Aurelia Butler

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    Flo Wants to Reinvent the Girl Group for a New Generation

    On the British R&B trio’s awaited debut album, “Access All Areas,” nostalgia meets ambition.Flo’s singles kept on coming, but where was a full-fledged album? When all its pop machinery was already in motion, the group dared to put its debut on pause.The initial plan was for the British R&B trio to release a full-length album in 2023 after a string of singles that began in March 2022 with “Cardboard Box,” a coolheaded, close-harmony kiss-off that has been streamed more than 54 million times on Spotify. After the release of a 2022 EP, “The Lead,” and a hyperactive performing schedule that demonstrated their real-time virtuosity, Flo was named best rising star at the 2023 Brit Awards; they went on to release collaborations with Missy Elliott and Stormzy.But Flo’s three members — the singers and songwriters Jorja Douglas, Renée Downer and Stella Quaresma — weren’t satisfied with their album tracks. They didn’t want anything that felt like filler. So amid tour dates for an ever-expanding audience, they took a risk, banking that fans would hold on a bit longer, and found time to continue writing and trying new collaborations. The group’s finished album, “Access All Areas,” will arrive on Nov. 15.“We just kept on making music — and we kept on making better music,” Downer said in a video interview from a couch backstage at Skyla Credit Union Amphitheatre in Charlotte, N.C., where Flo was opening on a headlining tour by Kehlani. They were casual before the sound check; slinky costumes and glossy styling would come later in the day.“Access All Areas” flaunts echoes of groups like Destiny’s Child, TLC and the Pussycat Dolls — music the three women, who are in their early 20s, have heard all their lives. “Back then, the standards were much higher,” Quaresma said. “Nowadays if you’ve got followers, you can be a singer. People can see that we’re really inspired by the real singers and the real artists. I think people are craving that.”But Flo is also determined to establish its own sound. “The melodies will always be nostalgic, because you’re a product of your environment,” Douglas said. “But we definitely have to be mindful of what’s more current at the moment.”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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    How Quincy Jones Brought Pop’s Greats to the Studio: Eddie Van Halen, Bob Dylan and More

    For decades, he had many of the pop world’s best players on call — and knew how to coax out their sharpest performances.“Quincy called me.”That is the opening line of the best stories told by some of the best musicians in the world over the last half-century or so, as they recount being recruited for recording sessions by Quincy Jones, the super-producer whose work was often as much a matter of casting as of capturing sounds on tape.Eddie Van Halen got the call one day in 1982, to add a pyrotechnic guitar solo to Michael Jackson’s “Beat It.” He declined credit for it, but after Jackson’s death in 2009, Van Halen said that session was one of the “fondest memories in my career.”Greg Phillinganes, the synthesizer virtuoso who began his career with Stevie Wonder, got many such calls as an in-demand session player, working on Jones-helmed albums by Jackson, Donna Summer and James Ingram, among others.“By virtue of getting a call,” Phillinganes recalled this week, “that was the endorsement that you were worthy of being there” — an induction into an elite circle that included both big stars and supremely skilled but lesser-known musicians, each chosen with intention by Jones for what they could bring to a project.Jones, who died on Sunday at 91, was the master of a nearly vanished mode of record-making that relied on groups of talented musicians working under the finely attuned ear of a producer. For decades, he had many of the pop world’s best players on call, and — in what could be a career-making enlistment or just the umpteenth studio gig — would hire them to spice up a track with a guitar lick, or smooth its contours with a synthesizer part, or ground it with just the right beat.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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    in Movies

