discuss, with magnificent awkwardness, its potential impact on the presidential election. Strange times indeed. Luckily, Charli is still keeping it light, not allowing the new patina of Importance to cloud the fact that “Brat Summer” is, above all things, about messy, hedonistic fun. So let’s just say that the latest “Brat”-era remix, the deliriously suggestive “Guess,” is unlikely to appear in an upcoming Kamala Harris campaign ad.“You wanna guess the color of my underwear,” Charli winks atop an electroclash beat produced by the indie-sleaze revivalist the Dare, who interpolates Daft Punk’s 2005 single “Technologic”; Dylan Brady of 100 gecs also has a writing credit. It’s an underground loft party crashed by a bona fide A-lister: Billie Eilish, making her first guest appearance on another artist’s song, purring a playfully flirtatious verse that ends, “Charli likes boys but she knows I’d hit it.” It’s refreshing to once again hear Eilish on a beat as dark and abrasive as those on her debut album, but she and her brother and collaborator Finneas know they are ultimately on Charli’s turf, reverently endorsing the trashy aesthetic and if-you-know-you-know humor of “Brat.” “You wanna guess if we’re serious about this song,” Charli intones at the end, as Eilish lets out a conspiratorial giggle. Against all odds, reports of Brat Summer’s death seem to have been slightly exaggerated. LINDSAY ZOLADZOkaidja Afroso, ‘Kasoa’Okaidja Afroso, from Ghana, sings about cycles of nature and human life in his childhood language, Gãdangmé, on his new album, “Àbòr Édiń.” But his music exults in modern technology and cultural fusions. The six-beat handclaps and bass riffs of “Kasoa” look toward Moroccan gnawa music, while the vocal harmonies exult in computerized multitracking. “There will be meetings and partings, and joys and sorrows,” he sings. “May we journey with ease, and hope to cross paths again in another lifetime.” JON PARELESWe 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 97, This Conductor Is Modest and Extraordinary

    When Herbert Blomstedt, the oldest major conductor active today, led the Vienna Philharmonic, age was only one factor in his remarkable artistry.If you’ve been reading news about the U.S. presidential election, you might be forgiven for thinking that age has something to do with ability.But it doesn’t work that way in classical music, a field in which artists often go on as long as they can. Conductors tend to retire only when they decide it’s time. And Herbert Blomstedt, who recently turned 97, clearly doesn’t want to just yet.The oldest major conductor still keeping a regular performance schedule, he was forced to take a break after a fall in December, but was back onstage by the spring and, this week, conducted the Vienna Philharmonic at the Salzburg Festival in Austria. Hardly pushed aside because of his age, he was at the podium of one of the world’s greatest orchestras, at one of classical music’s most prestigious events.Blomstedt has garnered a lot of attention for his longevity and vitality, but that is just one aspect of what makes him a remarkable conductor. As the critic Alex Ross wrote when Blomstedt was 94, equating age with wisdom is a dubious belief, and what he enjoys now is “a belated reward for a resolutely unshowy musician who has gone about his business decade after decade.”Even Blomstedt doesn’t spend too much time making sense of his age in interviews. He values routine, and cooks for himself when he’s not on the road. And he has mentioned that, as a Seventh-day Adventist, he doesn’t eat meat or drink alcohol or coffee; without missing a beat, though, he often adds that Winston Churchill made it to 90 liberally drinking and smoking cigars.Wisdom may not be a given with Blomstedt’s age, but it’s undeniable in his artistry. Perhaps because of physical limitations or personal preferences, or both, his conducting in recent years has had the kind of economy that comes with experience. (You can hear it, too, on the recordings he continues to release, with ensembles including the Philharmonic and the Bavarian Radio Symphony Orchestra.) He is also a maestro with roots in musicology, who thrills at returning to scores; he has mentioned that it took 66 years to notice a detail in Schubert’s “Great” Symphony for the first 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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    ‘Elizabeth Taylor: The Lost Tapes’ and the Moment Star Worship Curdled

