Aurelia Butler

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    Readers Pick Their Song of the Summer

    You sent in an eclectic mix of tracks from Chappell Roan, Bad Bunny, Lawrence and more.A lot of you got into Chappell Roan this summer.Chona Kasinger for The New York TimesDear listeners,A few weeks ago, I asked you to share your 2024 song of the summer. Not necessarily your favorite of the pop smashes that defined the balmiest months of this year — because I’ve already compiled a playlist of those — but the song that served as your personal soundtrack to the season. The song that will conjure a montaged rush of summer of ’24 memories when you hear it years from now.As usual, Amplifier readers delivered, sending me an eclectic mix of songs and some of your lively personal stories.Over and over, it occurred to me while reading your submissions that a song of the summer does not need to be the kind of frothily fun, carefree tune that we usually associate with that phrase. Sure, there are quite a few tracks on this playlist that fit the bill, from artists like the New York-bred sibling duo Lawrence, the ’60s pop singer Keith and the French icon Zizi Jeanmaire. But quite a few of you recommended more subdued songs that had inspired reflection (like a ballad from Zach Bryan’s latest album) or that provided the soundtrack to a challenging moment (like one reader’s selection of a Mississippi John Hurt classic).I wish I could have selected every single song you submitted — but that would have been a very, very long playlist. It was difficult to pare it down to just 13 tracks, but these selections reflect the range of what you recommended: Some new and some old, some familiar and some so obscure I’d never even heard of them. Thanks to each and every one of you who shared your song and your story.Also, reading through these submissions gave me concrete proof of something I’d suspected: A lot of you got into Chappell Roan this summer. Femininomenon indeed.Ouch! Mi corazón,LindsayWe 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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    Film Noir Was All About Ticking Clocks and Checking the Time

    Experts say the genre was all about suspense, and what better way to convey that to audiences than an obsession with time?The race against the clock — to solve a crime, to outwit a villain, to escape one’s fate — has propelled the plotlines of dozens of the movies that define Hollywood’s golden age of noir, the dark movies that dominated screens from the 1930s to the ’50s.“Time and film noir go together like ham and eggs,” said Alan Rode, an author and a director of the Film Noir Foundation, which sponsors Noir City, a continuing series of film festivals that this month has been scheduled in Chicago, Detroit, Washington and Philadelphia. “Time is a continuum not only of our lives, but also in film noir.”That foreboding sense of time defines film noir — in English, “dark film” — a phrase that was coined in 1938 by Lucien Rebatet, the French author who wrote under the pseudonym François Vinneuil, but is most closely associated with the French film critic Nino Frank. He used it in 1946 to define the cynical films of postwar America.The genre itself, however, has not been defined anywhere near as clearly.Some film scholars have said it describes detectives or private eyes caught up in a world of crooks and femme fatales who lead them astray. But a broader definition has been the immoral journey of a protagonist caught in downward spiral, all of it being clocked somehow in the shadowy black-and-white of film.“Film noir is replete with time moments, partly because the driving mechanism of its stories is suspense, and partly because the lost chances and missed deadlines of noir lends a strong mood of regret and pathos,” Helen Hanson, an associate professor of film history at the University of Exeter in England and the author of several books on noir, said by email.“Perhaps because film noir existed in an era defined by time and life lost during World War II, it featured a heightened sense of how quickly life can go haywire.”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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    For Some Sex Assault Accusers, This Local Law Has Become a Last Resort

    The law, which underpins several civil suits against Sean Combs, is the only remaining tool for reviving older claims in New York.In New York, where state laws that extended the time to file sex abuse suits have lapsed, plaintiffs have found one remaining tool: Section 10-1105 of New York City’s administrative code.The provision, known as the Victims of Gender-Motivated Violence Protection Law, has provided the basis for recent lawsuits against the Aerosmith frontman Steven Tyler; the luxury real estate agents Tal and Oren Alexander; New York City’s Department of Correction; and the hip-hop mogul Sean Combs, who is a defendant in four.“This statute continues to provide an avenue of relief for survivors,” said Douglas Wigdor, a lawyer for a woman who sued Mr. Combs under the gender-motivated violence law, accusing him and two other men of gang-raping her in a New York recording studio in 2003. He has vehemently denied the allegations.Lawyers say they have been increasingly using the law, first passed by the City Council in 2000, since the expiration last year of the New York state law that had allowed for the filing of lawsuits over sexual abuse allegations even after the statute of limitations had passed. The state law, one of many adopted around the country in the wake of a surge in #MeToo complaints, led to more than 3,000 state court filings relating to claims that often dated back decades — in addition to thousands more filed under an earlier law for people who said they were sexually abused as children.Now plaintiffs are often relying on the city law that — because of a 2022 amendment — established a two-year window in which plaintiffs can sue over older allegations. That window closes at the start of March 2025, and the claims have to be related to events said to have occurred in New York City.In recent months, though, defense lawyers have mounted significant legal challenges to the city’s amendment. They have argued that the City Council infringed on the jurisdiction of state lawmakers, and in several cases, judges have issued decisions limiting the amendment’s scope.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 N.Y. Law That Underpins Several Lawsuits Against Sean ‘Diddy’ Combs

