Aurelia Butler

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    Rick Derringer, 77, Who Sang ‘Hang On Sloopy’ and ‘Rock and Roll, Hoochie Koo,’ Dies

    A Zelig-like rocker, the guitarist, singer and songwriter collaborated with the likes of Barbra Streisand and Peter Frampton and composed Hulk Hogan’s “Real American” theme.Rick Derringer, the ubiquitous rocker who sang the hit songs “Hang On Sloopy” and “Rock and Roll, Hoochie Koo” in a music career that spanned several decades and also included collaborations with Hulk Hogan and Weird Al Yankovic, died on Monday in Ormond Beach, Fla. He was 77.His longtime caretaker and friend, Tony Wilson, announced his death in statement on Tuesday. No cause was given.From his early garage rock success to his many contributions to albums or tours by music royalty — Barbra Streisand, Cyndi Lauper and Peter Frampton all enlisted him — Mr. Derringer introduced himself to audiences across several generations.One of his better-known and enduring collaborations was with the Edgar Winter Group, for which he produced the instrumental chart-topper “Frankenstein,” which the band released in 1972.Early on, Mr. Derringer was the shaggy-haired guitar impresario who was the frontman for the band the McCoys, who rose to the top of the Billboard singles chart in October 1965 with their catchy rendition of “Hang On Sloopy.”The song, about a girl known as Sloopy from a rough part of town, has become synonymous with Ohio State University, where the marching band first played it during a Buckeyes’ football game in 1965. In 1985, the Ohio Legislature adopted it as the official state rock song.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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    Stream These Movies and TV Shows Before They Leave Netflix in June

    A handful of great titles are leaving as early as the first weekend of the month. Catch them while you can.Oscar winners and tasteful trash get equal footing among the titles departing Netflix in the United States next month, alongside a compulsively watchable crime show, a pitch-perfect Jane Austen adaptation and a cult classic in the making. (Dates reflect the first day titles are unavailable and are subject to change.)‘Beginners’ (June 1)Stream it here.The writer and director Mike Mills crafts a lovely, lively combination of memory play and serio-comic romance, weaving together two tales of complicated romance. Oliver (Ewan McGregor) is a modern man, scruffy and sensitive, who falls for a French actress (Mélanie Laurent); his father, Hal (Christopher Plummer), a recent widower, has just come out as gay at the tender age of 75 and is rapturously in love with the much younger Andy (Goran Visnjic) when his health takes a turn. Mills’s sharp and sensitive screenplay gracefully sidesteps the clichés of both the coming-out movie and the disease-of-the-week movie, with a big assist from the talented cast. Plummer took home a well-deserved Oscar for his memorable supporting turn, Laurent and Visnjic are lovable but not overly idealized, and this is one of the best showcases to date for McGregor’s cozy charm.‘Burlesque’ (June 1)Stream it here.Critics were not exactly kind to this 2010 ode to the pleasures of contemporary burlesque from the writer-director Steven Antin — a world in which that old time hoochie-coo has been reclaimed as a rich text of performative femininity, peekaboo voyeurism and good old-fashioned camp. And it’s easy to see why; little in his screenplay is particularly original. But that familiarity is part of the movie’s appeal. Without winking at the audience or condescending to the material, he cheerfully borrows and deploys the standard narratives of such lower-rung showbiz tales. Christina Aguilera is charismatic as that old chestnut the naïve Midwestern girl with big dreams, while Cher plays the wise old veteran who shows her the ropes with offhand wit and seen-it-all wariness.‘Pride & Prejudice’ (June 1)Stream it here.The striking success of the recent 20th anniversary theatrical rerelease of this 2005 award winner is even more surprising when reflecting on its presence on Netflix — viewers could quite easily have stayed home to stream this adaptation of the Jane Austen classic, but its admirers love it so much that they plopped down their ticket money all over again. It’s not hard to understand why; Joe Wright’s direction is both sweeping and intimate, tender and evocative, while Deborah Moggach’s screenplay captures succinctly the wit and romantic longing of Austen’s text. Throw in a peerless cast (including Brenda Blethyn, Judi Dench, Tom Hollander, Keira Knightley, Jena Malone, Rosamund Pike, Donald Sutherland and a pre-“Succession” Matthew Macfadyen) and you’ve got one of the finest Austen adaptations to date.‘Two Weeks Notice’ (June 1)Stream it here.Once upon a time, the multiplexes were filled with affable little romantic comedies, in which great-looking stars bantered gamely and pretended not to be perfect for each other for 90 minutes before finally realizing what we all knew during the opening credits. Now, when those films are made at all, they often go straight to the streamers, rarely showcasing stars as bright as Sandra Bullock and Hugh Grant, who shared the screen in this 2002 rom-com from the writer and director Marc Lawrence (one of the writers of Bullock’s 2000 treat “Miss Congeniality”). The plot is negligible and the complications silly; all that matters is the chemistry, and Bullock and Grant have chemistry to spare.‘Trap’ (June 11)Stream it here.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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    Looking Back at Lollapalooza 1995