    The documentary blends audio interviews with footage from her life to provide a revealing look not so much at the actress, but at celebrity culture.This summer, thanks mostly to the rise of Glen Powell, I’ve been in a lot of discussions about the state of movie stardom. The jury’s still out on whether we have “real” movie stars today, but it’s clear that the process of becoming a celebrity is different now from what it used to be. Social media and the popularity of small-screen entertainment have changed the game.That question of stardom permeates “Elizabeth Taylor: The Lost Tapes” (premiering Saturday on HBO and Max), an intriguing documentary about one of Hollywood’s most famous actresses, mostly in her own words. In the 1960s, Taylor gave interviews to the prolific journalist Richard Meryman, who died in 2015. Meryman, who had been known for his interviews with celebrities, was researching a book. Recently, more than 40 hours of tapes containing Taylor’s interviews were found in his archive.That audio, in which Taylor is reflective and candid, is the backbone for this documentary. The director Nanette Burstein takes a smart approach to the material, layering the conversation — along with audio from a handful of older interviews with Taylor and some of her friends — on top of archival footage from her life. Taylor became a familiar screen presence while still very young, with her first screen role, in “There’s One Born Every Minute,” hitting theaters when she was 10, in 1942. Soon after, she starred in “Lassie Come Home” and “National Velvet” and turned into a figure of fascination for the audiences. Thus the cameras followed her everywhere.For the Taylor enthusiast, the film is unlikely to reveal much new information. But that’s not really the point. The movie covers each of her eight marriages and many of her projects, but Taylor’s narration focuses largely on her feelings at the time. Because we’re often seeing footage of her public appearances as she talks about her interior life, the result is almost like a behind-the-scenes track, a fresh disclosure of the disjunction between what we think we know about stars — who they are, how they feel — and what’s actually going on inside.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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    Stream These 12 Movies Before They Leave Netflix in August

    A ton of great titles are leaving for U.S. subscribers by the end of this month. Catch them while you can.A recent (and worthy) big winner at the Oscars is among the noteworthy titles leaving Netflix in the United States in August, along with a family favorite, an action epic and two franchises of the comic book and slapstick comedy variety.‘The Woman King’ (Aug. 12)Stream it here.Gina Prince-Bythewood has pulled off an unusual (and thrilling) career 180 in recent years, pivoting gracefully from her early, small-scale dramas (“Love & Basketball,” “The Secret Life of Bees” “Beyond the Lights”) to big action extravaganzas like “The Old Guard” and this, its 2022 follow-up. Viola Davis is fierce and unforgettable as Nanisca, the 19th-century general of an all-woman warrior army in the African kingdom of Dahomey, while John Boyega is terrific as the monarch (at least in name) who supports her. But the star-making performances come from Thuso Mbedu, Lashana Lynch and Sheila Atim as warriors in Nanisca’s army — young performers who more than hold their own against their marquee leads. The screenplay, penned by Dana Stevens (with story assistance from the actor Maria Bello) is based on a true story.‘Paddington’ (Aug. 13)Stream it here.Nicole Kidman has played only a handful of outright villains in her long and prolific career, but when she does, she does so with gusto. In this 2014 adaptation by the director Paul King (“Wonka”) of the children’s book series, Kidman appears as an evil museum taxidermist who wants nothing more than to stuff the gentle cartoon bear of the title. It’s a delightfully wild performance, with just the right mixture of menace and camp — and there’s more to love besides, from the warmth of the family dynamic (led by Sally Hawkins and Hugh Bonneville, both charming) to the sweetness of the convincingly integrated animated Paddington (whimsically voiced by Ben Whishaw) to the winking tone, which will entertain children and parents alike.