Aurelia Butler

More stories

  • 125 Shares99 Views

    in Music

    A Timeline of Sean Combs’s Rap Career, Dotted by Violence

    The music mogul, who was accused of sexual abuse by a former romantic partner, fueled the commercial success of rap over a 30-year career dotted by allegations of violence.Sean Combs, the hitmaking hip-hop mogul also known as Puff Daddy or Diddy, was sued this week in federal court by Cassie, an R&B singer who was once signed to his label and who had been his romantic partner. She accused Mr. Combs, 54, of rape, and of physical abuse over about a decade. A lawyer for Mr. Combs said he “vehemently denies these offensive and outrageous allegations.” A key driver of hip-hop’s takeover of mainstream pop, Mr. Combs has had a career in music, fashion and TV for more than 30 years that has been periodically interrupted by run-ins with the law.1991An Ambitious Intern’s Rocky AscentMr. Combs, a relatively unknown 22-year-old radio station intern, co-hosted a celebrity basketball game with the rapper Heavy D. A stampede erupted among the jammed crowd inside the oversold City College of New York gymnasium, killing nine people.A report commissioned by Mayor David N. Dinkins criticized Mr. Combs for allowing inexperienced underlings to plan the event and for tricking ticket buyers about the event’s charitable intentions.“City College is something I deal with every day of my life,” Mr. Combs said in 1998. “But the things that I deal with can in no way measure up to the pain that the families deal with. I just pray for the families and pray for the children who lost their lives every day.”A year later, as an intern at Uptown Records, Mr. Combs’s production on the remix of Jodeci’s “Come and Talk to Me” helped the single to sell 3 million copies, announcing him as a rising talent. He went on to help produce remixes for Heavy D, the reggae artist Super Cat, and “Real Love” by the R&B singer Mary J. Blige, which introduced the rapper the Notorious B.I.G.The aftermath of a 1991 stampede in which nine people were killed during a celebrity basketball game at City College.Sara Krulwich/The New York Times1994Starting Bad Boy RecordsMr. Combs’s Bad Boy Records, founded a year earlier after his termination from Uptown, scored its first major success, as the Notorious B.I.G.’s “Ready to Die” album peaked at No. 15 on the Billboard 200. The debut drew critical acclaim for its portrayal of “both the excitement of drug dealing and the stress caused by threats from other dealers, robbers, the police and parents,” as The New York Times wrote at the time, and spawned the hit records “Juicy,” “One More Chance” and “Big Poppa.” To date, the album has been certified six-times platinum.His work on Blige’s “My Life” album that year garnered his first Grammy nomination (for best R&B album).1997Missing the Notorious B.I.G.Mr. Combs charted some of the most notable accolades of his career before and after the death of B.I.G., born Christopher Wallace, who was killed in a drive-by shooting on March 9, six months after the killing of his rival Tupac Shakur.Opening the year with the release of “Can’t Nobody Hold Me Down,” Mr. Combs’s first single as the artist Puff Daddy, the song spent six weeks at No. 1 ahead of the anticipated release of a full-length album. Four months after Wallace’s death, “No Way Out,” credited to Puff Daddy & the Family, debuted at No. 1 on the Billboard 200, selling 561,000 copies in its first week and spawning multiple chart-topping singles. The biggest of those, “I’ll Be Missing You,” featured Wallace’s widow, Faith Evans, and the R&B group 112. The requiem, which samples the Police’s “Every Breath You Take,” spent 11 weeks atop Billboard’s Hot 100 chart. The LP earned Combs Grammy wins for best rap album and best rap performance by a duo or group.That year, four of the 10 songs that reached No. 1 on the Hot 100 belonged to Bad Boy Records.1999Arrests for Allegations of Public ViolenceAfter a dispute over the use of footage in a music video, the record producer Steve Stoute claimed Mr. Combs and his bodyguards beat him with a champagne bottle, a telephone, a chair and their fists during an April incident.Mr. Combs faced up to seven years in prison had he been convicted of felony assault. Instead, Mr. Stoute asked the Manhattan district attorney to drop the charges after Mr. Combs publicly apologized. Mr. Combs had said he was upset that Mr. Stoute, an Interscope Records executive, used footage of him being crucified on a cross in the video for the rapper Nas’s “Hate Me Now.”