Aurelia Butler

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    Lincoln Center’s Audiences Deserve Music Worthy of Them

    When listeners were given the power to program an orchestral concert, the results were surprising.I love the classical music canon, and I hate it.To be precise, I hate the way we assume audiences will invariably choose it over what’s new and unusual. If you listen to marketing departments, there may be grudging tolerance for some fresh sounds at the start of a concert, but basically, people want the standards — more than ever, as their ticket-buying behavior over the past few years suggests they are only more enamored of chestnuts like “The Planets” and Beethoven’s Ninth.So it was a small but sweet triumph over this narrative when, on Saturday at David Geffen Hall, an audience did exactly the opposite. Finally, the familiar and the less so were put to a fair fight — and who do you think won?The battlefield was Symphony of Choice, a kind of preview performance at the start of the three-week, 13-concert season of the Festival Orchestra of Lincoln Center. That’s the slightly awkward name of what was once the Mostly Mozart Festival Orchestra, before the center’s warm-weather offerings were consolidated as Summer for the City two years ago.Streamlining previously competing series and festivals has made the schedule clearer. But it has also meant the disappearance of ambitious classical programming in favor of the sort of smaller-scale, pop-culture-oriented events that Shanta Thake, Lincoln Center’s chief artistic officer since 2021, produced when she ran Joe’s Pub at the Public Theater.Amid the silent discos, mindfulness sessions and comedy nights, you get the sense that classical music is now viewed with faint irritation, as a stodgy and expensive waste of resources. People already know Lincoln Center for operas and symphonies during the regular season, the thinking goes, so the center’s audience isn’t going to be expanded in the summer through more of that — especially if those symphonies aren’t packageable as “experiences.”Which is why Symphony of Choice gave me pause when I first heard about it. The goal was for the Festival Orchestra, newly under the direction of the young conductor Jonathon Heyward, to offer a taste of its programs over the next few weeks. The gimmick was a crowdsourced popularity contest.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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    He Wrote Michael Jackson’s ‘Human Nature’ and Has 2 More in the Vault

    Steve Porcaro of Toto, who played on some of the biggest hits of the ’80s, has sold the rights to his music, including a pair of unreleased tracks with the superstar.After more than four decades, Steve Porcaro is still amazed that his song ended up on the biggest-selling album of all time.In 1982, when he was a keyboardist in Toto — the band of studio insiders that dominated rock radio with sleekly crafted hits like “Africa” and “Hold the Line” — Porcaro was tinkering with a new tune, a mid-tempo ballad inspired by his attempt to comfort his young daughter after a playground quarrel. The rest of the group wasn’t into it.But Porcaro kept working on the song at the studio of his Toto bandmate David Paich, the group’s primary songwriter, who was pitching Quincy Jones some rock-oriented material for Michael Jackson’s next album. One day, they put two of Paich’s songs on a cassette for Jones; on the flip side was a rough demo of Porcaro’s ballad.When Jones heard that tape, it was Porcaro’s tune that entranced him, with its mellow mood and searching chorus: “Why, why?/Tell her that it’s human nature.” With lyrics added by John Bettis, “Human Nature” became a key cut on “Thriller,” which sold 34 million copies in the United States alone and transformed pop music in the 1980s.“It was a total, absolute fluke,” Porcaro recalled in a recent video interview from his home studio in Los Angeles, which is lined with gold and platinum albums by Toto and Jackson.“Human Nature” is now part of the latest in the music industry’s big catalog transactions. This week, Porcaro signed a deal, estimated in the low eight figures, to sell the rights to his music to the Jackson estate and the independent music company Primary Wave, they confirmed.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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    A Rarely Seen David Bowie Rom-Com Gets a New Life

