Aurelia Butler

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    She Found a Home in Music. Now She’s the Composer for the King.

    Errollyn Wallen, a Belize-born artist who has been named master of music by King Charles, discusses music as an escape, confronting racism and living by the sea.The call from Buckingham Palace came on a summer morning, when Errollyn Wallen, wearing a pink onesie with pom-pom trim, had just finished a breakfast of toast and marmalade at her seaside home in Scotland.A private secretary for the British royal family had phoned with momentous news: King Charles III wanted Wallen to serve as Master of the King’s Music, an honorary position roughly equivalent to that of poet laureate.Wallen, a composer and a pianist who was born in Belize, a former British colony, has spent her career challenging conventions in classical music.“I was astonished,” Wallen, 66, said in a recent Zoom interview. “I paused for a few moments, then cheerfully accepted.”Wallen, whose appointment was announced in August, is the first Black woman to serve in the role, which was created during the reign of King Charles I in the 17th century. While there are no fixed duties, Wallen is part of the royal household and will likely be called upon to compose pieces for special occasions, including weddings, jubilees and coronations. She is expected to hold the post for 10 years.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

    Want to Turn Your House into the Art House? Try Metrograph at Home.

    The Metrograph theater in New York has expanded to include a streaming platform that spotlights foreign, art house, independent, classic and documentary selections.When the Metrograph theater opened on New York’s Lower East Side in spring of 2016, it wasn’t just a cinema; it was an experience, offering up two screens of new independent films, archival screenings and special events, as well as an on-site bar, restaurant and bookshop. In the years that followed, Metrograph’s reach continued to grow, as did the opportunities for film lovers to patronize the theater beyond its walls, thanks to the establishment of Metrograph Pictures (a distribution company restoring and championing archival releases) and the Metrograph Journal (featuring thoughtful film writing from a variety of contributors).But like so many other theaters, particularly independent ones, Metrograph faced a crisis in the spring of 2020, as Covid forced the doors to close at 7 Ludlow St. But that July, the company launched what was initially known as Metrograph Digital, with an ambitious calendar of live screening events developed and curated by the theater’s programming team, featuring new releases and repertory titles supplemented by guest introductions and interviews. Those events were initially limited to Metrograph members, but that October, the program expanded to include screenings that were available to nonmembers à la carte.In the years that followed, the service — rechristened Metrograph at Home — expanded from the theater’s website into the streaming platform space, transforming a pandemic stopgap into a specialty streamer spotlighting foreign, art house, independent, classic and documentary selections and monthly verticals. Like similar services we’ve spotlighted here, the library may not be gigantic (it currently boasts 158 feature films, 10 short films, and 55 original videos), but the curation is excellent, the interface is easy to use and the audio and video quality are top-notch. Best of all, it’s affordable; access is bundled with a Metrograph Membership, which is only $5 per month or $50 annually (and which also includes discounted tickets, special events and other perks for in-person members).Here are a few recommendations from their current library:‘The French’: One of Metrograph Pictures’s proudest discoveries is this 1982 documentary from the expatriate American photographer and filmmaker William Klein, who was the first director ever granted permission to shoot at the French Open. He captures the 1981 tournament, in which Bjorn Borg defeated Ivan Lendl, in cinéma vérité style; we see plenty of action on the courts, including Borg’s dramatic victory, but Klein seems less interested in the spotlight than the margins, and the most fascinating footage finds sports gods hanging out and talking shop in the locker room, or trading strategy and gossip in the stands. (There are also plenty of opportunities to observe John McEnroe being a brat.) It’s a panoramic view, keenly observed, and serves as a valuable time capsule of the sport in an earthier and less corporatized era.Isabelle Adjani and Michael Hogben in “Possession.”Gaumont‘Possession’: When Andrzej Zulawski’s psychological horror drama was first released in the United States in 1983, it was in a badly butchered cut, excising much of the film’s weightier material to appeal to a straightforward horror audience that dismissed it. It was all but impossible to see in its original form for years, but Metrograph Pictures oversaw a new 4K restoration, which was the first film screened at the theater when it reopened in the fall of 2021. It’s a deeply unsettling picture, which begins with the marriage of its focal couple (played to the hilt by Isabelle Adjani and Sam Neill) in total disrepair, and things go steeply downhill from there; suffice it to say that Adjani’s subway miscarriage is one of the most stunning pieces of acting ever committed to film, a scene that remains indescribable in spite of its notoriety and meme-ability.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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    With Stickers on Phone Cameras, Clubs Defend the Party Vibe