    The law, which underpins several civil suits against Sean Combs, is the only remaining tool for reviving older claims in New York.In New York, where state laws that extended the time to file sex abuse suits have lapsed, plaintiffs have found one remaining tool: Section 10-1105 of New York City’s administrative code.The provision, known as the Victims of Gender-Motivated Violence Protection Law, has provided the basis for recent lawsuits against the Aerosmith frontman Steven Tyler; the luxury real estate agents Tal and Oren Alexander; New York City’s Department of Correction; and the hip-hop mogul Sean Combs, who is a defendant in four.“This statute continues to provide an avenue of relief for survivors,” said Douglas Wigdor, a lawyer for a woman who sued Mr. Combs under the gender-motivated violence law, accusing him and two other men of gang-raping her in a New York recording studio in 2003. He has vehemently denied the allegations.Lawyers say they have been increasingly using the law, first passed by the City Council in 2000, since the expiration last year of the New York state law that had allowed for the filing of lawsuits over sexual abuse allegations even after the statute of limitations had passed. The state law, one of many adopted around the country in the wake of a surge in #MeToo complaints, led to more than 3,000 state court filings relating to claims that often dated back decades — in addition to thousands more filed under an earlier law for people who said they were sexually abused as children.Now plaintiffs are often relying on the city law that — because of a 2022 amendment — established a two-year window in which plaintiffs can sue over older allegations. That window closes at the start of March 2025, and the claims have to be related to events said to have occurred in New York City.In recent months, though, defense lawyers have mounted significant legal challenges to the city’s amendment. They have argued that the City Council infringed on the jurisdiction of state lawmakers, and in several cases, judges have issued decisions limiting the amendment’s scope.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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    Facing Criticism After Striking Singer, a Maestro Forms New Ensembles

    John Eliot Gardiner, who hit a singer during a tour in France last year, said he was starting a new choir and orchestra.The renowned conductor John Eliot Gardiner, who has faced widespread criticism since he struck a singer during a tour in France last year, announced on Monday that he had formed a new choir and orchestra as he attempts a comeback on the global stage.Gardiner said his new ensembles, the Constellation Choir and the Constellation Orchestra, would be made up of prominent musicians and singers from across Europe and would embark on a tour in December with stops in Germany, France, Austria and Luxembourg.“More than anything else,” Gardiner said in a statement, “I am so excited and grateful to be working with such exceptional musicians once again, not forgetting the important lessons I have learned and needed to learn from the past year.”Gardiner, 81, a major figure in classical music, is known for founding three acclaimed period ensembles over the past six decades: the Monteverdi Choir, the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique. He has released celebrated recordings, written a book about Bach and conducted at the coronation of King Charles III of Britain.But since the incident in France, he has largely been absent from the global stage. In July, the board of the Monteverdi Choir & Orchestras, the nonprofit that oversees the three ensembles, said it had decided that Gardiner would not return to the organization. (Gardiner has sought to frame that decision as his own.)Gardiner struck the singer, William Thomas, a rising bass from England, on the face last year after a performance of the first two acts of Berlioz’s opera “Les Troyens” at the Festival Berlioz in La Côte-St.-André. He was apparently upset that Thomas had headed the wrong way off the podium at the concert, people at the festival said at the 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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    James Earl Jones Movies: From Darth Vader in ‘Star Wars’ to Mufasa in ‘Lion King’

    A look at standout movies featuring the actor, who died on Monday at the age of 93.James Earl Jones died on Monday at the age of 93. Like his contemporary Sidney Poitier, Jones helped change the perception of Black actors in Hollywood, creating indelible movie and TV characters who defied the prevailing stereotypes.Born in Mississippi and raised in Michigan, Jones spent much of his early career in New York, working in theater, TV and radio, where he trained his deep, booming voice. Because of his rich vocal tones and authoritative air, the actor was in high demand throughout his professional life, as both a narrator and as someone who could bring a sense of seriousness to supporting parts.The 12 movies below predominantly showcase Jones’s voice and his skills as a character actor. But the few leading roles show that if he had been given the same kind of opportunities as Poitier, Jones might have been just as big a star.‘Dr. Strangelove’ (1964)Rent on Apple TV or Amazon.Not many actors have the good fortune to make their big-screen debut in one of the greatest films of all time. Jones only appears in a handful of scenes in Stanley Kubrick’s grim nuclear war comedy “Dr. Strangelove,” but he does a lot with those few minutes, playing a bombardier whose consummate professionalism leads him to follow the orders of any crackpot commander or incompetent politician who barks in his ear.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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    Beyoncé’s ‘Cowboy Carter’ Country Album Snubbed by CMA Awards