    “The Linguini Incident,” a low-budget ’90s film directed by Richard Shepard and featuring Bowie and Rosanna Arquette, makes its way to Blu-ray in a director’s cut.Even David Bowie’s biggest fans might be unaware of his solitary foray into romantic comedy, and for good reason: It was barely released in 1992, and has been all but impossible to see since. Now, its director has restored, reclaimed and recut the film in question, “The Linguini Incident,” which made its Blu-ray debut this week.Richard Shepard was only 25 when he directed the quirky, New York-set indie, which was his solo feature directorial debut. (He directed an earlier film, “Cool Blue,” alongside Mark Mullin.) As was typical of the era, the low budget was gathered from multiple sources. “The whole movie was financed very weirdly,” Shepard said in a Zoom interview. “We had home video money and foreign sales money and mysterious money — a lot of mysterious money.”His first casting coup came early, when he landed Rosanna Arquette, already a star with “After Hours” and “Desperately Seeking Susan” on her résumé. So what made her take a chance on this young novice? “I loved the script,” Arquette said in a phone interview. “I just thought it was well-written and funny … and then, lo and behold, we had David Bowie, so that was really exciting.”Shepard sent the script to Bowie on a lark, with the idea that he and the fellow rock legend Mick Jagger could play the film’s flamboyant restaurateurs. “We naïvely just sent it to them, to play those small parts, with no money offered, no anything,” Shepard recalled. “We get this note back from Bowie saying, ‘I’m interested in your movie, but I don’t want to play that supporting role. I would like to play the lead.’”Shepard with Bowie, center, on the set of “The Linguini Incident.”via Richard Shepard
    Bowie wanted to play Monte, a British bartender at a hip, downtown restaurant who tries to talk one of his co-workers, the aspiring escape artist Lucy (Arquette), into a green card marriage, but is instead sidetracked into helping her rob their employers. Marlee Matlin, Eszter Balint, Buck Henry and Andre Gregory were among the cast; the future Oscar nominee Thomas Newman would compose the score, and Robert Yeoman, Wes Anderson’s go-to cinematographer, was behind the camera. The film was shot in 30 days in 1990.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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    If A.I. Is Coming for Comedy Writers, Simon Rich Is Ready

    The author of humorous short stories finds emotional connections in tales that engage with tech. But he’s more interested in the ties between humans.The author Simon Rich believes it’s only a matter of time before artificial intelligence will be able to outwrite any human. Specifically, four years. So, what’s the twist?That’s what you wait for in a Simon Rich story, one of pop culture’s most consistently funny genres, with a foundation built like a classic joke: a tight premise developed in clear language, some misdirection, and then a pivot, delivered as quickly as possible.Rich, whose 10th collection of short stories, “Glory Days,” was released this week, said his dark view of the future was informed by a longtime friendship with an A.I. scientist, who recently showed him a chatbot the public hasn’t seen. It’s more raw, unpredictable, creative.“Even though I don’t know anything about A.I. really, I’ve been processing it emotionally for several years longer than everyone,” he told me in his Los Angeles home office one afternoon in May.He considered the implications of artificial intelligence displacing human creativity in “I Am Code,” a book he helped edit last year that featured A.I.-crafted poetry. The theme is also deeply woven into his new collection, his most mature effort yet, which includes some regular obsessions like “Back to the Future”-style encounters between generations, dystopia and the inner life of video game characters.“The whole book is basically about different types of obsolescence,” he said of “Glory Days,” whose other organizing theme is early midlife crisis. There’s a story about Super Mario turning 40 (Rich just did, too) and a spiky rant from the perspective of New York City itself. It’s about “the great migration when an entire generation discovers they are too old to live in New York,” he said.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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    These Effects Wizards Made ‘Twisters’ a Blast at 4D Showings

