Aurelia Butler

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    They Loved Taylor Swift. They Loved Football. Then Their Worlds Collided.

    The Taylor Swift-Travis Kelce romance has brought together two of the internet’s most engaged fan bases. What happens when you’re already in both?Emily Calhoun remembers the moment she realized her worlds were colliding. It was in the early days of the 2023 N.F.L. season, and suddenly her phone was buzzing nonstop.“Twelve people called me,” she said. “‘Are you seeing this?!’”Ms. Calhoun, who was raised on Denver Broncos football, sure was. It was impossible to miss the seismic overlap. Her love of football was fusing with her fandom of another pop culture phenomenon: a onetime country singer whom Ms. Calhoun, 38, had come to love in the early 2000s.We’re talking, of course, about one of the most consequential mergers of our time, one that united two of the world’s most rabid fan bases in unholy internet matrimony: Taylor Swift and the N.F.L., via her boyfriend, Kansas City Chiefs tight end Travis Kelce.For the sliver of fans like Ms. Calhoun, it’s been a joyful, and complicated, overlap of identities and algorithms. They have been in fantasy drafts and in the Ticketmaster queues. They’re in the same stadiums for the Eras Tour as they are on a Sunday in September. They’re probably even in your football groupchats, the middle section of the Venn diagram that has animated American sports for the last year: Swifties who grew up football die-hards.“It was like two elemental forces that shouldn’t be allowed to touch,” Prof. Galen Clavio, who studies sports and social media at Indiana University, said of the collision.In the months since the Swift-Kelce relationship started, a considerable amount of ink has been spilled on the dynamics of their romance. There was the outrage over the pop star supposedly usurping substantial camera time during N.F.L. broadcasts (she really wasn’t), the navel-gazing over whether the relationship was a publicity stunt, and then, finally, the spiral into conspiracy, with some right-wing commenters speculating that the relationship was somehow a scheme to support President Biden in the 2024 election. 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 Is Sean Combs the Subject of a Homeland Security Investigation?

    The department has a division that often directs inquiries into sex trafficking allegations, like those cited in recent lawsuits against Mr. Combs.The raids of Sean Combs’s homes in Los Angeles and the Miami area this week raised a barrage of questions about the nature of the inquiry, which a federal official said was at least in part a human trafficking investigation.The government has said little about the basis for the search warrants, but the raids came after five civil lawsuits were filed against Mr. Combs in recent months that accused him of violating sex trafficking laws. In four of the suits women accused him of rape, and in one a man accused him of unwanted sexual contact. Mr. Combs, a hip-hop impresario known as Puff Daddy and Diddy who has been a high-profile figure in the music industry since the 1990s, has vehemently denied all of the allegations, calling them “sickening.” Officials have not publicly named him as a target of any prosecution.As the civil suits against Mr. Combs illustrate, the term human or sex trafficking has a broader meaning in the law than perhaps the more popularly understood image of organized crime and forced prostitution rings.“Traditionally you think of trafficking as a pimp who has a stable of victims and then is trafficking them in the traditional sense of the word, for money,” said Jim Cole, a former supervisory special agent with Homeland Security Investigations who oversaw human trafficking cases, “but there are lots of forms of trafficking.”The breadth of trafficking investigations has grown with the recent uptick in sexual abuse claims and the use of the internet by traffickers. Homeland Security Investigations often leads such criminal investigations, although the department is most commonly associated with immigration and transnational issues.In the current inquiry, federal investigators in New York have been interviewing potential witnesses about sexual misconduct allegations against Mr. Combs for several months, according to a person familiar with the interviews. Some of the questions involved the solicitation and transportation of prostitutes, as well as any payments or promises associated with sex acts, the person 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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    Louis Gossett Jr., 87, Dies; ‘An Officer and a Gentleman’ and ‘Roots’ Actor

    His portrayal of a drill instructor earned him the Oscar for best supporting actor. He was the first Black performer to win in that category.Louis Gossett Jr., who took home an Academy Award for “An Officer and a Gentleman” and an Emmy for “Roots,” both times playing a mature man who guides a younger one taking on a new role — but in drastically different circumstances — died early Friday in Santa Monica, Calif. He was 87.Mr. Gossett’s first cousin Neal L. Gossett confirmed the death. He did not specify a cause.Mr. Gossett with Susan Sarandon and Christopher Reeve after winning the Oscar for “An Officer and a Gentleman” in 1983.Associated PressMr. Gossett was 46 when he played Emil Foley, the Marine drill instructor from hell who ultimately shapes the humanity of an emotionally damaged young Naval aviation recruit (Richard Gere) in “An Officer and a Gentleman” (1982). Reviewing the movie in The New York Times, Vincent Canby described Sergeant Foley as a cruel taskmaster “recycled as a man of recognizable cunning, dedication and humor” revealed in “the kind of performance that wins awards.”Paramount, via Everett CollectionMr. Gossett told The Times that he had recognized the role’s worth immediately. “The words just tasted good,” he recalled.When he accepted the Oscar for best supporting actor in 1983, he was the first Black performer to win in that category — and only the third (after Hattie McDaniel and Sidney Poitier) to win an Academy Award for acting.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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    Paula Weinstein, Hollywood Veteran and Political Activist, Dies at 78

