Aurelia Butler

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    Roger Nichols, Songwriter Behind Carpenters Hits, Dies at 84

    With Paul Williams, he wrote enduring 1970s soft-rock classics like “We’ve Only Just Begun” and “Rainy Days and Mondays.”Roger Nichols, a California songwriter and musician who, with his pop-alchemist partner Paul Williams, wrote an advertising jingle for a bank that turned into “We’ve Only Just Begun,” a milestone hit for the Carpenters and a timeless wedding weeper, died on May 17 at his home in Bend, Ore. He was 84.His death, from pneumonia, was confirmed by his daughter Caroline Nichols.Mr. Nichols was best known for his collaborations with Paul Williams, the songwriter, lyricist and all-around celebrity known for songs like “Rainbow Connection,” Kermit the Frog’s forlorn anthem from “The Muppet Movie” (1979).With Mr. Nichols focusing on the music and Mr. Williams conjuring up the words, the duo churned out silky pop nuggets like Three Dog Night’s “Out in the Country” (1970), which rose to No. 15 on the Billboard Hot 100; “Traveling Boy,” which Art Garfunkel released in 1973; and “I Never Had It So Good,” recorded by Barbra Streisand in 1975.But it was with their work for the Carpenters, the hit-machine sibling duo Karen and Richard Carpenter, that Mr. Nichols and Mr. Williams scaled the heights of pop success.“We’ve Only Just Begun” peaked at No. 2 in 1970, sold more than a million copies of sheet music and served as a timeless showcase for Ms. Carpenter’s spellbinding contralto vocal stylings.The single “We’ve Only Just Begun,” by Mr. Nichols and Paul Williams, rose to No. 2 on he music charts and became a staple of weddings. A&M RecordsWe 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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    Ferris Bueller’s Vest Hits the Auction Block. ‘Anyone, Anyone?’

    Worn by Matthew Broderick in “Ferris Bueller’s Day Off,” the vest could fetch several hundred thousand dollars, according to Sotheby’s.There might be a temptation to play hooky when wearing it — stealing away in a Ferrari GT to catch a matinee game at Wrigley Field.Alas, no one is likely to confuse the person donning it with Abe Froman, the “sausage king of Chicago.”But for a six-figure sum, you could still channel Ferris Bueller, whose patterned sweater vest from “Ferris Bueller’s Day Off,” the 1986 John Hughes comedy about a suburban Chicago teenager ditching school, hit the auction block this week.The vest worn by the actor Matthew Broderick in the movie could fetch several hundred thousand dollars, according to Sotheby’s, which is handling the garment’s sale.The auction began on Thursday, the 40th anniversary of Ferris’s high jinks, and runs through June 24, with the bidding taking place online.As Ferris’s monotone economics teacher, played by Ben Stein, would say: “Anyone, anyone?”The vest is reminiscent of a cheetah print and made from acrylic yarn. It is expected to fetch an estimated $300,000 to $600,000, far outpacing the rate of inflation. And then some.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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    Why Beyoncé and BET Keep Calling Jesse Collins

    There’s a memorable scene in Beyoncé’s “Homecoming” documentary about her headlining performance at Coachella in 2018, when she asks a production crew member for a 30-foot-wide camera track. He tells her it doesn’t exist. She then proves him wrong.The Emmy-winning television producer Jesse Collins remembers that moment well, so when the pop superstar called on him to produce her Christmas Day N.F.L. halftime extravaganza “Beyoncé Bowl” for Netflix, he was ready to meet her demands.“Hell no, I will never tell her something doesn’t exist unless it really doesn’t exist,” he said recently with a laugh, “because she’ll Google it and she keeps up with technology. If it can’t happen, I am 1,000 percent certain it can’t happen.”Collins, 54, has worked closely with Beyoncé on awards show performances, including her raucous rendition of “Freedom” at the 2016 BET Awards, when she danced and kicked in a shallow pool of water.“The water was one of the most complicated things that I’ve ever done on any award show,” Collins recalled in a video interview from his office in Burbank, Calif., in a comfy black hoodie as the sun beamed behind him. “Most people try to get away from water,” he said, but an executive had promised it. “When you start the conversation with, ‘This was promised to Beyoncé,’ everybody’s like, ‘We’re going to make this happen.’”Making things happen is Collins’s specialty, and it’s why heavyweights like Oprah Winfrey and Jay-Z have recruited him for their projects.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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    Andy Bell of Erasure’s Magical Mystery World