“Puff soaked Interscope offices with champagne bottles on Steve/And Steve thought the drama is on me,” Nas wrote in a 2002 song that immortalized the altercation.That December, an argument broke out at a Manhattan nightclub where Mr. Combs was spending a night out with the actress and singer Jennifer Lopez, his girlfriend at the time.At least two people were injured by gunfire. The details and timeline of the interaction remained muddled throughout a highly publicized trial. The famed attorney Johnnie L. Cochran Jr. defended Mr. Combs and multiple witnesses testified that the music executive had held a gun. Mr. Combs was charged with gun possession and bribery but found not guilty. His one-time protégé, the rapper Shyne, born Jamal Barrow, received a 10-year prison sentence for assault, gun possession and reckless endangerment.2002Making the Band by Making DemandsIn 2002, Mr. Combs took over MTV’s “Making the Band,” a reality show aimed at assembling budding rappers and singers into performing groups. The seasons produced the ensemble acts Da Band and Danity Kane, and portrayed Mr. Combs as a demanding boss, who famously made members walk from Manhattan to Brooklyn to secure him cheesecake.In recent years, multiple band members have spoken out against what they described as mistreatment from Mr. Combs and bad contracts. Da Band’s Freddy P described Mr. Combs as the reason he “hates” life in an Instagram post last year.That summer, Mr. Combs terminated the label’s joint venture with Arista, leaving the deal with full ownership of Bad Boy Records and its back catalog. Despite the label’s run of R&B hits and attempts to find a rap act of the magnitude of the Notorious B.I.G., Puff Daddy remained its most reliable star.2003Back at No. 1“Shake Ya Tailfeather,” a single from the “Bad Boys II” soundtrack performed by Nelly, Murphy Lee and P. Diddy, as Mr. Combs was then known, hit No. 1 on the Billboard 100 and garnered Mr. Combs’s second Grammy Award for best rap performance by a duo or group (and third overall).2004-2013Building an Empire Beyond MusicMr. Combs expanded his business empire beyond the record industry, earning top men’s wear designer honors from the Council of Fashion Designers of America for his Sean John clothing brand (2004), forging a partnership to release Ciroc vodka (2009) and founding Revolt TV (2013). His portfolio in 2022 is estimated by Forbes to be worth $1 billion.2015Another Arrest on Assault ChargesIn 2015, Mr. Combs was arrested and charged with assault with a deadly weapon, making terrorist threats and battery after an altercation with a U.C.L.A. football coach. In a news release, the university described the weapon as a kettlebell. Justin Combs, Mr. Combs’s son, began playing football at the university in 2012.The Los Angeles County district attorney’s office said that prosecutors decided against pursuing felony charges after the incident, according to The Washington Post.2023Cassie Accuses Mr. Combs of Rape in LawsuitAmid the commemorations of the 50th anniversary of hip-hop, Mr. Combs was honored for his pioneering role in the expansion of the genre with a citation as a global icon at the MTV Video Music Awards in September, on the heels of being recognized with a lifetime achievement honor at the BET Awards in 2022.In November, Mr. Combs’s “The Love Album: Off the Grid” was nominated for a Grammy for best progressive R&B album.That month, the R&B singer Cassie, who was once signed to Bad Boy and who had a lengthy romantic partnership with Mr. Combs, filed a lawsuit in federal court that accused him of rape, and of repeated physical abuse over about a decade.Cassie, whose full name is Casandra Ventura, says in the suit that not long after she met Mr. Combs in 2005, when she was 19, he began a pattern of control and abuse that included plying her with drugs, beating her and forcing her to have sex with a succession of male prostitutes while he filmed the encounters. In 2018, the suit says, near the end of their relationship, Mr. Combs forced his way into her home and raped her.Through a lawyer, Mr. Combs, “vehemently denies these offensive and outrageous allegations.” More

