Aurelia Butler

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    Judith Hill Sang With Pop Royalty. Now She Is Composing Her Own Story.

    The singer, songwriter and multi-instrumentalist was close to Michael Jackson and Prince. After their deaths, her world crumbled and she had to rebuild on her own.The first time the musician Judith Hill performed her anguished requiem “Black Widow” for an audience, she wept, right onstage.The song’s title is an epithet that has been directed at her for years by tabloids and trolls because as a vocalist and artist, she had been close with two of pop’s biggest stars shortly before their deaths. She was Michael Jackson’s duet partner and performed at his televised memorial in 2009. And for two years before Prince’s fatal overdose in April 2016, she was his protégée, collaborator and more. They shared what she has called “an intense relationship”; he told her he loved her.Prince’s sudden, accidental death derailed her promising career — which he had been guiding — and she spiraled into deep grief, depression and self-doubt as online cruelty rained down. It took years before she was able to face what happened, personally or musically.“It was a deep wound,” she said onstage at a recent showcase at Mercury Lounge in Lower Manhattan, after the soulful, fierce “Black Widow.” Then she brushed her tears away — “enough of that” — and soon started another number, “Dame De La Lumière,” a detailed tribute to her mother and grandmother, with a rippling, urgent chorus that has become her anthem: “Bad times make strong women.”Both songs are on “Letters From a Black Widow,” her new record, due Friday. It is a concept album that reckons forcefully with her past — not just the boldfaced part, but also the myriad woes and distortions that conspired to make her feel fearful and less-than. The dozen tracks that finally tumbled out chart her path of self-reflection and forgiveness, with achingly personal lyrics paired with muscular funk, soul and blues, and backed by her shredding, soaring guitar. It’s a new reach for an artist known mostly for her acrobatic and emotional vocals; she wanted her determined message to resonate, too.“I felt unmuted,” she said, “like I was free to say something now, because I felt like I had really put a muzzle on myself for so long, and was just afraid. And it was very, very liberating to do that.”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 ‘The Amityville Horror,’ One House. Many Haunts.

    The famed “Amityville Horror” film has spawned at least 45 sequels. A look at why the Amityville name has endured in the horror genre.When it comes to large film franchises, a few titans emerge: Godzilla, James Bond, Spider-Man.But there’s one movie with so many offspring, it’s giving those big boys a run for their money: “The Amityville Horror.”There are at least 45 sequels to Stuart Rosenberg’s 1979 horror drama about a family under siege by supernatural forces inside their home in suburban Amityville, Long Island. That’s more than the “Star Wars,” “Fast and Furious” and “X-Men” franchises combined.So many Amityville movies are being cranked out — at least four this year — that the horror magazine Fangoria added Best Amityville Film as a category in its annual awards last year.“There’s a built-in marketplace for the Amityville franchise,” said the director Shawn C. Phillips, whose films include “Amityville Karen” and the new “Amityville Bigfoot” with Eric Roberts. “There are people out there that will literally watch every single Amityville film they make. It’s kind of gotten to the point where filmmakers are trying to top one another.”From left, Craig Sapenoff, Tuesday Knight and Trent Haaga in “Amityville Bigfoot.”Shawn C. PhillipsTo be fair, “sequel” and “franchise” are being used generously. Fewer than 10 films make up the legit “Amityville Horror” canon, and even that number is up for debate. Like the word “Paranormal,” “Amityville” has become more of a low-effort synecdoche for generic possessions of things (“Amityville Vibrator”), holidays (“Amityville Christmas Vacation”) or locations (“Amityville in Space”). The films are mostly comedic, have micro budgets and have little continuity with the original.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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    Taylor Swift and Post Malone’s Regretful Duet, and 9 More New Songs

    Hear tracks by Arooj Aftab, Cigarettes After Sex, Claire Rousay and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Taylor Swift featuring Post Malone, ‘Fortnight’“I love you, it’s ruining my life,” Taylor Swift and a subdued Post Malone sing to each other, full of breathy regret, in “Fortnight,” the song that opens Swift’s new double album, “The Tortured Poets Department: The Anthology.” They’re both obsessing over a brief but unforgettable affair, even though both of the song’s narrators are now married — and, to make things worse, neighbors. “Your wife waters flowers, I wanna kill her,” Swift notes. The music is a measured march with vocal harmonies wafting through electronic spaces where the recriminations can smolder.Cigarettes After Sex, ‘Dark Vacay’Greg Gonzalez, the songwriter behind Cigarettes After Sex, sets decadent, morbid, sex-and-drugs scenarios to plush, slow-motion retro-rock that David Lynch might appreciate. In “Dark Vacay” he’s taking pills, “sipping Château Lafite Rothschild” and listening “to the last message that you left/Then the voice from the suicide hotline.” He’s calm, even a little self-satisfied, as he invites someone to “Feel it all around you/Crash and fall.”Arooj Aftab, ‘Raat Ki Rani’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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    Taylor Swift Lyrics: Who’s Mentioned on ‘Tortured Poets Department?