    The frontman, whose first solo album in 15 years recently arrived, explains why he’s a fan of gems, psychics and snails.For years, Andy Bell of Erasure has been drawn to women of a certain age. “Women like Catherine Deneuve or Deborah Harry have this innate royalness about them, this sense of fully being,” he said. “I’ve always admired that.”Imagine his joy, then, when, upon turning 60 last year, he began to feel that way about himself. “It’s almost like seeing yourself from the outside and appreciating who you are,” Bell said by video call from his vacation home in Majorca, Spain. “How lovely to feel that way!”The feeling gave Bell so much confidence, it helped inspire him to release his first solo album outside of his hit band in 15 years. Titled “Ten Crowns,” after the Tarot card that signifies finding balance in your life, the album extends Bell’s legacy of making effervescent dance music, but with a twist. Instead of working with Vince Clarke, his usual partner in Erasure, he paired with the songwriter, producer and remixer Dave Audé. “It did feel a bit like cheating,” Bell said with a laugh.The prime subject of the songs — love — echoes the theme of Erasure’s classic synth-pop hits of the ’80s like “Oh, L’Amour” and “Chains of Love.” (The band will celebrate its 40th anniversary next year.) As usual, the new songs sharply contrast ecstatic music with yearning lyrics. “For me, love is an unreachable destination,” Bell said. “To love someone unconditionally is almost an impossible task.”It’s far easier, he finds, to love the things that make up his list of 10 essential inspirations. Interestingly, none have anything to do with music. Instead, they show a heightened sense of the visual world though, to Bell, they’re intimately related. “I definitely see things as sounds,” he said. These are edited excerpts from the conversation.Anything 3-DI love that illusion. It brings you to a place where reality meets fantasy. I think my interest stems from when I first saw Andy Warhol’s “Flesh for Frankenstein” with Joe Dallesandro. What’s not to like?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 Director of ‘Mission Impossible: Final Reckoning’ Unpacks Key Franchise Moments

    Christopher McQuarrie was a 27-year-old former movie-theater security guard when he won the Oscar for best screenplay in 1996 for “The Usual Suspects.” Things went a little pear-shaped from that early peak, as they tend to do in Hollywood, and the Princeton, N.J., native was looking to leave the industry altogether when he piqued Tom Cruise’s interest for another script that became the 2008 Hitler-assassination drama “Valkyrie.”It was the start of a professional relationship that has culminated in McQuarrie, now 56, directing and co-producing the past four films of the “Mission Impossible” franchise, including “Mission: Impossible — The Final Reckoning,” in which Cruise famously stars as the unsinkable (and seemingly unkillable) special agent Ethan Hunt.Recently, McQuarrie spoke with The Times in New York and later via video call from the back of an SUV in Mexico City about the choice to make A.I. the villain, the question of whether the franchise is coming to an end, and a “gnarly” secret Tom Cruise movie in the works. Here are edited excerpts from those conversations.When did the decision come that “Dead Reckoning” and “Final Reckoning” would be the final two films in the franchise?Over the course of “Rogue Nation” [2015], “Fallout” [2018] and then “Dead Reckoning” [2023], we were delving deeper and deeper into the emotions of the characters and their arcs. I said, “Look, we know that it’s going to be a long movie, let’s just cut it in half.”I understand the irony of me saying we were going to make two two-hour movies and we ended up making these two much, much bigger ones. But we didn’t really think of it as being the conclusion of anything until we were about halfway through “Dead Reckoning.” Over time, we started to feel that this is a movie about the franchise more than just about the mission.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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    Why Luxury Brands and Performers Like Beyoncé Are Seeking Willo Perron’s Designs