  • 75 Shares189 Views

    in Music

    7 Great André 3000 Guest Verses

    He isn’t rapping on his new LP. But he showed his skills on these tracks.Amber Fouts for The New York TimesDear listeners,After announcing a new album just a few days ago, André 3000 has released his solo debut, “New Blue Sun.” Coming nearly two decades into his rap duo Outkast’s long hiatus, the album’s mere existence is surprising enough. But here’s an understatement: It is not what most people were expecting from the man behind hits as disparately brilliant as “Ms. Jackson,” “B.O.B.” and “Hey Ya!,” who is arguably one of the most skilled and beloved rappers of his generation. It’s actually not a rap album at all. It is, in fact, an 88-minute instrumental album of ambient woodwind compositions.Seriously.If you do not believe me, consider the title of the 12-minute opening track, which is at once a mea culpa and a statement of purpose: “I Swear, I Really Wanted to Make a ‘Rap’ Album But This Is Literally the Way the Wind Blew Me This Time.” And then listen to it, because it’s crystalline and beautiful in a way that recalls Laraaji, Brian Eno and Philip Glass — all cited as influences on the album.“New Blue Sun” is a genuine left turn in an all-too-predictable musical world, and it’s definitely worth spending some quality time with this weekend. But for today’s playlist, I wanted to turn back the clock and consider André’s prowess as a rapper by highlighting some of his greatest guest verses.Since Outkast released its sixth (and seemingly final) studio album, “Idlewild,” in 2006, Big Boi has released three solo albums, while André’s musical output has largely been limited to a smattering of guest verses. But oh, what verses they’ve been.André has played the wise sensei on two era-defining Frank Ocean albums and duetted poetically with his baby’s mother, Erykah Badu. He’s lent some extraterrestrial flair to tracks from superstars like Beyoncé and Drake, and teamed up with underground favorites like Devin the Dude and Killer Mike. His verses still feel like special events, though, because he doesn’t just lend them out to anybody. His co-signs feel personally curated, because they’re still relatively rare.Dré can be funny, poignant, incisive, revealing and obfuscating — often within the span of a single verse. He has a canted and utterly idiosyncratic approach to rhythm; he always seems to hop on the offbeat and then hit the ground running. More than most of his contemporaries, he manages to be both lustful and self-aware about his own lust. He’s an otherworldly ATLien and he’s down to earth. He is cooler than cool. He’s ice-cold.So if an instrumental flute album wasn’t what you were hoping to get from André 3000, give it a moment. And listen to this playlist to appreciate all the razor-sharp bars he’s given us in the meantime.Listen along on Spotify as you read.1. UGK featuring Outkast: “Int’l Players Anthem (I Choose You)”Regal, occasionally crass and thoroughly tender, this 2007 stone-cold classic is one of hip-hop’s great odes to monogamy. André’s plain-spoken, feelings-forward verse opens the track and sets the tone: “Hate to see y’all frown,” he says of the women with whom he’s broken it off to go exclusive with another, “but I’d rather see her smiling.” (Listen on YouTube)2. Frank Ocean: “Solo (Reprise)”André bursts into the world of Frank Ocean’s 2016 opus “Blonde” in a gust of rapid-fire wordiness. Accompanied by James Blake’s sparse piano, he experiments with some inspired “solo”/“so low” wordplay (“so now I’m so low that I can see under the skirt of an ant”) as his flow careens around corners and suddenly — as if to assert the control he always has over his rhythm — yanks the emergency brake. That it’s the most prominent feature on Ocean’s deeply personal album attests to the respect the younger artist has for 3000’s artistry. (Listen on