    It’s standard practice in Berlin, and camera covering is catching on in London, Ibiza and New York as clubs seek to protect an anything-goes atmosphere.On a recent Sunday afternoon, the line outside Berghain, the Berlin techno club, stretched for hours. Hundreds of visitors, sweating in black outfits, lined the dusty path to the door, hoping to be allowed into the former power station, which is known worldwide for its tough door policy, starry D.J. lineups and hedonistic parties lasting nearly 36 hours.The club is also notorious because, despite its reputation as one of the world’s pre-eminent techno venues, its parties aren’t documented online. Clubgoers are warned at the door that photos and videos are banned: Any violation will result in expulsion. To ensure compliance, door staff place stickers on the front and back of patrons’ smartphones, covering their cameras.Although this may seem excessive to visitors, such camera policies have become standard practice in Berlin clubs as a crucial tool for maintaining an anything-goes atmosphere, and clubs elsewhere are increasingly following Berlin’s lead.Respected venues, including Fabric in London and Radion in Amsterdam have all brought in similar sticker rules in recent years. Pikes Ibiza, on the Spanish island famous for its nightlife, announced last month that all visitors must now cover their cameras, so that “what happens at Pikes stays at Pikes.”Téa Abashidze, a founder of Basement, a Brooklyn techno club that has been stickering visitors’ phones since 2019, said in an email that it was part of a “cultural shift” toward “genuine, distraction-free experiences.” The club rigorously enforced the rule, she said, sometimes throwing several rule-breakers out per night.On a recent Sunday night, people lining up to enter R.S.O. were uniformly in support of the club’s stickering policy.Gordon Welters 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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    Jack DeJohnette, One of Jazz’s Great Drummers, Has a Surprise

    At 82, the musician known for his work with Miles Davis and Keith Jarrett will perform a rare solo concert on his first instrument: the piano.In the early 1960s, Jack DeJohnette, a pianist from Chicago, took a weeklong gig at the Showboat club in Philadelphia with the saxophonist Eddie Harris and played his second instrument: the drums. (A bandmate had left a set at his house.) At one point, Harris, an older player whose career was starting to gain steam, took DeJohnette aside.“Eddie said to me, he said, ‘Man, you play nice piano,’” DeJohnette recalled last month, sitting at the kitchen table of the cabin-style home near Woodstock, N.Y., where he and his wife, Lydia, have lived for around 50 years. “‘But something about your drumming — you’re a natural on drums. And you’ve got to decide which one’s going to be your main instrument.’”To anyone who has followed jazz the past 50-plus years, his eventual choice will be obvious. DeJohnette, now 82, is drumming royalty.Starting in the mid-60s, he fearlessly tackled the era’s new hybrid sounds, anchoring a quartet led by the saxophonist and flutist Charles Lloyd that became a surprise crossover success. He then moved on to the game-changing early fusion outfits of Miles Davis, who wrote in his autobiography that DeJohnette “gave me a certain deep groove that I just loved to play over.” Later, he excelled in a wide variety of contexts, including the state-of-the-art traditionalism of Keith Jarrett’s so-called Standards Trio — which endured for more than three decades — and the expansive explorations of the trumpeter Wadada Leo Smith, summoning hurtling energy or impressionistic calm as needed.“He is in the pantheon of our greatest drummers,” Lloyd wrote of DeJohnette in an email. “From the first time we played together there was a deep simpatico.” In a phone interview, Jarrett, who also shared time with DeJohnette in Lloyd’s and Davis’s bands, described the drummer’s contributions as “just a natural flow of what needed to be done.”As his reputation on drums grew, DeJohnette never stopped playing piano, a fact he will underscore at a rare solo concert on Sept. 28 at the Woodstock Playhouse, where he will perform on the instrument. As heard on “Return,” a 2016 vinyl-only LP that was his first unaccompanied piano full-length and featured mostly his own compositions, his style is unhurried and luminous, technically sound but primarily focused on finely honed mood-setting.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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    Woman Accuses Sean ‘Diddy’ Combs of Raping Her in Filmed Attack