    Perhaps you’ve seen Beyoncé soaring over crowds in a floating horseshoe at her Cowboy Carter tour performances, or riding a metallic mechanical bull. If you’ve wondered who came up with those stunts, the answer involves Willo Perron.“She really is, in my eyes, the last of a type of an entertainer-performer,” Mr. Perron, the tour’s stage designer, said over tea at Corner Bar, a restaurant on the Lower East Side of Manhattan, in April. “Really, I’ve never seen somebody work so diligently.”He was speaking with the perspective of someone who has also worked with Rihanna (on her Super Bowl LVII halftime show), with Drake (on the Aubrey and the Three Migos tour) and with Florence and the Machine (on the group’s High As Hope tour).“It makes you have to kind of show up at such a high level all the time,” Mr. Perron said of working with Beyoncé. “And it’s good, it’s like playing a sport with somebody who is much better than you. Hopefully, it makes you a little bit better yourself.”Mr. Perron, 51, is one of those people who is hard to put a label on professionally — the type of creative mind whose fluency in various mediums has led some to call him a cultural polymath and others a world builder.“What I do is like planting seeds with no expectations,” he said. “Just constantly planting seeds and planting seeds. And then if something grows, then I give it attention. And then simultaneously, this thing will grow over here and I’ll give that a little bit of attention.”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 Stacy Spikes, Co-Founder of MoviePass, Spends His Day at the Theater

    Stacy Spikes grew up at the movies. When he was a child in Houston, his mother would give him and his brother $5 each, drop them off at the theater — the manager knew them by name — and come back hours later. “She’d probably be arrested today,” he said. “It was a different time.”But that time at the movies was formative for Mr. Spikes, 56, who in 1997 founded Urbanworld Film Festival, a five-day festival in New York that showcases Black and multicultural films. In 2011, he co-founded MoviePass, a subscription-based ticketing service, which he later sold and then bought back in 2021.“Seeing Disney films and being dropped off at the theater, that was a form of escape for us, but it was like our babysitter,” Mr. Spikes said. “I saw ‘Blade Runner’ when I was 13 years old and I knew I was going to work in this area.”The movie industry has evolved in recent years, but Mr. Spikes remains a film buff. Recently, he saw “Sinners” three times in three different types of theaters.“I knew it had great music so I saw it the first time in Dolby Atmos, which focuses on the sound,” he said. “The second screening, I saw it in IMAX, and now you’re really focused on the picture and that part of the experience.”Mr. Spikes stretching before his daily run. He said he hasn’t missed a run in 11 years.Shuran Huang 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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    AMC Says It Will Show More Ads Before Movies

    The theater chain’s decision brings it in line with what its biggest competitors, Regal and Cinemark, have been doing since 2019, but it risks irking loyal customers.It’s a perennial frustration for moviegoers: The lights go out, the theater falls silent and the anticipation of the movie builds.But wait! Here are a few more ads for you to sit through.Most cinema enthusiasts know that going to the movies comes with a healthy dose of promotion, from the ads onscreen to the ones plastered on drink cups and bags of popcorn. But starting in July, AMC will join its major competitors in running even more commercials before movie screenings begin, in an effort to increase revenue without hiking ticket prices as the industry struggles.The movie theater chain has struck a deal with the cinema advertising company National CineMedia to play commercials in what is known as the “platinum spot” — right before the start of a movie. It is a departure from 2019, when AMC issued a strongly worded statement rejecting the company’s proposal to place ads in that spot. (National CineMedia signed agreements with two of AMC’s rivals, Regal and Cinemark, that year.)In a statement on Wednesday, AMC suggested it was prepared to receive some backlash. But at a time when movie theaters are struggling to get Americans to start going to the movies again, AMC noted that the decision would not make it any more expensive for customers.“For the past five years, AMC has sought out crucial revenue that is not reliant on the increase of base ticket prices,” the company said in the statement. Of the new advertisements, it added that “while AMC was initially reluctant to bring this to our theaters, our competitors have fully participated for more than five years without any direct impact to their attendance.”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