    For special presentations of that blockbuster and others, companies like CJ 4DPlex have turned splashing and shaking moviegoers into a lucrative art.Illustration by The New York Times; Universal PicturesFirst you get the aroma of the meadowlands. Then, a vision of an Oklahoma prairie fills the screen and, as the grass undulates, a soft breeze wafts over you and your seat sways. The wind is not ominous — not yet.These sights, sounds, feelings and scents open a 4D presentation of the tornado thriller “Twisters.” For the past decade and a half, companies like CJ 4DPlex have turned splashing and shaking moviegoers into an art, fine-tuning their instruments to lure fans into theaters. Carefully tracking through each scene, they look for moments to heighten the experience in a way that adds meaning without distracting from the narrative.In a typical 4D presentation, audiences pay on average $8 more than the price of a regular ticket to sit in pods of four chairs that can pitch and tilt subtly or with extreme force, using technology first developed for military flight simulators.Extra mechanics inside the chair can punch you in the back when, say, a Nazi lands a blow on Indiana Jones, or buzz to the rhythm of the thumper that attracts a giant sandworm in “Dune: Part Two.” As Paul Atreides and Chani ride the worm onscreen, the chair shakes so violently that there is no mistaking their peril.The smells in a 4D theater — options include “gardenia,” “burning rubber,” “gunpowder” and “beef town” — come from a tiny opening in front of the seat. Some films have custom scents. “Wonka” had a whiff of chocolate. “Beauty and the Beast” had a touch of rose. There are also holes that can blast cones of air and water, good for the first jump scare in the horror prequel “A Quiet Place: Day One.”Then there are the flexible straws that hang between your feet and wag quickly back and forth smacking your ankles. This might simulate what Raymond Diaz, the general manager of the Regal Times Square theater, described as “a critter running around the floor.” A frightening prospect in New York.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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    Chappell Roan Booked a Tour. Then She Blew Up.

    In September 2023, Chappell Roan opened the tour for her debut album, “The Rise and Fall of a Midwest Princess,” in Sacramento at the Goldfield Trading Post, a venue that holds 600 people.Last Friday night in Seattle, she held court before a festival crowd of 10,000 at the Capitol Hill Block Party. And lately, 10,000 is a small crowd for the rising pop star.The narrow street where the event is held couldn’t contain all the fans who arrived in glittery pink cowboy hats — a homage to Roan’s song “Pink Pony Club,” about dancing at a gay bar — so those without tickets camped out at an adjacent gas station and sang along to synth-pop hits like “Good Luck, Babe!” and “Hot to Go!,” both of which have been climbing Billboard’s Hot 100 in the past six weeks.The last few months have been transformative for Roan, 26, who released her first EP in 2017, was dropped by her label in 2020 and then began a fruitful collaboration with the songwriter and producer Daniel Nigro (Olivia Rodrigo, Sky Ferreira). Since she looked directly into the camera at the Coachella festival in April and declared, “I’m your favorite artist’s favorite artist,” she has seemingly been everywhere — on TikTok, YouTube, talk shows, NPR’s Tiny Desk.Chappell Roan onstage at the Capitol Hill Block Party in Seattle last Friday.Fans in the front row celebrating the “Midwest Princess.”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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    Sympathy for the Diva: Why We Love ‘Difficult’ Stars