    Raised by a McCarthy-era rebel, the producer and journalist Hannah Weinstein, she followed her mother’s path into movies and television, advocacy and action.Paula Weinstein, a movie producer, studio executive and political activist who became a fierce advocate for women in her industry, died on Monday at her home in Manhattan. She was 78.Her sister Lisa Weinstein confirmed the death. She said the cause was not yet known.In the boy’s club of Hollywood, Ms. Weinstein was the rare female top executive: Over her long career, she was president of United Artists, a vice president of Warner Bros. and an executive vice president at 20th Century Fox. She was just 33 when she was hired at Fox in 1978, and when she was promoted to vice president a year later, The Los Angeles Times called her “the highest-ranking woman in the motion picture industry.”“A man can be mediocre in almost everything, but a women’s got to be perfect,” she told Life magazine that year, when she was included in an article about Hollywood’s “Young Tycoons.”But Ms. Weinstein, who colleagues said possessed a wicked sense of humor — her sister described her laugh as an infectious cackle — and a steely commitment to social justice, was unusual in Hollywood beyond her gender. As Ken Sunshine, the veteran public relations consultant and longtime Democratic activist, put it in a phone interview: “Unlike so many, she didn’t play at politics. To her, social and political change was paramount. She was the antithesis of a phony Hollywood activist looking for good P.R. or a career boost. She was unique in a sea of pretenders.”Ms. Weinstein accepted the Emmy Award for the HBO movie “Recount” in 2008. She was an executive producer on the film, which was based on the 2000 presidential election.Kevin Winter/Getty ImagesActivism was the family business: Her mother, Hannah Weinstein, was a journalist and speechwriter who in 1950 took her three young daughters to live in Paris and then London, fleeing the grim and punitive politics of the country’s McCarthy era. In Britain, where the family lived for more than a decade, Hannah Weinstein produced movies and television series using blacklisted actors and writers like Ring Lardner Jr. and Ian McLellan Hunter. She repeatedly told her daughters, as Lisa recalled, “If you believe in something, you have to be willing to get up off your ass and do something, and if you don’t get up off your ass, you really didn’t believe in it.”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 Guide to Beyoncé’s Guests on ‘Cowboy Carter’: Linda Martell, Shaboozey and More

    A guide to key guests and behind-the-scenes figures on the star’s eighth studio album.A new Beyoncé release isn’t just an album — it’s a sprawling collective effort where the supporting cast and behind the scenes crew can reveal a lot about the scope of the star’s vision. For “Cowboy Carter,” in addition to household names like Willie Nelson, Dolly Parton, Miley Cyrus and Post Malone (and a brief cameo from her daughter Rumi), she’s looped in a slew of collaborators new and old. Here’s a guide to some of the most significant figures you’ll see in the credits.Rhiannon Giddens in London last year. The musician and scholar contributes banjo, viola and gravitas to “Cowboy Carter.”Serena Brown for The New York TimesRhiannon GiddensRihannon Giddens plays on the “Cowboy Carter” single “Texas Hold ’Em,” but beyond the banjo and viola she contributed to the track, she lends the whole project a special kind of historical weight. During the past two decades, Giddens has led a new wave of folk artists helping to shed light on the foundational role that Black musicians played in the creation of American roots music. A scholar of the banjo as much as a practitioner, she’s made it her mission to educate audiences about its history as an African-descended instrument that was once, as she put it in 2017 when she won a MacArthur Genius Grant, “an absolute emblem of the African American in the South.”Trained as an opera singer, Giddens rose to prominence in the early 2000s as a member of the Carolina Chocolate Drops — with Dom Flemons, Justin Robinson and Sule Greg Wilson — a Grammy-winning group that celebrated and updated the legacy of Black string bands with help from an older mentor, the fiddler Joe Thompson. In 2023, she released “You’re the One,” her first album of all original material. Last year, Giddens also won a Pulitzer Prize for “Omar,” an opera she co-wrote with the composer Michael Abels based on the life of a West African Muslim scholar who was captured and sold as a slave in America.Raphael SaadiqRaphael Saadiq’s name has been a mark of quality in R&B for more than 30 years. Saadiq, who wrote, produced and played various instruments on Beyoncé’s latest, first found fame in the late ’80s with the trio Tony! Toni! Toné! and went on to score a Top 20 solo hit with “Ask of You” in 1995. He became an in-demand producer and worked with a wide array of artists including D’Angelo — whose two biggest hits, “Lady” and “Untitled (How Does It Feel)” are Saadiq co-writes — as well as Whitney Houston, Erykah Badu and Bilal. He’s been in Beyoncé’s orbit for years, having produced her team-up with Stevie Wonder on a 2005 Luther Vandross tribute album, helped produce her sister Solange’s acclaimed 2016 effort “A Seat at the Table,” and appeared on “Renaissance” as a producer, writer and performer.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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    Alice Coltrane’s Explosive Carnegie Hall Concert, and 7 More New Songs