‘Everything Everywhere All at Once’ (Aug. 22)Stream it here.Once upon a time, it seemed that the Academy Award for best picture would go only to sweeping period epics and turgid literary adaptations. But a few films in recent years have shaken up our conventional notion of “best picture winner,” including the winner of that Oscar for 2022. A madcap hybrid of action movie, slapstick comedy, family drama and brainy science fiction, this busy and brilliant effort from the music video makers turned film directors Daniel Kwan and Daniel Scheinert, a.k.a. the Daniels. Michelle Yeoh won the best actress prize for her role as a meek laundromat owner whose trip into the metaverse unlocks the hero within; Ke Huy Quan and Jamie Lee Curtis picked up supporting actor trophies for their rich and funny turns as her husband and a harried I.R.S. agent.‘Marcel the Shell With Shoes On’ (Aug. 23)Stream it here.What began as a simple stop-motion animation short on YouTube in 2010 became a viral sensation and then, in 2022, this charming feature film. In it, the director Dean Fleischer Camp reprises his role as the human interviewer of Marcel, an inch-long hermit crab shell, assisting him on a journey to find his family. Isabella Rossellini (pitch perfect) joins the cast as his grandmother. The screenplay, by Camp, Nick Pale and Jenny Slate (who voices Marcel), achieves bespoke whimsy without tipping into self-congratulatory twee, thanks in no small part to Slate’s energetic performance, which combines childlike wonder and no-nonsense practicality with a healthy dose of her comic timing.‘Burn After Reading’ (Aug. 31)Stream it here.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 Best Movies and TV Shows Coming to Amazon, Disney+, Hulu and More in August

    “Batman: Caped Crusader,” “Homicide: Life on the Street,” “OceanXplorers” and “Only Murders in the Building” will be streaming.Every month, streaming services add movies and TV shows to their libraries. Here are our picks for some of July’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)New to Amazon Prime Video‘Batman: Caped Crusader’ Season 1Starts streaming: Aug. 1In 1992, the animator Bruce Timm cocreated “Batman: The Animated Series,” which appealed to kids and to older comic book fans with its combination of punchy crime stories, 1940s-Hollywood-inspired imagery and colorful costumed villains. Timm is back on the creative team (with Matt Reeves, J.J. Abrams, Ed Brubaker and others) for the new series “Batman: Caped Crusader,” which looks and feels a lot like the old show, albeit a degree or two more adult. Hamish Linklater takes the place of Kevin Conroy as Batman, channeling Conroy’s deep voice and dry humor for some episodic stories set in the early days of the superhero’s career, when the Gotham gangs are running the city.‘The Lord of the Rings: The Rings of Power’ Season 2Starts streaming: Aug. 29This visually dazzling fantasy series returns for a second season, continuing to tell the story of how and why the magical and destructive rings in J.R.R. Tolkien’s “The Lord of the Rings” novels came into existence. Season 1 functioned a little like a mystery, as Middle-earth’s various races — elves, humans, dwarves, Harfoots and others — tried to determine what had become of the Dark Lord Sauron, who had torn their world apart and then disappeared. The villain’s whereabouts was revealed in the season finale; and now in Season 2, “The Rings of Power” will cover the ways his re-emergence sows distrust and dissension among the factions who once stood against him. This season will also bring in some bits of Tolkien lore unseen in “The Lord of the Rings” movies, including an appearance by the fan-favorite Tom Bombadil (Rory Kinnear), a very old and sublimely gracious soul.Also arriving:Aug. 1“Influenced” Season 1Aug. 5“Judy Justice” Season 3Aug. 8“60 Day Hustle” Season 1“The Mallorca Files” Season 3“One Fast Move”Aug. 15“Jackpot”Aug. 22“Classified” Season 1Aug. 26“No Gain No Love”Keith Kupferer (center, at head of the table) in “Ghostlight.”Luke Dyra/IFC FilmsNew to AMC+‘Ghostlight’Starts streaming: Aug. 30A critical favorite, this slow-burning drama is about a sullen, temperamental construction worker named Dan (Keith Kupferer), who makes a surprising, spontaneous decision to join a local theater troupe that is preparing to mount a production of “Romeo and Juliet.” Inspired in part by the company’s resident diva, Rita (Dolly de Leon), and in part by the play’s themes, Dan begins to come of his shell after an extended period of grief that has also affected his relationship with his wife (Tara Mallen) and daughter (Katherine Mallen Kupferer). (They are also his actual wife and daughter.) The movie’s writing-directing team of Kelly O’Sullivan and Alex Thompson withhold the details of the movie family’s trauma for a while, so that the audience can first appreciate the power of theater for its own sake, before exploring the ways it can be transporting.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