    Revisit a peak music festival with songs by Hole, Beck, Elastica and more.Michael Robinson Chavez/The Boston Globe via Getty ImagesDear listeners,Hi, I’m David Malitz, an editor on the Culture desk who has been writing or assigning music coverage for almost 20 years now. As summer festival season kicks into high gear, I’m thinking about the best music festival I ever attended: Lollapalooza 1995. Unlike today, when there’s seemingly a different mega-festival each weekend, 30 years ago there was really only one major player. Lollapalooza was both a mainstream touring behemoth and the embodiment of alternative culture that ruled the ’90s.When people (like me, often, I’m sorry) speak of the glory days of the ’90s, Lollapalooza 1995 was both the peak and the end of the road. We still had it plenty good for a while, but this tour did feel like a last gasp. Looking at the lineup now, it seems like a great college radio playlist, but not exactly a shed-filling financial success. The festival pivoted away from underground rock the following year and went on hiatus after its journey into electronica in 1997.To celebrate 30 years of this inspired collection of bands, here’s a playlist of songs from the acts that performed on the tour’s main stage, with a couple of bonus tracks from the not-to-be-missed second stage.Time takes its crazy toll,DavidListen along while you read.1. Sonic Youth: “The Diamond Sea”If it seems weird now that a famously iconoclastic band without even a single gold record to its name headlined a festival playing to upward of 25,000 people at each stop, it was weird then, too. Chalk it up to something of a lifetime achievement award for the New York legends who influenced acts down the rest of the bill.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 Isn’t My Favorite Composer More Popular?

    I love the operas of Leos Janacek. So do audiences — when they go to see them. But the works remain stubbornly on the outskirts of the repertory.When I was just getting started as an operagoer, I went to see “The Makropulos Case,” the Czech composer Leos Janacek’s tale of a woman desperate to elongate a life that has already lasted three centuries.It left me exhilarated, dazed and with only one thing on my mind: buying a ticket to return the next weekend.I’m not the only one to have this reaction. “People felt they had to come back,” Yuval Sharon said recently about the audiences when he directed “The Cunning Little Vixen,” another thrilling, heart-rending Janacek opera. “It was unlike any piece they’d experienced. It just seizes you.”That’s still my feeling about Janacek’s operas. On Sunday, when the Cleveland Orchestra finished an elegant but crushing concert version of “Jenufa,” which ends with a vision of forgiveness and reconciliation after extraordinary suffering, I would have happily sat through it again, right then and there.The end of ‘Jenufa’Elisabeth Söderström and Wieslaw Ochman; Vienna Philharmonic; Charles Mackerras, conductor (Decca)For this brutal account of small-town woe, Janacek wrote earthy, lush yet sharply angled music, with unsettled rhythms and roiling depths. There are obsessively repeated motifs, as anxious as the characters, as well as passages of folk-inspired sweetness.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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    At Sean ‘Diddy’ Combs Trial, Former Employee Expected to Describe Being Kidnapped

    Prosecutors are set to present the testimony of a onetime assistant, who they say was twice held against her will. The defense denies she was kidnapped.A former employee of Sean Combs who, prosecutors say, was kidnapped twice by the music mogul or his bodyguards, is expected to testify on Tuesday at Mr. Combs’s racketeering and sex-trafficking trial.The woman, Capricorn Clark, has been a frequent character in testimony at the trial, figuring prominently in the much-discussed fallout over Mr. Combs’s discovery that Casandra Ventura, his longtime on-and-off girlfriend, and the rapper Scott Mescudi, known as Kid Cudi, were romantically involved.The government contends that after Mr. Combs discovered evidence of the budding relationship in late 2011, he went — armed and with a bodyguard — to wake up Ms. Clark in the middle of the night and force her to take them to Mr. Mescudi’s home. On Thursday, Mr. Mescudi gave his account of Mr. Combs’s jealous meltdown, which he said escalated to his Porsche being set on fire with a Molotov cocktail in early 2012.Lawyers for Mr. Combs, who has pleaded not guilty to all of the charges, have denied Mr. Combs’s involvement in any kidnapping or arson — and have said there was never any criminal conspiracy. They assert that Ms. Ventura and another woman that Mr. Combs is accused of sex trafficking are not victims, but rather former girlfriends who agreed to participate in sex that, while “kinky,” was entirely consensual and legal.Capricorn Clark, a former employee of Mr. Combs, is expected to testify this week.U.S. Attorney’s Office for the Southern District of New YorkThe kidnapping accusations are meant to buttress the racketeering conspiracy charge against Mr. Combs, which accuses him and members of his inner circle of a series of crimes dating back to 2004. The crimes cited in the indictment include sex trafficking, arson, drug violations, bribery, obstruction of justice and two acts of kidnapping — both of them involving Ms. Clark.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 Return of Pulp, a Serious Band That Doesn’t Take Itself Seriously

