Aurelia Butler

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    Insooni Breaks Racial Barrier to Become Beloved Singer in South Korea

    Born to a South Korean mother and a Black American soldier, she rose to a pioneering stardom in a country that has long discriminated against biracial children.When she took the stage to perform at Carnegie Hall in front of 107 Korean War veterans, the singer Kim Insoon was thinking of her father, an American soldier stationed in South Korea during the postwar decades whom she had never met or even seen.“You are my fathers,” she told the soldiers in the audience before singing “Father,” one of her Korean-language hits.“To me, the United States has always been my father’s country,” Ms. Kim said in a recent interview, recalling that 2010 performance. “It was also the first place where I wanted to show how successful I had become — without him and in spite of him.”Ms. Kim, born in 1957, is better known as Insooni in South Korea, where she is a household name. For over four decades, she has won fans across generations with her passionate and powerful singing style and genre-crossing performances. Fathered by a Black American soldier, she also broke the racial barrier in a country deeply prejudiced against biracial people, especially those born to Korean women and African-American G.I.s.Insooni at a concert in Seoul in March.Woohae Cho for The New York TimesHer enduring and pioneering presence in South Korea’s pop scene helped pave the way for future K-pop groups to globalize with multiethnic lineups.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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    Julie Robinson Belafonte, Dancer, Actress and Activist, Dies at 95

    With the singer Harry Belafonte, she was one half of a celebrated (and sometimes denounced) interracial power couple who pressed the cause of civil rights in the 1960s.Julie Robinson Belafonte, a dancer, actress and, with the singer Harry Belafonte, one half of an interracial power couple who used their high profiles to aid the civil rights movement and the cause of integration in the United States, died on March 9 in Los Angeles. She was 95.Her death, at an assisted living facility in the Studio City neighborhood, was announced by her family. She had resided there for the last year and a half after living for decades in Manhattan.Ms. Belafonte, who was white and the second wife of Mr. Belafonte, the Black Caribbean-American entertainer and activist, had an eclectic career in the arts. At various times she was a dancer, a choreographer, a dance teacher, an actress and a documentary film producer.Ms. Belafonte with Harry Belafonte, whom she married in 1957 shortly after he and his first wife divorced. They had been introduced by Marlon Brando. via Getty ImagesMs. Belafonte traveled the nation and the world with her husband and their children during Mr. Belafonte’s sellout concert tours in the late 1950s and ’60s, presenting an image of a close interracial family that was otherwise rarely seen on television or in newspapers and magazines.She was at Mr. Belafonte’s side when they planned and hosted fund-raisers for civil rights groups, including the Rev. Dr. Martin Luther King Jr.’s Southern Christian Leadership Conference and the more militant Student Nonviolent Coordinating Committee.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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    Amnon Weinstein, Who Restored Violins From the Holocaust, Dies at 84

    Many had been left behind by victims of the gas chambers. He let the instruments be heard again in melodic tributes through his organization, Violins of Hope.Amnon Weinstein, an Israeli luthier who restored violins belonging to Jews during the Holocaust so that musicians around the world could play them in hopeful, melodic tributes to those silenced in Nazi death camps, died on March 4 in Tel Aviv. He was 84.His death, at a hospital, was confirmed by his son Avshalom Weinstein.Mr. Weinstein was the founder of Violins of Hope, an organization that provides the violins he restored to orchestras for concerts and educational programs commemorating the Holocaust. The instruments have been played in dozens of cities worldwide, including Berlin, at an event marking the liberation of the Auschwitz concentration camp.“Violins of Hope, it’s like a huge forest of sounds,” he said in a 2016 PBS documentary. “Each sound is standing for a boy, a girl and men and women that will never talk again. But the violins, when they are played on, will speak for them.”There are more than 60 Holocaust-era violins in his collection.Some belonged to Jews who carried them in suitcases to concentration camps, and who were then forced to play them in orchestras as prisoners marched to the gas chambers. Others were played to pass the time in Jewish ghettos. One was tossed from a train to a railway worker by a man who knew his fate.“In the place where I now go, I don’t need a violin,” the man told the worker, in Mr. Weinstein’s telling. “Here, take my violin so it may live.”Mr. Weinstein in his Tel Aviv workshop. He himself was the son of a violin repairman.Menahem Kahana/Agence France-Presse — Getty ImagesWe 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 the Last Dinner Party Became Britain’s Hottest New Band