YouTube)3. Beyoncé featuring André 3000: “Party”On this verse, featured on a single from Beyoncé’s 2011 album “4,” André indulges in some light braggadocio, makes up his own memorable pronunciation of “gyro,” and, approaching his late 30s, expresses ambivalence about his evolving status as an elder statesman of hip-hop: “Kiddo say he looks up to me, this just makes me feel old.” (Listen on YouTube)4. Rick Ross featuring André 3000: “Sixteen”This eight-minute track from Rick Ross’s 2012 album “God Forgives, I Don’t” is a meta-meditation on what happens when “16 ain’t enough” — or how difficult it is to condense one’s life into a standard, 16-bar rap verse. Both Ross and 3000 manage to cram multitudes into their rhymes here. André’s feature in particular is an absolute tour de force, beginning with a vivid flashback to his youth (when he was just “drawin’ LL Cool J album covers with Crayolas on construction paper”) and somehow shifting into another gear toward the end, as he offers some clear-eyed reportage from the other side of one’s childhood dream coming true. (Listen on YouTube)5. Drake featuring Lil Wayne and André 3000: “The Real Her”From way back in 2011, when Drake was still trying to sound like a genuine romantic, André 3000 slid onto this “Take Care” track to show him how it was done, name-dropping Adele and laying his soul bare. “Everybody has an addiction,” he raps with arresting simplicity. “Mine happens to be you.” (Listen on YouTube)6. Devin the Dude: “What a Job”Another meta-ode to a musician’s creative process, this song from Devin the Dude’s gloriously named 2007 album “Waitin’ to Inhale” finds the Houston rapper — along with Snoop Dogg and André 3000 — offering perspective on and gratitude for his chosen profession. André uses part of his verse to make an argument against then-rampant piracy: “If I come to your job, take your corn on the cob,” he asks, “and take a couple kernels off it, that would be all right with you?” (Listen on YouTube)7. Killer Mike and André 3000 featuring Future and Eryn Allen Kane, “Scientists & Engineers”André proves he’s still got bars in the present tense on this track from Killer Mike’s 2023 album “Michael,” which just last week scored Grammy nominations for best rap performance and best rap song. Amid some evocative bleeps and bloops, André sounds like an alien visitor beaming in from another galaxy, though his verse is also imbued with plenty of human vulnerability: “Too much that I can’t communicate with all of them,” he raps. “I do wish I had scientists to engineer friends.” Later on, though, he’s more optimistic when considering the future: “Hope I’m 80 when I get my second wind.” We should all hope so, too. (Listen on YouTube)Keep your heart, Three Stacks, keep your heart,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“7 Great André 3000 Guest Verses” track listTrack 1: UGK featuring Outkast, “Int’l Players Anthem (I Choose You)”Track 2: Frank Ocean, “Solo (Reprise)”Track 3: Beyoncé featuring André 3000, “Party”Track 4: Rick Ross featuring André 3000, “Sixteen”Track 5: Drake featuring Lil Wayne and André 3000, “The Real Her”Track 6: Devin the Dude, “What a Job”Track 7: Killer Mike and André 3000 featuring Future and Eryn Allen Kane, “Scientists & Engineers”Bonus TracksIf you ever find yourself in Brussels (as I did on vacation last week), I cannot recommend highly enough a visit to the Musical Instruments Museum. The M.I.M. boasts a huge collection of instruments new, old and even older, including some wonderful curiosities. I got to see one of Adolphe Sax’s seven-bell trumpets (which was not as successful as one of his other inventions, the saxophone), a notorious glass harmonica and a collection of woodwinds extensive enough to have satisfied André 3000.Also, on this week’s Friday Playlist, we have new music from Drake, Dua Lipa, Julia Holter and more. Listen here. More