    For ‘Dinner in America,’ a Surprise Theatrical Run Is Dessert

    The film became popular on TikTok two years after its quiet initial release. Now, it’s getting a second chance in movie theaters.On a recent weeknight at the IFC Center in Manhattan’s West Village, staff members corralled a 400-person crowd in and out of the doors while swarms circled the lead actors of the sold-out feature playing that night: “Dinner in America.” The film — an angsty rom-com that debuted at the Sundance Film Festival in 2020 but struggled to find distribution before being self-released in 2022 — has catapulted from crickets to cult status since going viral on TikTok in the past couple of months. Seizing on a rare encore, the filmmakers have rallied fans to support a shot at the theatrical run they never had.“You don’t get second chances in this business,” the film’s writer-director Adam Carter Rehmeier told the audience during a post-screening Q&A. The surprise comeback began around September when an inexplicable bump in TikTok’s algorithm turbo-blasted the movie and its earworm original song, “Watermelon.” Soon after, the film was trending across Hulu (where it is currently streaming), Letterboxd and Google. The Frida Cinema in Santa Ana, Calif., was one of the first theaters to announce a screening, selling out in less than 24 hours. The nonprofit cinema said the requests for “Dinner in America” were the most they’d received for any film.The plot follows the unlikely musical and sexual chemistry between Simon (Kyle Gallner) and Patty (Emily Skeggs). He’s an on-the-lam, slick crust punk; she’s a mousy 20-year-old whose parents keep her away from strobe lights and on five different medications. She finds refuge from bullies and suburban stupor by mailing Polaroid nudes and love poems to her favorite hardcore band’s ski-masked lead singer, who, coincidentally, is Simon.Emily Skeggs with Gallner in “Dinner in America.”Best and Final ReleasingWhen “Dinner in America” was released for a limited theatrical run, as well as on demand, in 2022, The New York Times gave it a mixed review. The critic Concepción de León wrote that the movie “delivers on surprise and explosiveness, but much of its offensive language, both racist and homophobic, feels gratuitous in a film that might have otherwise landed as an offbeat love story.”But content creators have been lifting up the film. The screenwriter Nic Curcio pitched the film to his TikTok followers as the “love child of ‘Napoleon Dynamite’ and Todd Solondz” after noticing the uptick beyond the usual MovieTok nerds. Those millions of viewers, he told The Times, are probably sitting alone in their rooms: “The screening elements bring this whole phenomenon full circle.” The film’s success on social media meant it wouldn’t have to wait decades to achieve an underground cachet.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 Musician Building the Great Native American Songbook

    The musician Tim Long was sitting at his dining room table on a September morning, looking at old family photos and talking about how good can sometimes emerge from suffering.Long’s mother, Stella, a member of the Choctaw Nation, grew up destitute in rural eastern Oklahoma. When she was young, her widowed mother remarried and moved nearby, leaving Stella and her four brothers to fend largely for themselves. The Oklahoma government put the children in boarding school, where Stella caught tuberculosis. One of her lungs had to be removed, and she endured two stints in quarantine that lasted a total of five years.One thing that gave her solace was her discovery of a classical music station on the radio. She developed a special fondness for Beethoven.“Without that, I wouldn’t be in music,” Long, 56, said over cups of oolong tea. “My life would not have happened if she — if my parents — had not had that broader outlook.”Long’s family in Yeager, Okla., before he was born. His father, Fred Long, is in back; his mother, Stella Long, is on the left, with relatives.via Timothy LongLong’s wide-ranging life in music has included playing the violin and piano, conducting, coaching singers and teaching. And now, he has taken on a new role, perhaps the most significant yet: commissioning.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 Dismisses 2 Players Over Sexual Misconduct Accusations

    The orchestra said an inquiry found credible claims against the musicians of sexual assault and harassment. They denied the charges.The New York Philharmonic said on Monday that it had dismissed two players after an inquiry uncovered what it described as credible claims against them of sexual assault and harassment.The players — the associate principal trumpet, Matthew Muckey, and the principal oboist, Liang Wang — had previously been accused of misconduct, and the Philharmonic tried and failed to fire them in 2018.But the musicians were put on paid leave in April when the orchestra fielded new questions about that case. An investigation that began then has now turned up additional claims of misbehavior, the Philharmonic said.The orchestra last month informed the players that they would be dismissed at the start of the next season. They will remain on paid leave until then.“We have done the right thing and we have followed the letter of the law,” said Deborah Borda, the Philharmonic’s interim leader. “The facts strongly supported our case.”Ms. Borda said the inquiry had uncovered “patterns of sexual misconduct and abuse of power” by the two men. She added that Mr. Wang had engaged in inappropriate relationships with students and had improperly tried to influence decisions about tenure. In total, 11 women came forward with accusations against Mr. Wang, the Philharmonic said, and three against Mr. Muckey. The orchestra said the accusations ranged from inappropriate remarks to assault.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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    Quincy Jones: A Life in Photos