    Ex-boyfriends may be alluded to. Travis Kelce, too, fans believe. And some actual poets.When Taylor Swift released “The Tortured Poets Department,” on Friday at midnight, her fan base quickly got to work decoding the album, looking for layers of meaning and insight into Ms. Swift’s life. Of course, that includes the pop singer’s romantic history.Like many of her past works, the songs on this album — which features over a dozen additional tracks as part of an extended album called “The Tortured Poets Department: The Anthology” — are laden with names and references, many of which appear to be to real people from Ms. Swift’s universe and the literary canon. At least two poets, Dylan Thomas and Patti Smith, are mentioned.Here’s a look at some of those characters.Matty HealyMarcelo Hernandez/Getty ImagesPlenty of lines from “Tortured Poets” have fans guessing that certain songs — including “The Smallest Man Who Ever Lived,” “The Black Dog” and “Down Bad” — may be about Matty Healy, the frontman for the 1975 who was spotted out and about with Taylor on several occasions last spring. One clue Swifties are latching on to: On the “The Black Dog,” Ms. Swift refers to the band the Starting Line. Mr. Healy covered one of the band’s songs while he was touring last spring. And then there is the much-discussed reference to a person Ms. Swift describes as a “tattooed golden retriever” on the album’s title track. Mr. Healy seems to fit the bill, according to her fans.Travis KelceFrank Franklin II/Associated PressMs. Swift’s fans have been floating the notion that the many sports references in the track “The Alchemy” allude to the football player Travis Kelce, the singer’s current boyfriend. “So when I / Touch down, call the amateurs and cut ’em from the team / Ditch the clowns, get the crown, baby, I’m the one to beat,” she sings in the chorus. “Where’s the trophy? / He just comes running over to me,” she adds in the bridge. But there is some debate, with some fans noting that her use of the term “blokes” would seem to imply the song is not about an American. (A winking line about “heroin but this time with an E” has some guessing the song is about Mr. Healy, who has previously spoken about his drug use.)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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    Harvard’s Taylor Swift Scholars Have Thoughts on ‘The Tortured Poets Department’

    The students taking Harvard University’s class on the singer are studying up. Their final papers are due at the end of the month.Fans of Taylor Swift often study up for a new album, revisiting the singer’s older works to prepare to analyze lyrics and song titles for secret messages and meanings.“The Tortured Poets Department” is getting much the same treatment, and perhaps no group of listeners was better prepared than the students at Harvard University currently studying Ms. Swift’s works in an English class devoted entirely to the artist. The undergraduate course, “Taylor Swift and Her World,” is taught by Stephanie Burt, who has her students comparing Ms. Swift’s songs to works by poets and writers including Willa Cather, Samuel Taylor Coleridge and William Wordsworth.On Thursday night, about 50 students from the class gathered in a lecture hall on campus to listen to Ms. Swift’s new album. Mary Pankowski, a 22-year-old senior studying history of art and architecture, wore a cream sweatshirt she bought at Ms. Swift’s Eras tour last year. The group made beaded friendship bracelets to celebrate the new album, she said.When the clock struck midnight, the classroom erupted into applause, and the analysis began. First, the group listened through the album once without discussing, just taking it all in.Certain lines, however, immediately caused a stir, said Samantha Wilhoit, a junior studying government — like a reference to the singer Charlie Puth and the scathing lyrics to the song “The Smallest Man Who Ever Lived,” Ms. Wilhoit, 21, said.A line from the song “I Can Do It With a Broken Heart,” in which Ms. Swift sings, “I cry a lot but I am so productive,” also seemed to resonate, Ms. Wilhoit said, laughing.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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    Mandisa Hundley, ‘American Idol’ Singer, Dies at 47