  • 138 Shares199 Views

    in Music

    At the Philharmonic, Violin Concertos as Alike as They Are Different

    In back-to-back programs, the orchestra presented concertos by Beethoven and Benjamin Britten.The violin concertos by Beethoven and Benjamin Britten are as alike as they are different, and over the past week, the New York Philharmonic presented them in back-to-back programs that gestured at their beauties without digging into them.Both concertos begin with a rumbling in the timpani, barely the outline of a rhythm, but enough of a motif to inspire developments in the orchestral and violin parts that build to strenuous emotional heights. Both tax the soloist’s endurance with a series of technical hurdles, and challenge the orchestra to step up its musical partnership.The Philharmonic nestled each concerto into the middle of programs that began with a brief curtain-raiser and ended with expansive, idiosyncratic symphonies. Last week, Stéphane Denève conducted the Beethoven in between Carlos Simon’s “Fate Now Conquers” and Saint-Saëns’s Third Symphony. Then, on Thursday, Paavo Järvi led a more strongly conceived program that framed the Britten with Veljo Tormis’s Overture No. 2 and Prokofiev’s Sixth Symphony.If the concerts had similar setups, they had similar problems too. The Philharmonic, perhaps a bit on autopilot, began the concertos tentatively, smoothed out the drama of the symphonies and locked into isolated moments of dynamism. The openers, particularly the Tormis, emerged as effectively crafted short stories: internally coherent, absorbing, satisfying.The unabashed emotionality of Britten’s concerto, which the pacifist composer completed after the outbreak of World War II, shows up in the solo writing in two ways: urgent, long-lined melodies of sweet despair; and raw plucking and feverishly cascading stops. Alena Baeva, making her Philharmonic debut, played the piece with assertive beauty and vibrato so quick, at times, that it seemed to disappear. With her understated legato and handsomely voiced harmonies, she made things sound easy. In guttural passages, she indicated Britten’s intentions without compromising her ability to return to lyricism.Baeva, so facile in surmounting technical obstacles, had trouble turning up the temperature. The exquisite, full-throated lament at the center of the second movement gets volleyed between soloist and orchestra, and Järvi didn’t build a compelling progression out of the straightforward yet potent musical scenario. Baeva’s final re-entry was anticlimactic. In the cadenza, she dispatched technical challenges — the duetting of held notes and plucked ones was finely handled — without tapping into the writing’s existential anguish. She sounded more aligned with the tranquillity of the third movement.Stéphane Denève, left, leading the Philharmonic and the violinist Nikolaj Szeps-Znaider in Beethoven’s Violin Concerto last week.Chris LeeIn 1801, a few years before completing his Violin Concerto, Beethoven wrote in a letter of his encroaching deafness, “From a distance I do not hear the high notes of the instruments and the singers’ voices.” And yet he ended up producing a sprawling concerto that keeps the violin in the tippy top of its range as it leaps continually through intervals.The violinist Nikolaj Szeps-Znaider’s solo playing, decisive in bold passages and tender in soft ones, sometimes turned brittle. Quiet moments emerged like beautiful whispers that evaporated as they tapered off, and he sounded more at ease in stepwise passages than leaping ones.Saint-Saëns’s Third, nicknamed the “Organ Symphony” for its prominent use of that instrument, is full of theatrical string writing that Denève shortchanged. The work came alive in its final stretch when he made the Maestoso section, which derives its power from majestically broad time signatures, sound like a king’s procession marching down the aisles of David Geffen Hall. The four-hand piano playing was simple yet magical, and the organist Kent Tritle seemed to be having a ball with his forte passages after teasing out the subtler beauties of earlier sections and their woozy prism of colors.Prokofiev’s Sixth Symphony, like Britten’s Violin Concerto, can be considered a response to the horrors of World War II; at times you can almost hear the sound of an individual’s spirit writhing out of the grasp of a conflict that would snuff it out. And, as with the Saint-Saëns, the Philharmonic snapped into focus in the work’s final minutes.Up until that finale, when he drove the Vivace at a thrilling clip into a climax of overwhelming impact, Järvi walked the middle of the road. The conductor Yevgeny Mravinsky, chosen by Prokofiev for the symphony’s world premiere, left behind a gripping recording full of specific choices: a stiff, percussive celesta; ear-clearing winds screeching on high, blowzy brasses with something sinister to say. By contrast, Järvi’s adherence to conventional beauties sounded strange.But he found Prokofiev’s individuality in the Vivace, where the violins sounded clean yet somehow breathless, and the clarinet, warm yet sharply etched. A threat bubbled up from the percussion section. The final moments of cataclysm arrived suddenly and all at once. It was almost worth the wait. More