    One drunken evening in 2019, Abigail Morris and Georgia Davies rushed into a discount store in Brixton, south London, and bought a cheap notepad to write down their band’s manifesto.At that point, the rock group, then called the Dinner Party, only had three members, and had never actually rehearsed any songs. But Morris and Davies — the singer and bassist — knew exactly how they wanted to look and sound: “Gothic,” “Indulgent” and “Decadence” were at the top of their list.As the English literature students went from pub to pub, they added to their proclamation, including modest ambitions (playing shows with hip British bands) and more grandiose aims (“We want to be role models for younger girls”).Later in the evening, Morris accidentally cut herself on a broken glass, and dripped blood onto the notepad. “I was, like, ‘This is perfect!’” Davies recalled in a recent interview. The splatters emphasized the pair’s vision for a band teetering between the beautiful and the grotesque.Some four years later, this meticulous yet playful approach has helped Davies and Morris achieve some of their goals. Now called the Last Dinner Party, the theatrical rock group — which also includes Emily Roberts (lead guitar), Lizzie Mayland (rhythm guitar) and Aurora Nishevci (keyboards) — has this year become Britain’s buzziest new band.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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    Popcast (Deluxe): Is Reality TV in a New Golden Age?

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:Season six of “Love Is Blind,” and the ways that the show’s episode rollout was interwoven with the TikTok and social media postgame that became its best promotionSeason two of the U.S. edition of “The Traitors,” which pits reality TV alums against each other in a game of deceptionSeason 46 of “Survivor” and its current casting conundrum of superfans and emotionally charged playersSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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    Beyoncé Joins a History of Black Pop Artists Going Country

    When Beyoncé’s “Cowboy Carter” arrives next week, it’ll join a lineage of albums by stars including Ray Charles, the Pointer Sisters, Tina Turner and more.When Beyoncé confirmed that she would be going all-in on country music with “Cowboy Carter,” the second part of a project that began with her 2022 album “Renaissance,” conversation about pop artists turning to the genre — and how Black artists are received in Nashville — began to heat up.Country remains a cloistered segment of the music industry where Black performers continue to face an especially challenging path — despite the fact that Black pioneers have been essential to the genre, including Lesley Riddle, known as Esley, a guitarist and folklorist who taught the Carter Family in the 1930s and Charley Pride, who scored more than 50 Top 10 country hits from the 1960s through the ’80s.In the past few years, Lil Nas X sparked cultural debate and hit chart gold with “Old Town Road,” a country-rap mash-up that was followed by the arrival of Breland’s aesthetic blend “My Truck,” and songs from O.N.E the Duo, a mother-daughter group making a hybrid of country, R&B and pop. But there’s also a long history of Black artists embracing country after establishing careers in other genres. Here’s how some key figures fared.Ray CharlesRay Charles in 1962, the year he released “Modern Sounds in Country and Western Music.”REPORTERS ASSOCIES/Gamma-Rapho via Getty ImagesRay Charles’s passion for country music dated back to childhood, when his mother would let him stay up late on Saturdays and listen to the Grand Ole Opry. As he told Terry Gross on “Fresh Air” in 1998, “it was fascinating what these guys could do with these banjos and these fiddles and the steel guitars.”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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    ‘Do Not Expect Too Much From the End of the World’ Review: A Wild Romanian Trip