    She performed and produced music with Christian themes and won a Grammy Award in 2013.Mandisa Hundley, a gospel singer whose strong vocals were applauded on “American Idol” and who later won a Grammy Award for best contemporary Christian music album, was found dead at her home in Nashville on Thursday. She was 47.The Media Collective, which represented Ms. Hundley, confirmed her death and said in a statement that the cause was not known.Ms. Hundley performed and produced music with Christian themes. She was a fan favorite on “American Idol” in 2006, but became the fourth of the 12 finalists to be eliminated.As a soul singer, she spoke openly about her love of God, and her music resonated with fans.Ms. Hundley famously stood up to Simon Cowell, the “American Idol” judge, who has a reputation for being intimidating. In her video interview for the show, she referred to her audition in Chicago, when Mr. Cowell, in an apparent joke about her weight, said after she left the room, “Do we have a bigger stage this year?”Ms. Hundley said in the video that, despite the remark, she would still travel to Hollywood and face Mr. Cowell in the final judging.“When I got to Hollywood, I knew I had to put my game face on,” she said. “I knew that I would finally get to speak my piece.”“You hurt me, and I cried,” she later told Mr. Cowell. “But I want you to know that I have forgiven you.” Mr. Cowell replied that he was “humbled,” and the two hugged.Ms. Hundley told The Oklahoman in 2006 that her faith helped her overcome Mr. Cowell’s hurtful remark.“Food has always been a problem for me,” she said. “When Simon first made the comments, it was a nightmare. But God turned it around. Those words became the impetus I needed to kick-start my plan to live a more healthful lifestyle and get my eating under control.”She went on to record several albums. Her first was “True Beauty,” in 2007. Her 2013 Grammy winning album, “Overcomer,” debuted at No. 1 on the Billboard Christian Albums Chart. It was her first Grammy Award after three nominations.Mandisa Lynn Hundley was born in Sacramento on Oct. 2, 1976, to John Hundley and Ruby Berryman, who worked for the state. She sang at church and studied vocal performance at American River College, a community college in Sacramento, and then continued her studies at Fisk University in Nashville.After college, she worked as a vocalist for the singers Trisha Yearwood and Shania Twain.She is survived by her parents and a brother, John Hundley.On her 2017 album, “Out of the Dark,” she addressed her struggles with depression, which she also wrote about in a 2022 memoir of the same name.“My dream is that this book will be a tool used in living rooms and coffee shops all over the world to help prompt discussions about our mental health,” she told “Good Morning America.”Emmett Lindner More

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    Mariinsky Dancers Barred From Youth Ballet Gala in New York

    Two dancers from the Russian company were set to perform at a benefit for a prestigious competition for young dancers, but they were sidelined after protests by pro-Ukrainian activists.Two dancers from the Mariinsky Theater in Russia were barred from performing at a youth ballet gala in New York this week after their participation drew criticism from pro-Ukrainian officials and activists.The dancers had been set to take part in two performances, at the David H. Koch Theater at Lincoln Center, that celebrate the 25th anniversary of Youth America Grand Prix, a prestigious ballet competition and scholarship program based in New York.But Youth America Grand Prix’s leaders removed the dancers from the program after critics said the organization was lending support to the Russian government by hosting the artists. The Mariinsky is a state-run theater in St. Petersburg led by the conductor Valery Gergiev, a close ally of President Vladimir V. Putin.Youth America Grand Prix said in a statement that the decision “gives us great pain.” It said that in the hours before the first performance on Thursday, it had learned — along with Lincoln Center and others in the ballet world — of possible protests. After consulting with New York City Ballet, which operates the Koch Theater, it said that “it was agreed to cancel the performances of the scheduled Mariinsky Ballet dancers.”“Art should unite us, not divide us,” Larissa Saveliev, the founder of Youth America Grand Prix, said in a statement. “In a difficult period, ballet should be healing. This is terribly sad.”Since Russia invaded Ukraine in 2022, Russian artists and institutions have come under intense scrutiny on the global stage. The Bolshoi Theater in Moscow and the Mariinsky have faced cancellations abroad and have lost prestigious partnerships. Some stars, including Gergiev, who also leads the Bolshoi, and the soprano Anna Netrebko, have been shunned in the West because of their ties to Mr. Putin.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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    7 Songs That Reference Tortured Poets

    Taylor Swift said she channeled them; Patti Smith, Lana Del Rey, the Smiths and others cited them.Patti Smith.Charlie Steiner — Highway 67/Getty ImagesDear listeners,Perhaps you have heard that Taylor Swift has a new album out today — just a wild guess! — and that it is called “The Tortured Poets Department.” That title alone generated chatter before anyone had heard a note, and it got me thinking about some of my favorite songs that reference poets. And so I filled my inkwell, put a quill pen to my chin and cried, “A playlist is in order!”Though there are no Swift songs on this mix, it does feature the two poets she name-checks on her latest album: Dylan Thomas (in a shaggy ode written by Better Oblivion Community Center) and that most poetic of rock stars, Patti Smith. It is also significantly shorter than “The Tortured Poets Department” and its 15-song companion piece (known together as “The Anthology”), which, as I suggest in my review of Swift’s album, is not necessarily a bad thing. And no, my friends, this playlist does not contain any Charlie Puth.It does, however, highlight songs by the Smiths, Bob Dylan, Lana Del Rey and more. Grab your favorite notebook, find a particularly pastoral patch of grass to lie in, and press play.Keats and Yeats are on your side,LindsayListen along while you read.1. Better Oblivion Community Center: “Dylan Thomas”There are plenty of quotable lines on this jangly, stomping highlight from the sole album released by Conor Oberst and Phoebe Bridgers’s side project, Better Oblivion Community Center, but I am partial to this one: “I’m getting used to these dizzy spells/I’m takin’ a shower at the Bates Motel.”▶ Listen on Spotify, Apple Music or YouTubeWe 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