    The country-plus-everything-else album was given only limited promotion on country radio, with the success of the song “Texas Hold ’Em” driven by streaming and downloads.When the Country Music Association announced the nominations for its 58th CMA Awards on Monday, there were plenty of expected names.Morgan Wallen, the pop-country superstar who has been a streaming phenomenon, led the pack with seven nods, including for the top honor, entertainer of the year. Cody Johnson and Chris Stapleton, two Stetson-wearing stalwarts, had five nominations apiece, and Lainey Wilson, a rising star in song and style, and Post Malone, the rap-rock-folkie who made a pivot to country this year, each got four.But there was a conspicuous absence: Beyoncé, whose country-plus-everything-else album “Cowboy Carter” took the music world by storm this spring, with her song “Texas Hold ’Em” going to No. 1 on Billboard’s Hot Country Songs chart. The album — with a cover picturing Beyoncé as a red-white-and-blue rodeo queen, riding a horse sidesaddle and hoisting an American flag — was a cultural phenomenon, stirring debates and extensive news media coverage about the historical role of African Americans in country music and their continuing struggles to be accepted by the Nashville establishment.A Beyoncé fan account quickly protested on X: “The CMA’s have once again deferred to those in the industry who prefer to deny Black artists the recognition they deserve.”But the snub was not unexpected. Eight years ago, Beyoncé got a cool reception at the 2016 CMAs when she performed her song “Daddy Lessons” with the Chicks (then still known as the Dixie Chicks). That experience apparently played a role in Beyoncé’s decision to make a country album, with the star saying that “Cowboy Carter” was “born out of an experience that I had years ago where I did not feel welcomed … and it was very clear that I wasn’t. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive.”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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    Demi Moore and the Subversive Politics of the Naked Body

    By the end of the 1990s, after years of giving her all to Hollywood and baring most of her all, too, Demi Moore began her fade-out. She had been a major film star that decade, complete with huge hits, humbling flops, famous friends, a celebrity marriage and headline-making magazine covers. Like all stars, she put in the work and sold the merch, herself included. And, like a lot of female stars, she made movies with male filmmakers who turned her into a spectacle of desire, a spectacle that she partly sought ownership of via her body.You see a lot of her body in Moore’s latest movie, “The Substance,” from the French filmmaker Coralie Fargeat. (It opens Sept. 20.) It’s a body-horror freakout that satirically takes aim at the commodification of women, and Moore is ferociously memorable in it as an actress who’s fired when she hits 50. It’s a performance that’s strong enough that you stop thinking about the fact that she’s naked in a lot of the scenes, strong enough to make you stop wondering what her exercise regime is or what work, if any, she’s had done. By the end, I admired how she had risen above the material; I also hoped she has better movies in her future.She deserves them. Her performance in “The Substance” is a gaudy, physically demonstrative role that requires her to convey a range of outsize states that dovetail with the movie’s excesses, from her character’s plasticky on-camera smiles to her private despair and boiling rage. Like some of Moore’s best-known movies, “The Substance” also requires her to shed her clothing. Even after decades of watching her perform in states of undress, it is startling to see Moore, now 61, stand naked before a mirror as the camera slowly travels across her body. There’s a near-clinical quality to how she looks at herself and, I think, a touch of defiance.Demi Moore as an actress coping with issues of aging in Hollywood in “The Substance.”MubiThe 1980s weren’t a welcoming period for women in the mainstream movie industry, yet Moore gradually succeeded in making a name for herself in between hanging with her pals in the Brat Pack and appearing in mediocre films (“St. Elmo’s Fire”) and flat-out rotten ones (“About Last Night,” ugh). Her big break came with “Ghost” (1990), a dreamy, sad romance in which she plays a dewy-eyed artist whose lover (Patrick Swayze) is murdered. Moore looked “terminally wistful much of the time” in the film, as Janet Maslin observed in The New York Times. Yet Moore also “combines toughness and delicacy most attractively,” which nicely expresses her gift for characters who often seem compelled to safeguard their vulnerabilities.“Ghost” was the top-grossing movie of the year, racked up more than a half a billion dollars at the global box office and catapulted Moore into true stardom. She followed this by starring in, as well as producing, “Mortal Thoughts” (1991), a deliciously nasty noirish drama about two working-class Jersey friends (Moore and Glenne Headly) who cover up the murder of one of their husbands, played with relish and persuasive vulgarity by Moore’s husband at the time, Bruce Willis. One of her finest movies, it gave her a chance to express her range partly because she was working with a real filmmaker, Alan Rudolph. In contrast to many of her earlier directors, he didn’t treat Moore like a sex puppet but instead helped her create a nuanced, teasingly elusive woman.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