    In Radu Jude’s shambling, acidly funny movie set in Bucharest, a foul-mouthed gofer named Angela tours the troubled heart and soul of her country.Late in Radu Jude’s “Do Not Expect Too Much From the End of the World,” the movie shifts tones. Our heroine, a funny, foul-mouthed gofer who’s racking up miles driving in Bucharest, has just told her passenger about a road outside the city that has more memorials edging it than it has kilometers. The movie then cuts to one after another roadside memorial — some stone, others metal, some with photos, others with flowers — for an astonishing four silent minutes, and this near-unclassifiable, often comically ribald movie turns into a plaintive requiem.The woman, Angela — the sneakily charismatic Ilinca Manolache — is a production assistant toiling for a foreign company that’s making a workplace safety video in Romania. Among her tasks is interviewing men and women who have been injured on the job, the idea being that one will make a camera-friendly cautionary tale for workers. As she changes gears, and the movie switches between black-and-white film and color video, Angela flips off other drivers, acidly critiques all that she encounters, creates TikTok videos and effectively maps the geopolitical landscape of contemporary Romania. At one point, she meets the German director Uwe Boll, who’s known to have trounced a few of his critics in boxing matches.I don’t think that Jude wants to beat up critics (even if the interlude with Boll, who’s shooting a “bug-killer film,” is almost endearing); among other things, his movies tend to be well-received. Jude’s shaggy provocation “Bad Luck Banging or Loony Porn,” for instance, earned high praise as well as top honors at the Berlin Film Festival in 2021. At the same time, there’s a pushy, borderline abrasive aspect to how Jude strings out Angela’s time behind the wheel in “Do Not Expect Too Much From the End of the World,” forcing you to share in her tedium. The movie is overflowing with ideas — about history, capitalism, cinema, representation — but it also tests your patience before amply rewarding it.It’s still dark when Angela stumbles out of bed one early morning, naked and cursing. (One of her favorite expletives is featured both in the first and final words in the movie, a fitting bookending blurt that seems like a cri de coeur and one of the movie’s more unambiguously authorial statements.) Before long, she’s dressed and out in the streets, making the first in a series of TikToks in which she takes on the guise of her bald social-media avatar, a bro named Bobita, an extravagantly offensive vulgarian who brags about hanging out with his pal Andrew Tate, the online influencer and self-anointed “king of toxic masculinity.”Tate’s trajectory is lurid and gross, but the references to him are more symbolically than specifically germane to the movie. (Tate moved to Romania in 2017; he was arrested there in May 2023 on an assortment of charges, including human trafficking.) For Angela — for Jude — Tate basically functions as yet another emblem of Bobita’s grotesqueness and of a larger worldview, one that has reduced everything to its market value. Everything is part of his unending hustle, including the Maserati he brags about owning, the women he boasts about sexually conquering and, of course, himself. “Remember,” Bobita says, “like and share!” With her avatar, Angela entertains her audience with a very sharp sting.The same can be said of “Do Not Expect Too Much,” which gradually gathers shape and force as Angela motors around Bucharest. As she does, Jude cuts between her and the title heroine of “Angela Goes On,” a 1981 Romanian film directed by Lucian Bratu about a taxi driver. Produced in the waning years of the Ceausescu dictatorship, the earlier film serves as a fascinating counterpoint to Jude’s movie visually and thematically. (The opening credits announce that this movie is a “conversation” with the 1981 film.) From one angle, not much has changed, but if the roads are still jammed and people hungry, it’s now capitalism rather than communism that keeps this world busily spinning.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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    Radu Jude Brings TikTok’s Chaos to the Movies

    Radu Jude’s films are messy mash-ups of art, literature, advertising and social media, with some dirty jokes thrown in.Halfway through a recent Zoom interview with Radu Jude, the acclaimed Romanian director of “Do Not Expect Too Much from the End of the World,” he offered a glimpse into his creative process. He pulled out one of the books he’s reading, an illustrated tome about commedia dell’arte. Then he shared his screen to reveal a collection of texts and images — Van Gogh still lifes, Giacometti sculptures, Japanese haikus — saved in folders on his computer. Jude stopped scrolling at a picture he took of a sign posted on an apartment building entrance.“It says ‘Please have oral sex so as not to disturb the other tenants,’” Jude explained, translating from the Romanian with a grin on his face.The autodidact Jude is not above a dirty joke. His work melds tragedy and farce, drawing promiscuously from art, literature, street ads and social media to fuel his brazen visions of Romanian history and contemporary life.Jude’s previous film, the Golden Bear-winner “Bad Luck Banging or Loony Porn,” starts out with the making of a humorously sloppy sex tape and concludes with a witch trial against one of the tape’s participants. His latest, “Do Not Expect Too Much from the End of the World,” arrives in U.S. theaters on Friday.The black comedy follows Angela (Ilinca Manolache), a film production assistant who spends most of her 16-hour workdays in her car, shuttling clients and equipment around Bucharest, Romania’s capital. One of Angela’s gigs entails interviewing former factory employees who were injured on the clock for a chance to feature in a corporate safety video. Scenes from the present-day, shot in black-and-white, are interwoven with colorful clips of another woman named Angela: a taxi driver in the 1980s also chained to a thankless job that involves navigating the streets of Bucharest.Ilinca Manolache as Angela, a film production assistant who spends most of her 16-hour workdays in her car, in “Do Not Expect Too Much from the End of the World.”4 Proof FilmWe 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