    A musician, bandleader, composer, producer and much more, Quincy Jones, who died at 91 on Sunday in California, led many musical lives. Only supreme talent can explain his accomplishments, but there was another factor, too: a ferocious work ethic.From childhood, he fought to learn the skills that would allow him to build a life in music. He first touched a piano at age 11 after breaking into a recreation center looking for food. Two years later, he persuaded a professional trumpeter to give him lessons every morning before school started.But once he had acquired those musical foundations, he worked to expand the range of his skills at a dizzying speed. Over the decades that followed, Mr. Jones was presented with a steady stream of opportunities — sometimes simultaneously. He embraced them all, turning much of what he touched to gold, and remaking American music along the way in a career that endured for more than five decades.These photographs show Mr. Jones both under and outside the spotlight, often helping other artists bring forth their best work. They also show the public side of him — a musical titan honored for his achievements.PoPsie Randolph/Michael Ochs Archives, via Getty ImagesMr. Jones and the singer Lesley Gore working in New York on the song “It’s My Party,” which was released in 1963.Franz Hubmann/Imagno, via Getty ImagesMr. Jones leading a band at the Konzerthaus in Vienna in 1960.Gai Terrell/Redferns, via Getty ImagesMr. Jones guiding a session in a recording studio in 1963.David Redfern/Redferns, via Getty ImagesMr. Jones and the singer Roberta Flack, circa 1973.A&M Records/ Michael Ochs Archives, via Getty ImagesMr. Jones in 1974.David Redfern/Redferns, via Getty ImagesMr. Jones, left, with Duke Ellington, at the piano, during the recording of the television special “Duke Ellington … We Love You Madly” at the Shubert Theater in Los Angeles in 1973.Bettmann, via Getty ImagesStevie Wonder and Mr. Jones during a recording of the song “Stop, Don’t Pass Go.”G. Paul Burnett/The New York TimesMr. Jones won six Grammy Awards in 1991 for his album “Back on the Block.”URLI/GARCIA and Gamma-Rapho, via Getty ImagesMr. Jones in Paris in 1988.Alain Benainous/Gamma-Rapho, via Getty ImagesMr. Jones leading student musicians at the Montreux Jazz Festival in 1991.Jeff Kravitz/FilmMagic, Inc, via Getty ImagesMr. Jones and Oprah Winfrey at the 1995 Academy Awards in Los Angeles, where he was given the Jean Hersholt Humanitarian Award.Associated Press/Associated PressMr. Jones with President Barack Obama in 2011, when Mr. Jones received the National Medal of Arts at the White House.Danny Moloshok/Invision, via Associated PressMr. Jones onstage with Oprah Winfrey at his induction into the Rock & Roll Hall of Fame in 2013 at the Nokia Theater in Los Angeles.Richard Shotwell/Invision, via Associated PressMr. Jones at a hand and footprint ceremony at the TCL Chinese Theater in Los Angeles in 2018.Damon Winter/The New York TimesMr. Jones in 2013. More

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    Quincy Jones Orchestrated the Sound of America