    In a new lawsuit, the woman said Mr. Combs and his bodyguard drugged and assaulted her in his recording studio in 2001.A woman accused the hip-hop mogul Sean Combs of drugging and raping her at his recording studio in Manhattan in 2001 in a lawsuit filed on Tuesday, saying that she learned last year that the assault had been recorded and shown to others.The lawsuit was filed about a week after Mr. Combs, 54, was arrested on charges of racketeering conspiracy and sex trafficking, to which he has pleaded not guilty. Six other women have accused Mr. Combs of sexual assault in lawsuits in the past year, while three additional lawsuits have accused him of sexual misconduct.The plaintiff in the suit filed on Tuesday, Thalia Graves, said in her complaint that she was 25 at the time of the assault and knew Mr. Combs through her boyfriend at the time, who was working for Bad Boy, Mr. Combs’s record label. The lawsuit said that in or around the summer of 2001, Mr. Combs called her and asked to meet in person. After arriving in an S.U.V. to pick her up, the lawsuit said, he offered her a glass of wine that made her feel “lightheaded, dizzy and physically weak.”When they arrived at the recording studio, the suit said, Ms. Graves lost consciousness and later woke up to find herself naked and her hands tied behind her back with “what felt like a plastic grocery bag.” She said in the court filing that a bodyguard of Mr. Combs’s had lifted her up and slammed her down onto a table, after which she recalled Mr. Combs raping her.“Plaintiff was unable to move, totally overpowered physically, in addition to being drugged and bound,” according to the lawsuit, which was filed in federal court in Manhattan.Representatives for Mr. Combs did not immediately respond to a request for comment.Ms. Graves’s suit also names the bodyguard, Joseph Sherman, as a defendant, saying that he assaulted her and forced her to give him oral sex. Mr. Sherman said in an interview that he stopped working with Bad Boy in 1999 and had “nothing to do” with Mr. Combs by 2001.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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    Woman Accuses Sean Combs of Raping Her in Filmed Attack

    In a new lawsuit, the woman said Mr. Combs and his bodyguard drugged and assaulted her in his recording studio in 2001.A woman accused the hip-hop mogul Sean Combs of drugging and raping her at his recording studio in Manhattan in 2001 in a lawsuit filed on Tuesday, saying that she learned last year that the assault had been recorded and shown to others.The lawsuit was filed about a week after Mr. Combs, 54, was arrested on charges of racketeering conspiracy and sex trafficking, to which he has pleaded not guilty. Six other women have accused Mr. Combs of sexual assault in lawsuits in the past year, while three additional lawsuits have accused him of sexual misconduct.The plaintiff in the suit filed on Tuesday, Thalia Graves, said in her complaint that she was 25 at the time of the assault and knew Mr. Combs through her boyfriend at the time, who was working for Bad Boy, Mr. Combs’s record label. The lawsuit said that in or around the summer of 2001, Mr. Combs called her and asked to meet in person. After arriving in an S.U.V. to pick her up, the lawsuit said, he offered her a glass of wine that made her feel “lightheaded, dizzy and physically weak.”When they arrived at the recording studio, the suit said, Ms. Graves lost consciousness and later woke up to find herself naked and her hands tied behind her back with “what felt like a plastic grocery bag.” She said in the court filing that a bodyguard of Mr. Combs’s had lifted her up and slammed her down onto a table, after which she recalled Mr. Combs raping her.“Plaintiff was unable to move, totally overpowered physically, in addition to being drugged and bound,” according to the lawsuit, which was filed in federal court in Manhattan.Representatives for Mr. Combs did not immediately respond to a request for comment.Ms. Graves’s suit also names the bodyguard, Joseph Sherman, as a defendant, saying that he assaulted her and forced her to give him oral sex. Mr. Sherman said in an interview that he stopped working with Bad Boy in 1999 and had “nothing to do” with Mr. Combs by 2001.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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    Willie, Waylon and the Boys: the Ultimate Outlaw Country Primer