  • 113 Shares169 Views

    in Movies

    ‘Beyond the Aggressives: 25 Years Later’ Review: Trailblazers Revisited

    This documentary from Daniel Peddle offers an update on the transmasculine people of color who participated in ballroom culture in the 1990s.The 2005 documentary “The Aggressives” provided a novel view of ballroom culture, or the underground pageant scene which emerged as a haven for queer Black and Latino youths in the 1980s and ’90s. The subjects of the 2005 film are people who identified themselves as “aggressives” — they were assigned female at birth, but they competed in ballroom categories highlighting their masculinity. They walked the catwalk dressed in construction gear and basketball jerseys. The original film followed its stars for five years, as they carried their gender performance out of the ballroom and into the streets, into their relationships and family lives.Now, decades years later, the director Daniel Peddle follows up with his former subjects, in the documentary “Beyond the Aggressives: 25 Years Later.” Four of the original subjects of “The Aggressives” return to offer updates from their lives, and once again, the filmmaker interviews his subjects across five years.One such subject, Kisha, who was once a model, has grown into an artist, and the film uses Kisha’s photography as a clever way to include commentary on the original film from new transmasculine, nonbinary or lesbian subjects. Trevon now identifies as transmasculine and nonbinary, and is happily partnered and considering how to build a family. Octavio works to reestablish a relationship with his son, and he considers when to pursue gender affirming surgery. Chin seeks support from the Transgender Law Center for assistance in navigating immigration law after he is targeted for deportation by ICE. In each of these updates, Peddle hews close to his original film’s style: he asks his subjects to define themselves and then he keeps watching, letting their actions color in the lines of their self-definition. It’s an approach which grants dignity to his subjects, an effect which is only amplified by the passage of time.Beyond the Aggressives: 25 Years LaterNot rated. Running time: 1 hour 20 minutes. In theaters. More

  • 138 Shares149 Views

    in Music

    Karol G, Shakira and Natalia Lafourcade Win Big at Latin Grammys

    Karol G, Shakira and Natalia Lafourcade took the top prizes at the awards’ first ceremony outside the United States.Spain tried to share the cultural clout of its former colonies at the 24th annual Latin Grammy Awards, which were broadcast worldwide on Thursday night from the Fibes convention center in Seville. It was the first Latin Grammy ceremony to take place outside the United States.Even with the trans-Atlantic move, the top awards went to women from Latin America. Karol G, from Colombia, won album of the year for “Mañana Será Bonito.” Shakira, from Colombia, shared song of the year, a songwriting award, for her collaboration with the Argentine producer Bizarrap, “Bzrp Music Sessions, Vol. 53.” They performed it on the show, with Shakira dancing sinuously and defiantly.Karol G became the first woman to win a Latin Grammy for música urbana album; “How cool is it for a woman to win this?” she exulted. And “TQG,” her duet with Shakira from that album, was named best urban/fusion performance.Record of the year, an award for a single, was by Natalia Lafourcade from Mexico: “De Todas las Flores,” the title track of a richly retro album that was named best singer-songwriter album. “This is the most personal album I made at a time when I felt completely broken,” she said while accepting an award at the preshow. “I didn’t even know where to start, and music once again taught me its power, its medicinal power.”Joaquina, an introspective 19-year-old songwriter from Venezuela, won as best new artist. “They told me I wouldn’t make it if I recorded my own songs, but here I am,” she said in a tearful speech. “Music is always worth the pain.”For the Latin Recording Academy, which gives the awards, Latin music isn’t defined by geography or history. It’s simply a matter of what language the lyrics are in: Spanish, Portuguese or Indigenous languages of the Americas. This year’s award for person of the year, a lifetime achievement award, went to Laura Pausini, an Italian singer who has spent much of her three-decade career performing in Spanish.The Latin Grammys’ venture to Spain was supported by a $24 million grant, for this year’s Latin Grammys and other musical events in Andalusia, from the European Union and the government of the region of Andalusia, the cradle of flamenco.The awards took place on the annual International Day of Flamenco, commemorating UNESCO’s 2010 recognition of flamenco as an “intangible cultural heritage.” While Caribbean reggaeton and regional Mexican music are the styles that have spearheaded Latin music’s new worldwide popularity, the awards show played up the influence of Spain and flamenco.The preshow awards webcast began with the clang of a martillo — an anvil, harking back to a flamenco tradition of using rhythms from Roma blacksmiths — and a medley from the nominees in the flamenco category including Niña Pastori, the winner. She called flamenco “music of purity” and congratulated her fellow nominees, urging them to “keep fighting for this flamenco, which is the most beautiful music there is.”The main awards ceremony began with the Spanish songwriter Rosalía, whose “Motomami” was named album of the year in 2022. She sang “Se Nos Rompió el Amor” (“We Destroyed Our Love)” — a dramatic hit by Rocío Jurado, a Spanish singer who died in 2006 — in a stark crescendo surrounded by flamenco guitarists and hand-clappers. The raspy-voiced Spanish songwriter Alejandro Sanz performed amid 30 flamenco dancers. With orchestral backing, the popera tenor Andrea Bocelli sang a vibrato-charged “Granada,” the Mexican songwriter Agustín Lara’s tribute to the Spanish city.Where Latin American songwriters had collaborated with Spaniards, those songs were featured. Pablo Alborán, from Spain — who has had 24 Latin Grammy nominations without a win — was joined by the Argentine songwriter Maria Becerra for their duet, “Amigos,” before she went on to sing a fierce solo version of her bitter, wrathful post-breakup song “Ojalá” (“I Hope”). The Spanish songwriter Manuel Carrasco sang with the Colombian songwriter Camilo before they were also joined by the Brazilian singer Iza and by Camilo’s longtime collaborator Edgar Barrera, who was named producer of the year and songwriter of the year. Barrera also shared the songwriting award for regional Mexican song, the hit “Un x100to” (“One Percent”) by Bad Bunny and Grupo Frontera.The show offered a little recognition for the regional Mexican music that has been a growing international force in recent years. “Ella Baila Sola” (“She Dances Alone”) — a speedy, horn-pumped waltz about winning over a beautiful woman — became a blockbuster international single this year, and it got its first onstage performance in Seville from its studio and video collaborators, Peso Pluma and Eslabon Armado.The Mexican songwriter Christian Nodal, who won awards for both norteño album and ranchero/mariachi album, shared a vehement lovers’-quarrel duet, “La Siguiente” (“The Next One”), with Kany García from Puerto Rico. The Mexican songwriter Carín Leon got two performing slots, on his own and with the Colombian singer Maluma.Cross-genre, cross-border collaborations increasingly define pop both within and beyond the United States, and no music awards show can quite keep up. But the Latin Grammys’ excursion to Spain came across as a field trip, not an advance. More

