Aurelia Butler

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    What Happened When an Orchestra Said Goodbye to All-Male Concerts

    This season, the Deutsches Symphonie-Orchester Berlin experimented with programming works by female composers at every performance. Results were mixed.In 2021, Marlene Brüggen, a concert planner in Germany, was listening to an episode of the podcast “Herrengedeck” and heard about a pop music festival with gender parity woven into its programming. The next day, she looked at her own festival’s planning chart, with some 200 concerts. Women were seriously underrepresented.“We hadn’t paid attention to that at all,” Brüggen said in an interview. “It was as if the bandages had been taken off my eyes.”That year, Brüggen applied for a job as director of artistic planning with the Deutsches Symphonie-Orchester Berlin. Her job interview included questions about the music she would program if hired. With her earlier epiphany in mind, she suggested the orchestra play more music by women. She got the job.Later, when she and the orchestra’s music director, Robin Ticciati, and its managing director, Thomas Schmidt-Ott, were discussing the 2023-24 season, they decided not just to include more female artists, but also to require every orchestra concert to feature at least one work written by a woman. In the fall, the orchestra plastered Berlin’s walls with posters that read “No concert without a female composer!”“The most fascinating or innovative thing about her idea wasn’t the fact of performing female composers,” Schmidt-Ott said in an interview. “It was doing it in every concert.”I went to nine performances during the season, between November and May, and heard 11 pieces by female composers. All the works were new to me, imbuing each concert with a sense of discovery unusual for an orchestra’s subscription series.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 Interview’: Eddie Murphy Is Ready to Look Back

    Eddie Murphy has been so famous for so long, occupying such a lofty place in the cultural landscape, that it can be easy to overlook just how game-changing a figure he actually is.Let’s start, as Murphy’s career did, with standup. There had been star comics before — Steve Martin, Richard Pryor — but none exploded with anything like Murphy’s speed or intensity. Swaggering, magnetic and able to bounce between sweet personal storytelling and controversial, defiantly un-P.C. material, he was, and forgive me for mixing disciplines, a rock star. “Eddie Murphy: Raw,” released in 1987 when he was only 26, is the highest-grossing standup-comedy film ever — still. The scale of his success, and the fact he achieved it without dulling his edge, redefined what a comedian could do, paving the way for the likes of Kevin Hart and Chris Rock.Listen to the Conversation With Eddie MurphyDavid Marchese talks to the comedy legend about navigating the minefield of fame, “Family Feud” and changing Hollywood forever.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon Music | NYT Audio AppHe also, of course, cast his spell on TV. When Murphy arrived at “Saturday Night Live” in 1980, the show was thought to be on the verge of cancellation. Through sheer force of charisma as well as instantly iconic, hilariously unpredictable recurring characters like his crotchety Gumby and the Mr. Rogers parody Mr. Robinson, Murphy brought the show back to life. A highly plausible argument can be made that without him, television’s most reliable comedy-star-making machine might not have made it to a 10th anniversary, let alone be nearing its 50th.But Murphy made his greatest mark in movies, where he reached new heights, for comedians and Black performers, of popularity and bankability. He helped pioneer the action-comedy genre with his quippy, improvisational-feeling performances in movies like “Beverly Hills Cop” and “48 Hrs.” And then in the mid-1990s, after a bit of a career dip, he transitioned to family-friendly films like “Shrek” and “The Nutty Professor” (one of multiple comedies in which Murphy virtuosically played wildly different characters), and continued to score giant hits.All of which is to say that American pop culture looked different after Eddie Murphy came along. Now he’s returning to the character that sent his career into the stratosphere with “Beverly Hills Cop: Axel F,” which comes to Netflix on July 3. It arrives 40 years after the first film in the series, in which Murphy stars as the wisecracking detective Axel Foley. He is clearly comfortable with the role — and with himself. In recent years, Murphy has been a somewhat enigmatic offscreen presence, but as I found out over the course of our two long conversations in the spring, he can be open and relaxed. He was eager to reflect on what he has achieved, share some Hollywood stories, explain why doing standup doesn’t appeal to him anymore and reveal the dream project he has never gotten off the ground. More

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    The Broad Appeal of the Elsa Dress from “Frozen”