    The Britpop group led by Jarvis Cocker reunited for “More,” its first album since 2001. The stakes are different, the band more mature and the songs still thoughtful.Jarvis Cocker can opine. The mop-topped, bespectacled frontman of Pulp, the beloved Britpop act, is in demand as a conversationalist for the canny turns of phrase and pungent references that also animate his lyrics.Get him into a room with his bandmates — he and the three longest-running members had gathered last month at the Barbican Center in central London to talk about their newest album — and he will gladly unspool about what undergirds pop (“repressed feelings”) and the unexpected strife of band life: “You can’t get insurance! It’s loads more expensive for a musician.”Then there’s the threat posed by streaming. “We’re in a situation now where you could live your whole life without ever listening to a piece of music more than once; you can just let it all just go past you, in a kind of scented candle vibe,” he said with horror.Pulp, as the name suggests, is more visceral than that, with wryly observed dance-floor anthems that explore the social pecking order, like the enduring 1995 track “Common People.” What “made Pulp songs interesting,” Cocker said he realized lately, is that “they’re often quite frantic, trying to get some idea across or to work something out in your mind. Hysterical, sometimes, almost.”That propelled them through their ’90s heyday, anyway. But “More,” Pulp’s first record in nearly a quarter-century, out June 6, has a different thrust: more introspective, more room to breathe. When he played it in the offices of Rough Trade, Pulp’s label, “Someone said, oh, that’s very age appropriate,” Cocker, 61, recalled. “I took it as a compliment.”Sitting around a long conference table at the Barbican, the cultural center where they had gigged over the years, his bandmates — Candida Doyle, the keyboardist; Mark Webber, the guitarist; and Nick Banks, the drummer — mostly jibed with their songwriter and semi-democratic leader. But they did sometimes laugh (affectionately) at him.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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    Marcel Ophuls, ‘The Sorry and the Pity’ Director, Dies at 97

    He was best-known for “The Sorrow and the Pity,” a landmark film that debunked ideas of vast French resistance to the Nazi occupation.Marcel Ophuls, the German-born filmmaker whose powerful documentary “The Sorrow and the Pity” exploded the myth of widespread French resistance to the Nazi occupation during World War II, died over the weekend in France. He was 97.His death was announced by his grandson Andreas-Benjamin Seyfert, who did not provide further details. Mr. Ophuls had directed several minor feature films before vaulting to fame in 1969 with “The Sorrow and the Pity,” his four-and-a-half-hour documentary on wartime Clermont-Ferrand, an industrial city located almost at the center of France. In a dispassionate, incisive style, he interviewed shopkeepers and farmers, bankers and entrepreneurs, teachers and lawyers who either collaborated with the Nazis and the Vichy regime or actively resisted the occupation — but who in most instances had turned a blind eye to the roundups of Jews and anti-Nazis.When the film was first shown in Paris cinemas, it was met with shock, outrage and tears. It stripped away the myth — fostered by Charles de Gaulle when he returned to France with the victorious Allied armies in 1944 — that a vast majority of his compatriots were either open or secret supporters of his resistance movement.Originally produced for television, “The Sorrow and the Pity” was banned from French airwaves until 1981. Conservative politicians denounced Mr. Ophuls, calling his work a “prosecutorial film” that unfairly portrayed the French as cowardly or worse. “It doesn’t attempt to prosecute the French,” Mr. Ophuls insisted in a 2004 interview with The Guardian newspaper. “Who can say their nation would have behaved better in the same circumstances?”‘The Sorrow and the Pity’ used French and German wartime newsreels, including one of Adolf Hitler in front of the Eiffel Tower during a visit to France.Milestone Film)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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    Last Year’s Cannes Winners Won Big at Oscars. Can the 2025 Crop Do the Same?

    The most likely movies to grab academy voters are “Un Simple Accident,” “Sentimental Value” and “Nouvelle Vague.” But none are primarily in English.Awards strategists used to be wary of the Cannes Film Festival, claiming it came too early in the calendar to launch a lasting Oscar campaign.They don’t say that anymore.The last two editions of Cannes have proved to be a veritable gold rush, producing three best-picture nominees each. The 2024 festival proved particularly fruitful, as films that premiered at Cannes — including “Emilia Pérez,” “The Substance,” “Flow” and the eventual best-picture winner, “Anora” — won a combined nine Oscars.But this year’s crop of Cannes contenders may have a harder time hitting those highs. The three films with the strongest best-picture potential are all primarily in a language other than English, and the academy has never nominated more than two such films in a single year for the top Oscar. Still, as the academy grows ever more global, it’s possible all three could break through.The first big contender is Jafar Panahi’s “Un Simple Accident,” a taut moral drama about former Iranian prisoners who believe they’ve tracked down their old torturer. The winner of the Palme d’Or, “Un Simple Accident” is the most accessible movie yet from Panahi, a dissident filmmaker who has twice been imprisoned by Iranian authorities. And like the last five Palme winners, the film will be distributed by Neon, which has a track record of steering them to Oscar glory.Only one thing gives me pause. Neon also handled last year’s Cannes entry “The Seed of the Sacred Fig,” which had a similar back story: It, too, was directed in secret by an Iranian dissident, though even with that compelling narrative, it couldn’t muster more than an international-film nomination. Hopefully, Panahi’s Palme win will nudge Neon to campaign even harder for “Un Simple Accident,” which could factor into the picture and director categories with the right push.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