    Hear tracks by St. Vincent, Ani DiFranco, Camila Cabello 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.Alice Coltrane, ‘Journey in Satchidananda’Alice Coltrane’s concert at Carnegie Hall, recorded in 1971 but only released in full this month, gathered force like a typhoon, and is well worth experiencing as a whole. Its serene opening was “Journey in Satchidananda,” a modal meditation with the flute and saxophones of Pharoah Sanders and Archie Shepp enfolded in her cascading harp arpeggios. Later in the concert, she switched to piano and led her group — which also included two drummers and two bassists — in a squall of free jazz that “Journey in Satchidananda” doesn’t begin to foreshadow. JON PARELESAni DiFranco, ‘The Thing at Hand’Ani DiFranco’s next album, due in May, was produced by BJ Burton, who has come up with studio abstractions for Bon Iver and Low. Two songs released in advance, “The Thing at Hand” and “New Bible,” are starkly unadorned musical close-ups. In “The Thing at Hand,” DiFranco embraces living completely in the moment, beyond identity or premeditation. The melody is bluesy; the minimal accompaniment is from frayed-edged keyboards, distant bell tones and near the end, when DiFranco insists, “I defy being defined,” just a raw, barely tuned guitar, proclaiming a bare-bones intimacy. PARELESWe 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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    Louis Gossett Jr. Streaming Guide: ‘An Officer and a Gentleman’ to ‘The Color Purple’

    His range was wide, as evidenced by performances in projects as different as “Roots,” “An Officer and a Gentleman” and “Diggstown.”When most people think of the venerable character actor Louis Gossett Jr., who died Friday at 87, they understandably summon up his Oscar-winning turn in the 1982 drama “An Officer and a Gentleman.” But he accumulated over 200 credits over a screen, stage and television career that spanned more than 60 years, and brought a skill set that included not only drama but also comedy, science fiction, action and horror. Here are a few highlights from his illustrious career and where to stream them.1977‘Roots’Rent or buy it on most major platforms.Gossett had already established himself as an actor of note onstage, and in television guest shots and small but memorable appearances on film (“The Landlord,” “Skin Game”) when he was cast in the ABC mini-series adaptation of Alex Haley’s best seller. He plays the key role of Fiddler, an older enslaved man who becomes a mentor to the central character, Kunta Kinte (LeVar Burton). Fiddler allows Gossett to display several of the gifts that would distinguish him throughout his career: an inherent dignity, a no-nonsense toughness and a (seemingly contradictory) warmth and humanity. The mini-series was a cultural sensation, breaking records for television viewership, and Gossett would win an Emmy for his unforgettable work.1982‘An Officer and a Gentleman’Stream it on Max; rent or buy it on major platforms.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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    Eleanor Collins, Canada’s ‘First Lady of Jazz,’ Dies at 104

    A singer known for her mastery of standards, she found stardom in Canada on TV and in nightclubs. But she was virtually unknown in the United States.When the singer and pianist Nat King Cole’s 15-minute variety show debuted on NBC in November 1956, he made history as the first Black American to host a television program. But just over the country’s northern border, another Black entertainer had him beat: In the summer of 1955, Eleanor Collins had her own show on the CBC, Canada’s national broadcasting network.Though her show was a landmark in TV history — she was both the first woman and the first Black person to host a program in Canada — her selection was hardly a surprise.By the mid-1950s, Mrs. Collins was already widely regarded as Canada’s “first lady of jazz,” known for her mastery of the standards and her commanding performances on radio, early TV specials and in nightclubs around Vancouver, where she lived.“As a young man in the 1950s, having just started my radio career, I was mesmerized by Eleanor Collins,” the Canadian broadcaster Red Robinson wrote in The Vancouver Sun in 2006. “To me, she was Lena Horne and Sarah Vaughan all rolled into one. She had electric eyes and a voice to melt the hardest heart. I was in love with her.”Mrs. Collins was at home in the intimate environs of the jazz club. She had a knack for reading the room — she could easily be the center of attention, but if audience members were more interested in one another than in her, she was equally adept at providing background music.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