    Wearing a costume from “Frozen” in daily life has become a pastime for many children who identify with the character, regardless of gender.Dressing up as Elsa, the blond queen with magical powers from Disney’s animated film “Frozen,” wasn’t necessarily Jeff Hemmig’s idea of a good time.​​“It was well outside of my comfort zone,” Mr. Hemmig, 43, said.But he knew it would make his son, Jace, happy. So Mr. Hemmig, who lives in Killingly, Conn., squeezed his shoulders into a dress his mom made for him, which matched an Elsa costume she had made for her grandson. Mr. Hemmig then performed a rendition of “Let It Go,” choreography and all, as Jace watched.“He loved it,” Mr. Hemmig said. “He was filled with joy.”Mr. Hemmig wasn’t thrilled about wearing the dress: He said it was tight in the armpits and it made him feel vulnerable. But he loved how it delighted his son, then 3. “Seeing Dad do it, too, felt like a big moment,” Mr. Hemmig said.Like the Hemmigs, countless parents have gone to great lengths to satisfy their Elsa-obsessed children since “Frozen” was released in 2013 and became the cornerstone for one of Disney’s most successful franchises. And Mr. Hemmig is far from the only father to dress as Elsa with his son.Such instances have happened enough that the actor Jonathan Groff, the voice of the character Kristoff in “Frozen” and “Frozen 2,” thanked the films’ directors at a 2022 event for “creating space for young boys to dress up as Anna and Elsa,” the franchise’s sister protagonists.Jacqueline Ayala had been a preschool teacher for five years when “Frozen” came out, and it quickly infiltrated her classroom. For a time, Ms. Ayala recalled, there was only one Elsa dress in its dress-up chest. “That’s why the kids started wearing their own costumes to school,” she said. “So they wouldn’t have to share it.”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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    Taylour Paige Is Ready to Read More Jung

    The actress stars in the new “Beverly Hills Cop” movie, but off-camera, she’s reading several books at once and streaming both YouTube and the Criterion Collection.In the new movie “Beverly Hills Cop: Axel F,” Taylour Paige plays Jane Foley, Eddie Murphy’s daughter. But the 33-year-old actress grew up idolizing a different Murphy-helmed film franchise.“‘The Nutty Professor’ — I probably watched that movie like 200 times on VHS as a kid,” she said.“I recited every line to him almost every day I shot with him,” added Paige, who previously starred in the 2021 movie “Zola” as the title character. “I had a lot of questions, like, ‘How do you play six to eight people believably?’”Paige, who lives in Miami, was calling from Toronto, where she was filming the “It” prequel series “Welcome to Derry.” It’s another franchise to which she wasn’t previously attuned — she hadn’t seen any Pennywise films, nor had she read Stephen King’s 1986 novel that started it all. “I’m a scaredy cat,” she said.While she might not be up on clown-based horror, she lives for soaking up knowledge of vintage cinema, Gnosticism and Jungian psychology. These are edited excerpts from the conversation.1Magnesium TabletsI find magnesium really helpful when I have to travel, or I’m jet lagged, or I have to be on set early and need to go to bed and I’m in a completely different time zone. It also helps dial up my digestion, and it regulates the nervous system.2WalksI’m very grateful to have legs and to be able to walk, and I don’t say this lightly. I walk everyday, three to five miles. I find it inspiring. You can observe and take in and exist. I’ll listen to music or, right now, I’m listening to the Gnostic scriptures. I have dogs (Aretha, a pit bull, Baba Joo, a Chiweenie and Juice, a pit bull-bulldog) which compel me to walk, but I also love taking a simple hand-in-hand stroll with my husband.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 Dr. Alex Arroyo Spends His Sundays (in Costume)

    Dr. Alex Arroyo, a director of pediatric medicine in Brooklyn, gets to live out his “Star Wars” dreams, practice jujitsu and make a big mess while cooking for his family.“Hey, buddy, how are you doing?” a man wearing a Boba Fett costume said as he leaned over the bed of a young boy in a hospital gown.It was a Sunday afternoon in the emergency room at Maimonides Medical Center in Brooklyn, where Dr. Alex Arroyo, the hospital’s director of pediatric emergency medicine, often dons one of more than 20 costumes when he visits patients. His favorite is Boba Fett, the famed bounty hunter from the “Star Wars” films.“I love what I do, but it’s sure hot in there!” said Dr. Arroyo, 48, who has worked at the hospital since 2006. He started wearing costumes in 2021.A die-hard “Star Wars” fan who grew up watching the original trilogy with his parents, Dr. Arroyo has passed that love on to his two youngest children, Grayson, 8, and Karra, 6. For New York Comic Con each year, the whole family dresses up, including his wife, Dr. Sharon Yellin, 44, a fellow pediatric emergency medicine physician who works at NewYork-Presbyterian Brooklyn Methodist Hospital. One year they went as the family from “Encanto.”“I was the big, strong sister with the donkey,” Dr. Arroyo said, referring to the character Luisa.Dr. Arroyo, who also has a 21-year-old son, Colin, from a previous marriage, was born in the Borough Park neighborhood of South Brooklyn — at Maimonides, in fact. Now he lives less than a mile from the house where he grew up, in a four-bedroom, three-story 1920s brownstone. He uses one of the spare bedrooms as his office and rents out the third floor.“It’s a frightening place to be inside of because I’m also an active-duty comic collector,” he said of his office. “It’s filled wall to wall with toys. It’s my sanctuary away from the world.”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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    Paul Sperry, Tenor Who Specialized in American Song, Dies at 90