  • 138 Shares159 Views

    in Movies

    ‘Please Don’t Destroy: The Treasure of Foggy Mountain’ Review: Fools’ Gold

    The “S.N.L.” troupe, known for digital shorts, makes its feature debut with this goofy, episodic adventure farce.The 20-something comedians Ben Marshall, John Higgins and Martin Herlihy, who produce digital shorts for “Saturday Night Live” under the group name Please Don’t Destroy, owe a lot to their “S.N.L.” forebears Andy Samberg, Jorma Taccone and Akiva Schaffer, whose troupe The Lonely Island laid the groundwork for Please Don’t Destroy’s distinctive style of two- to four-minute video skits that relish in juvenile absurdity.The Lonely Island parlayed late-night stardom into feature films like “Hot Rod” and “Popstar: Never Stop Never Stopping.” And now the members of Please Don’t Destroy are here with a movie of their own: “The Treasure of Foggy Mountain,” which borrows the surreal gusto and madcap humor of “Hot Rod” and “Popstar” but shares little of Lonely Island’s originality and charm.Marshall, Higgins and Herlihy star as lifelong friends stuck in dead-end jobs at a small-town outdoor-supply store owned by Marshall’s father, played by Conan O’Brien. A TikTok video leads them to a treasure map, which leads them on an adventure: sort of like “The Goonies,” though the story is really just a framework for jokes. The jokes have the mixed-bag quality of sketch comedy, and the director Paul Briganti doesn’t have a strong instinct for when bits are dragging on: An “S.N.L.” alum, he tends to treat the film like a string of interconnected skits, which makes its 90-minute run time feel twice that length. The frustrating thing is that Marshall, Herlihy and especially Higgins really are funny, and the film has some huge laughs. That’s enough for a sketch show. It’s not quite enough for a film.Please Don’t Destroy: The Treasure of Foggy MountainRated R for crass language, sexual innuendo and comic violence. Running time: 1 hour 30 minutes. Watch on Peacock. More

  • 113 Shares129 Views

    in Music

    Tammy Faye Bakker Is Broadway Bound. As a Musical.