    Hear songs from Willie Nelson, Waylon Jennings, Kris Kristofferson, Johnny Cash and more, inspired by a new book.In 1985, four icons of outlaw country — from left, Willie Nelson, Kris Kristofferson, Waylon Jennings and Johnny Cash — formed the supergroup the Highwaymen.Mark Humphrey/Associated PressDear listeners,I’m a sucker for anything remotely related to country music’s outlaw movement, and I recently tore through the audiobook of Brian Fairbanks’s tome “Willie, Waylon, and the Boys: How Nashville Outsiders Changed Country Music Forever,” an informative page-turner that inspired today’s playlist.Coined in the 1970s to classify a certain kind of country music rebel, the term “outlaw” can be a little nebulous, and there’s endless debate about which artists were (and weren’t) a part of that club.* I appreciated Fairbanks’s decision, though, to focus primarily on the four artists who would form the country supergroup The Highwaymen: Texas’s braided sage Willie Nelson; the deep-voiced, country-rocking maverick Waylon Jennings; the legendary father figure Johnny Cash; and the Rhodes Scholar-turned-Nashville janitor-turned-songwriting superstar Kris Kristofferson.In telling the stories of these four artists and the ways their careers intersected, Fairbanks also traces the larger arc of outlaw country — from its beginnings as a genuinely countercultural movement that flew in the face of the Nashville establishment, to its transformation into an empty marketing term, and its eventual rebirth in subsequent generations of freethinking country artists.It’s difficult to distill the first wave of outlaw country down to just 10 tracks, but for this playlist, I gave it my best shot. You’ll hear songs from the aforementioned four, as well as tunes from Jessi Colter, Billy Joe Shaver and David Allan Coe. And as for those waves of outlaws who have recently revived the spirit of the Highwaymen? Stay tuned for a playlist dedicated to them in the coming weeks.Almost busted in Laredo, but for reasons that I’d rather not disclose,Lindsay*Merle Haggard, for example, is sometimes grouped in with the outlaw movement. While the self-proclaimed Okie from Muskogee was the only one of the above mentioned artists to do significant jail time, there were other aspects of his career and philosophy that put him at odds with artists like Nelson, Cash and Kristofferson. Regardless of how you label him, Haggard is one of the greats — and worthy of a playlist all his own.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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    Review: A Devastated Drone Pilot Opens the Met Opera’s Season

    Jeanine Tesori and George Brant’s bloodless “Grounded,” about a fighter pilot turned dissociating drone operator, stars the mezzo-soprano Emily D’Angelo.On a fall evening in 1883, the Metropolitan Opera opened its doors for the first time with a performance of “Faust,” the classic tale of a man who sells his soul to Mephistopheles to gain power and pleasure.On Monday, 141 years later, another Met season began with Jeanine Tesori and George Brant’s “Grounded,” a bloodless new opera on that same old theme of making an ill-advised deal with the devil.The same old theme, but with 21st-century trappings — a plot about advanced weapons technology; a libretto loaded with words unprintable in this newspaper — that are still unusual in the tradition-bound opera world, particularly on the Met’s most important night of the year. There is an assumption that operas on charged contemporary themes must be risky and important. “Grounded,” which doesn’t risk much, politically or musically, shows this isn’t so.Its protagonist, Jess, is a hotshot fighter pilot who falls in love with a rancher she meets while on leave in Wyoming. When she gets pregnant, she is pulled out of her beloved F-16 cockpit, and out of combat in the Middle East. With a loyal husband and daughter, she is without the sense of freedom and mastery she had soaring through — and dropping bombs from — what she calls “the blue.”A few years later, her old boss, the U.S. military, has a proposal: Would she apply her gifts to operating a missile-bearing Reaper drone, thousands of miles away from her targets? It’s much less glamorous than her former “Top Gun” life, but she’ll be able to go home and hug her child at the end of the day.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