    Jones, who died at 91, erased boundaries, connected worlds and embraced delight. As a producer, he coaxed ingenuity from his players and singers.I have this book called “The Complete Quincy Jones,” from 2008. It’s the sort of grand coffee table experience so ephemera loaded that it all but spills out photos and reproductions of letters and sheet music and newspaper clippings and report cards. It’s a book that requires a plan to transport it from a store to your house. Some of this stuff is affixed to the pages, as if Jones, who died on Sunday, had assembled it just for me, even though my name’s nowhere near Oprah Winfrey’s effusive “thank you” note. One of the unglued news items, from a 1989 edition of The International Herald Tribune, has now become a bookmark that reads, inartfully: “Quincy Jones: Black Music’s Bernstein.”It’s a constellatory, celebratory, classy volume, just like the music Jones devoted the majority of his 91 years to. As you make your way through, you realize how ubiquitous this man was. I mean, I knew he was connected. (Maya Angelou writes the preface. The foreword’s by Clint Eastwood, the introduction is by Bono and the afterword belongs to Sidney Poitier.) But not until I sat down with this thing could I truly appreciate something else: what a connector he was, human ligament.That, of course, was also in the music. He played many brasses — sousaphone, trombone, tuba, horns — but settled on the trumpet and quickly became an ace arranger and producer, someone whose brilliance involves having it all figured out. His approach to music involved not simply the erasure of boundaries but an emphasis on confluence, of putting some of this with some of that, and a little of this thing over here. Bossa nova together with jazz, Donna Summer doing Bruce Springsteen, Eddie Van Halen and Michael Jackson. On records, for movies, in concerts, with “We Are the World” and Vibe magazine. Connections.This wasn’t iconoclasm and, officially, it wasn’t civil rights, either. It was vision, curiosity and taste that aligned with civil rights. Jones didn’t want artificial boundaries dictating that vision. So what you hear in all of that music is a little bit of everything — African percussion and R&B rhythm ideas, percolating alongside fur-coat string arrangements and trans-Atlantic flights of falsetto. It sounds like whatever America is supposed to mean. Often, he was orchestrating the sound of America, complicating it while grasping what makes it pop. It’s worth considering how his music opens one of the most-watched television events ever broadcast (“Roots”) and his production is behind the best-selling album ever recorded (“Thriller”). Two titles that nail the depth and sensation of the Quincy Jones experience.Jones, right, at the inauguration of President Clinton in 1993, with Michael Jackson and Diana Ross among the celebrities in attendance.Lynn Goldsmith/Corbis, via VCG, via Getty ImagesBut there’s another, related aspect of that experience, and it’s all over “The Complete Quincy Jones.” In just about every photo, he seems so happy to be wherever he is. Standing next to Hillary Clinton, chatting with Colin Powell, cracking up next to Nelson Mandela, perched beneath a conductor’s podium alongside Frank Sinatra and Count Basie. In one picture he’s got an arm around Sarah Vaughan and the other around Chaka Khan. Elsewhere, he’s planting a kiss on Clarence Avant’s cheek; pressing his cheek into Barbra Streisand’s (she signed that one: “My big ole black butt is sticking out — isn’t it?”; and I’ll just say her dress is dark). A big spread on “The Color Purple,” which he produced and scored, includes a photo of him and Alice Walker, forehead to forehead. Then there’s the intriguing shot of him looking heavenward with Leonard Bernstein at, we’re told, the Sistine Chapel.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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    How ‘Blitz’ Recreates War-Torn London

    Steve McQueen’s latest film, set in 1940 during Germany’s bombardment of the British capital, draws extensively from contemporary photos, and was shot entirely outside London.In a London train station, a young Black child clutches a suitcase with both hands. Drowning in his coat, he wears a flat cap and a stoic expression, striding toward his future as an evacuee. The photograph, taken during the eight-month-long bombardment of British cities by German forces during World War II, was one of the images that inspired Steve McQueen’s new film “Blitz,” currently in select theaters.The boy, carrying his small suitcase as he evacuated London in 1940, inspired the character of George in “Blitz.”AlamyThe film is told from the perspective of George (Elliott Heffernan), a biracial 9-year-old who is evacuated from London to the countryside as bombs descend on his hometown. Mid-journey, he escapes the train, abandoning his suitcase and weaving his way back to his mother, Rita (Saoirse Ronan), in east London.Doing research for the film, McQueen and its production designer, Adam Stockhausen, were struck again and again by “the incongruity, and the heartbreak,” of images of life in London during the bombing, Stockhausen said in a recent interview. McQueen would see a photo of a woman sweeping out her ruined house or one of a man sitting in a chair and smoking a cigarette, the home around him reduced to rubble, and build a scene around it, Stockhausen added.The film’s production design is meticulous — Stockhausen previously collaborated with McQueen on “12 Years a Slave” and “Widows” — and seen through George’s eyes, 1940s London is a sprawling labyrinth. Depicting the sweep of the city was essential to the narrative, Stockhausen said, but shooting in London would have been too difficult and expensive, and the team wanted to avoid a C.G.I. set.Adam Stockhausen, left, the film’s production designer, and Steve McQueen, the director, working on set.via AppleWe 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