    A show about the televangelist, with songs by Elton John and Jake Shears, had a run in London last year and plans to open in New York next season.A new musical about Tammy Faye Bakker, the singing televangelist whose colorful life and collapsed ministry have repeatedly been dramatized for stage and screen, is pledging to open on Broadway next season.The show, called “Tammy Faye,” features music by Elton John and lyrics by Jake Shears of the Scissor Sisters. The musical had a run last year at the Almeida Theater in London, where the critic Matt Wolf called it “spectacularly entertaining.”The musical is being directed by Rupert Goold, the artistic director of the Almeida and a two-time Tony nominee for the plays “Ink” and “King Charles III.” The book is by James Graham, a prolific English playwright whose previous Broadway outings include “Ink” and the musical “Finding Neverland.”John and Shears, although best known for their careers in pop music, have both worked extensively in theater. John has written songs for many shows, including “The Lion King”; won a Tony Award for “Aida”; and is now also reworking a musical adaptation of “The Devil Wears Prada” that was poorly received during an initial production in Chicago. Shears has not only written theater songs, but also performed in “Kinky Boots” on Broadway, and is currently starring in “Cabaret” in London.“Tammy Faye” explores the life and work of Bakker (she used the surname Messner in her final years), who had an enormously successful, and lucrative, television ministry in the 1970s and 1980s, that fell apart when her husband and partner in ministry, Jim Bakker, was indicted and then imprisoned for fraud.She was known for her big hair, her big personality and her big heart — her compassion for people with AIDS made her a popular figure among gay people often shunned by evangelicals. The musical explores her life in the context of the rise of a politically potent religious right in the United States.Bakker’s arc has proved irresistible to storytellers. Jessica Chastain won an Academy Award playing her in the 2021 film “The Eyes of Tammy Faye,” and there have been several other stage projects.“Tammy Faye” is being produced by Rocket Stage, which is a theater production company established by John and his husband, David Furnish; Greene Light Stage, which is a production company established by Sally Greene, who has a business partnership with John; and James L. Nederlander, who is the president and chief executive of the Nederlander Organization.The producers said Friday that the musical would open at one of the nine Nederlander Broadway houses in the 2024-25 theater season; they did not specify which theater, and did not announce any casting.Andrew Rannells, who played Jim Bakker in London, and who is now starring in “Gutenberg! The Musical!” on Broadway, recently told Andy Cohen he was expecting the show to arrive on Broadway soon, but did not say whether he was continuing with the project. More

  • 100 Shares119 Views

    in Movies

    Eli Roth Takes a Stab at Thanksgiving Horror

    Ever since he was a boy, the director has wanted to make a gory movie about the holiday. “Thanksgiving” is adapted from his 2007 faux trailer.For almost every holiday, there’s a horror movie, from “My Bloody Valentine” to “Black Christmas.” Thanksgiving, too. But the turkeys-beware holiday gets its own namesake movie with Eli Roth’s “Thanksgiving,” featuring an ensemble cast that includes Addison Rae, Patrick Dempsey and Gina Gershon.The movie (now in theaters) is based on the gory faux trailer Roth made all the way back in 2007 for “Grindhouse,” Quentin Tarantino and Robert Rodriguez’s homage to exploitation cinema. “Thanksgiving” centers on a masked killer who dresses like the pilgrim John Carver and terrorizes modern-day Plymouth, Mass., a year after a deadly Black Friday department store doorbusters riot.In a recent phone interview, Roth said that he and Jeff Rendell, a childhood friend and his screenwriter on the new film, have been itching to make a Thanksgiving scary movie since they were kids.“There was that lull between October and mid-December when it was all family films,” said Roth, who’s from Newton, Mass. “We were just waiting for another horror movie to come out. Our dream was to fill that void.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.We are confirming your access to this article, this will take just a moment. However, if you are using Reader mode please log in, subscribe, or exit Reader mode since we are unable to verify access in that state.Confirming article access.If you are a subscriber, please  More