    He carved out a niche by singing songs by living composers from his own country, and was praised by critics at home and abroad.Paul Sperry, a tenor who championed little-known American art song and spiky contemporary works, and was praised for his incisive performances of the classics, died on June 13 in Manhattan. He was 90.His death, in a hospital, was caused by heart failure, his son Ethan said.In a discipline where his peers tended to stick to tried-and-true German and French classics from the 19th and 20th centuries, Mr. Sperry carved out a niche, singing songs by living composers from his own country. But he also took on some of the most difficult late-20th-century Europeans, like Karlheinz Stockhausen and Hans Werner Henze, who had been shunned by many singers. That boldness earned him steady work, his son recalled.Mr. Sperry, a Harvard Business School graduate who eschewed a career in real estate and turned to singing, his first love, in his late 20s, was a low-key performer who consistently earned high marks from music critics over three decades. They cited his intelligent approach to song, his understanding of texts, and his imaginative programs.“Paul Sperry is a true connoisseur’s singer — he may not have the most glamorous tenor voice imaginable, but he does some wonderful things with it, and his programing is always interesting and exploratory,” the critic Peter G. Davis wrote in The New York Times in 1975 about a recital of lieder, including by little-known 18th century composers who preceded Schubert.Mr. Sperry in 1985. After graduating from Harvard Business School, he turned to singing, his first love.via Sperry familyWhen critics found fault with his voice — Mr. Sperry was most comfortable in deeper registers — they still praised the intellect and musicianship behind it.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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    Michael Jackson Died With $500 Million in Debt

    Jackson owed about $40 million to the tour promoter A.E.G. in 2009, his estate’s executors said in a court filing. They said all the debts have been eliminated.Michael Jackson’s debts and creditor’s claims at the time of his death in 2009 totaled more than $500 million, according to a court filing by the pop superstar’s estate that provides details of his financial woes toward the end of his life.Jackson owed about $40 million to the tour promoter A.E.G., according to the filing, which was made in Los Angeles County Superior Court this month and earlier reported by People magazine. The filing said that 65 creditors made claims against the singer after his death, some of which resulted in lawsuits, and that some of his debt had been “accruing interest at extremely high interest rates.”A representative for the Jackson estate, which is executed by John Branca and John McClain, did not immediately respond to a request for comment. The estate filed the court papers as a request to authorize the payment of about $3.5 million to several legal firms for their work in the second half of 2018.In the court filing, the executors say that they have eliminated the estate’s debt and that almost all of the creditors’ claims and litigation have been resolved.Jackson earned hundreds of millions of dollars throughout the 1980s and 1990s as the creator of some of the biggest-selling albums of all time, along with dazzling concert tours that filled stadiums around the world. He bought the Beatles’ song catalog for $47.5 million in 1985 and later sold it to Sony/ATV Music in exchange for a 50 percent share in the company. Sony bought back the estate’s share for $750 million in 2016.But when Jackson died at the age of 50, shortly before he was supposed to embark on a tour called This Is It, he left behind a tangled web of assets and liabilities.Jackson was famous for his lavish lifestyle and spent money with abandon. He incurred millions of dollars in debt from his Neverland Ranch estate in Southern California and had a penchant for expensive art, jewelry and private jets. He was paying more than $30 million annually on interest payments, a forensic accountant testified during a 2013 wrongful-death trial in which A.E.G. prevailed.The Jackson estate is currently in a dispute with the I.R.S. after a tax audit. In a separate court filing this year, the estate said that the federal agency accused it of undervaluing its assets and said it owed “an additional $700 million in taxes and penalties.”Kirsten Noyes More

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    A Woman Sleeping With Her Stepson? This Director Knows It May Shock.

    The French filmmaker Catherine Breillat has been exploring relationships between girls and older men since the 1970s. Her latest, “Last Summer,” flips the script.When the French director Catherine Breillat was 40, her then-husband and the father of her first child ended their relationship to be with a much younger woman. Soon after, Breillat started dating a man 12 years her junior.“Men want to repudiate their wives of a certain age by saying they couldn’t be loved by anyone anymore,” Breillat said in a recent video interview via an interpreter. “But for me that’s not true. I want to tell other women there’s no cause for despair.” In “Last Summer,” which comes to theaters Friday, she probes at this realization through an incendiary premise.Since the 1970s, the lauded director, now 75, has repeatedly focused her unflinching gaze on the troubled sexual awakenings of girls, often in the uncaring hands of older men, but in “Last Summer,” that dynamic is inverted: A middled-aged lawyer, Anne (Léa Drucker), risks her career and marriage by having a clandestine affair with her 17-year-old stepson, Théo (Samuel Kircher).In “Last Summer,” Anne, played by Léa Drucker, risks her career, and her marriage to Pierre, played by Olivier Rabourdin, by having an affair with her stepson Théo.via Sideshow and Janus FilmsThe film, Breillat’s first in a decade, joins several recent movies concerned with the power dynamics of heterosexual couples in which the woman is older, including the lighter Anne Hathaway-vehicle “The Idea of You” and Todd Haynes’s divisive “May December.” (Haynes’s movie was inspired by the true story of a teacher who started a relationship with one of her students.)According to Breillat, this wave of films reflects a simple reality. “It’s the truth,” she said: “Young people are attracted to older women.”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