    A new Faye Dunaway documentary wants to turn us from gossips into cheerleaders.Before Faye Dunaway makes her big entrance, you hear her snap from off camera: “We need to shoot. I’m here now. Come on!” When we meet her inside her apartment, she’s using a piece of paper to fan herself with a petulance that’s reminiscent of Queen Charlotte from “Bridgerton.” This is the feisty opening to the HBO documentary “Faye,” and it doesn’t do much to dispel decades of rumors painting Dunaway as a temperamental diva. Difficult, erratic, vain, narcissistic: These descriptors have etched themselves into the reputations of many famous women, and they have also been countered in all sorts of media. Much like Barbra Streisand’s memoir, “My Name Is Barbra,” or the 2018 Grace Jones documentary, “Bloodlight and Bami,” one clear purpose of “Faye” is rebuttal: to let Dunaway reconstruct the narrative.Like many in my generation, I first saw Dunaway in “Mommie Dearest,” the 1981 film — either a disaster or a masterpiece, depending on whom you ask and their tolerance for camp — in which she played another supposed she-devil: Joan Crawford, whom the movie depicts as an abusive mother and a fame-hungry prima donna. Unlike Roger Ebert, who called it “one of the most depressing films in a long time,” I was transfixed by “Mommie Dearest.” I couldn’t get enough of Dunaway’s shellacked eyebrows, the murderous rose-garden scene, the “no more wire hangers” theatrics. There’s an entire age cohort whose sense of Dunaway is all scrambled up in this role. Instead of meeting her via classics like “Bonnie and Clyde,” “Chinatown” and “Network,” we met her as Crawford, berating everyone in her path. As Dunaway says in a 1984 interview clip shown in the new documentary, “There’s an inevitable tendency of people who both work in the industry and the audience to associate, to think you’re like the parts you play.”If you’re not up on the reputation that Dunaway now has to dispute, a quick scroll through Reddit threads about her should get you up to speed. There are first-person accounts, too, many of which appear in HBO’s documentary. In one clip, Johnny Carson asks Bette Davis — rumored to be a bit of a harpy herself — to name the most difficult person she ever worked with; Davis, looking prim in a white bucket hat, shoots back, “One million dollars, Faye Dunaway,” to great laughter. In a clip that’s not shown in the documentary, Brenda Vaccaro, who worked alongside Dunaway in the 1984 movie “Supergirl,” says that Dunaway “would terrify people” — though she also calls her a “brilliant actress” and adds that “you can see the struggle.”“Faye” uses a mix of straight-to-camera interviews, family photos, archival footage and plenty of film clips to humanize little Dorothy Faye, a girl from Bascom, Fla., who quickly achieved Hollywood-icon status. It also dwells on that “struggle” part and enlists talking heads to spring to Dunaway’s defense. We learn about her alcohol dependency and her late-in-life diagnosis of bipolar disorder, both of which Dunaway finally sought treatment for after years of unexplained mood swings, depression and erratic behavior. Sharon Stone, Dunaway’s chum and mentee, talks about the intense pressure on actresses to be thin and says that Dunaway has only ever been kind and generous to her. She becomes fiercely protective when the subject of “Mommie Dearest” comes up: “Everybody wants to make fun of her for ‘Mommie Dearest,’ but you tell me how you play that part,” she says. “The joke is on the director, the joke is not on the artist.”At each stage, we the audience have our own parts to play: fans, bullies, executioners, cheerleaders, allies.Mickey Rourke — whose own reputation isn’t exactly untarnished — starred in “Barfly” with Dunaway. He was, he says, “in awe of her and kind of a little intimidated.” He attempts to soften Dunaway’s image, but that task becomes complicated when people like Howard Koch come along to share their experiences. Koch was first assistant director on the set of “Chinatown.” In his first phone call to Dunaway, he says, she guessed that he was a Sagittarius, then informed him that this astrological offense meant they would never get along. He then dishes about Dunaway’s demanding that Blistex be applied to her lips before every take. Jack Nicholson, we learn, had a loving nickname for her on the set: “Dread.”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 Horror Movies Solve Their Cellphone Problem

    When one quick call can eliminate danger and undermine screams, filmmakers have to figure out a workaround. Sometimes it can even deepen a story.A cellphone lies in a rustic Airbnb, smashed by an intruder. Then, when another is procured, a faulty connection interrupts a call to 911.A navigation map on a smartphone glitches as a driver plunges deep into the woods.Criminals on a kidnapping job are ordered to surrender their phones “to be completely certain that you can’t be tracked.”An exasperated partyer in rural Ontario wonders aloud to a member in his group, “How long is it going to take for you to realize there’s no reception out here?”These are some of the ways that recent horror movies have gotten around what is at this point an age-old problem: the cellphone. In working order, they can render predicaments more solvable and certain situations easier to escape — potentially. Before the late ’90s, there was little need to make such a show of connectivity failure. Lines would go down or get cut, sure, but isolation in the age before mass cellphone usage was easier to come by and therefore easier to believe onscreen. Back then, the tropes didn’t have to trope so hard.Then came the cell, and movies like “House on Haunted Hill” (1999) and “Jeepers Creepers” (2001) featured characters realizing they were holding useless plastic flip-bricks as their situations grew hairy. (In the former, the possessed house kills the signal before any of its inhabitants; in the latter, young adult siblings bicker over a low battery notification after witnessing what turns out to be a winged demon.) With smartphones, there was even more to neutralize, like GPS maps and internet searches. Movies taking pains to explain away cellphones were so prevalent that by 2009, I could collect more than 40 clips for a supercut exploring this development in the previous decade or so.In “The Watchers,” a navigation app becomes glitchy.Warner Bros.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