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    John Bailey, Oscars President at a Time of Strife, Dies at 81

    A respected cinematographer, he guided the motion picture academy at the height of the #MeToo movement and dealt with infighting around the Oscar ceremony.John Bailey, an accomplished cinematographer who was president of the Academy of Motion Picture Arts and Sciences from 2017 to 2019, a tumultuous period when Harvey Weinstein was excommunicated from the group and complaints mounted about the Academy Awards ceremony, died on Friday. He was 81.His death was announced by the academy, which did not say where he died or specify the cause.As a cinematographer, Mr. Bailey collaborated frequently with celebrated directors like Paul Schrader and worked on many well-known movies, including “Groundhog Day” (1993) and “The Big Chill” (1983).Before he was chosen to head the academy, he had never held a prominent public role, and he was never nominated for an Oscar himself, though he helped others win the award. In an interview in 2020 with the publication American Cinematographer, Mr. Bailey said he generally tried to make his own work “invisible.”After the academy announced in August 2017 that he would be its next president, The New York Times reported: “Hollywood scratched its head. Who?”It took only two months for Mr. Bailey to find himself in the news. Shortly after The Times and The New Yorker published investigations revealing previously undisclosed allegations of sexual harassment against the producer Harvey Weinstein, the academy voted overwhelmingly to “immediately expel” him. It was only the second known instance of an expulsion from the academy.(The first happened in 2004, when the character actor Carmine Caridi had his membership revoked after he broke rules about lending DVD screeners of contending films. Since then, the comedian and actor Bill Cosby, the director Roman Polanski and the cinematographer Adam Kimmel have also been expelled.)In a letter Mr. Bailey sent to members of the academy days after the vote, he wrote that the organization could not become “an inquisitorial court.” But he also expressed passionate support for the decision.“We are witnessing this venerable motion picture academy reinvent itself before our very eyes,” Mr. Bailey said to a luncheon of Oscar nominees several months later, according to Vanity Fair. “I may be a 75-year-old white male, but I’m every bit as gratified as the youngest of you here that the fossilized bedrock of many of Hollywood’s worst abuses are being jackhammered into oblivion.”In the kind of head-spinning turn of events that became familiar during the height of the #MeToo moment, Mr. Bailey himself became the subject of a sexual harassment accusation only weeks later.Variety reported that the academy had received three harassment complaints about Mr. Bailey. But the academy later announced that it had only one such accusation to look into, and within weeks it determined that there was no merit to the claim.More turmoil for Mr. Bailey’s academy lay ahead. The 2018 Oscars telecast saw a drop-off in ratings that has never been fully reversed. The comedian Kevin Hart was hired to host the 2019 ceremony, then stepped down amid criticism of jokes he had made years earlier about not wanting his son to be gay, leaving that year’s event hostless.Mr. Bailey made the case for two changes to the ceremony designed to maintain viewer interest in a new era: adding a “popular film” category, to include the kind of blockbuster movies that the Oscars otherwise overlook, and holding some award announcements during commercial breaks to shorten the broadcast. The academy encountered such severe blowback to those proposals that it scrapped both of them.In 2019, when term limits compelled Mr. Bailey to step down from his position, The Times described his tenure as “chaotic,” but in hindsight, perhaps none of the scandals of Mr. Bailey’s era rose to the level of Will Smith giving Chris Rock an unscripted slap to the face midbroadcast. (Mr. Smith received a ban of 10 years from the Oscars.)Getting embroiled in culture wars and power struggles was an unexpected career development for Mr. Bailey. He made it his modus operandi, he told American Cinematographer, to avoid “tawdry” films. Describing his youthful aspirations in a 2017 interview with The New York Times, Mr. Bailey said, referring to a long-dead French film critic, “I wanted to write — to be the American André Bazin.”Mr. Bailey in 1983 with the director Lawrence Kasdan on the set of “The Big Chill.”Columbia Pictures, via Everett CollectionJohn Ira Bailey was born on Aug. 10, 1942, in Moberly, Mo. He grew up in Norwalk, a city in Los Angeles County, California. He told American Cinematographer that his father was a machinist who never went to high school.He earned a bachelor’s degree from Loyola Marymount University in Los Angeles in 1964, and several years later he earned a graduate degree in cinema from the University of Southern California. He entered that program to pursue film studies, a young cinephile hoping to become a critic, but found himself drawn instead to cinematography.Early in his career, he had small jobs on several enduring films, like being the camera operator on Mr. Malick’s “Days of Heaven.” The beauty of Néstor Almendros’s cinematography in that movie remained an inspiration for Mr. Bailey.When Mr. Schrader was preparing to shoot “American Gigolo” (1980), he planned to find a European cinematographer. But then, American Cinematographer reported, he was introduced to Mr. Bailey, found himself impressed by Mr. Bailey’s knowledge of foreign film and decided to hire him instead. The two men would go on to work together on five movies.That same year, Mr. Bailey worked with Robert Redford on “Ordinary People,” Mr. Redford’s directorial debut, which won several Oscars, including for best director.In later years Mr. Bailey repeatedly collaborated with the directors Michael Apted (on the 1996 movie “Extreme Measures” and other films) and Ken Kwapis (on films including “The Sisterhood of the Traveling Pants” in 2005 and “He’s Just Not That Into You” in 2009). He also wrote a blog about film for American Cinematographer.His accomplishments at the academy included expanding international membership, which he told The Times helped the South Korean film “Parasite” win the best-picture award in 2020.He is survived by his wife of 51 years, Carol Littleton, an Oscar-nominated film editor.At the 2018 luncheon for Oscar nominees, Mr. Bailey had some useful advice for winners, The Times reported.“Thank your mom,” he said, “not your personal trainer.” More

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    ‘The Lady Bird Diaries’ Review: A 1960s First Lady Speaks

    Lady Bird Johnson proves an engrossing narrator to her own story and that of a roiling nation.“The Lady Bird Diaries” opens with images of a drizzly November day in Fort Worth, and the voice of Claudia Alta Johnson. Lady Bird Johnson — a nickname she acquired as child growing up in Texas — is recounting the assassination of President John F. Kennedy.Her cadence is measured, her account riveting. But it is a sliver of wrenching poetry that distinguishes the memory and hints that the subject of this documentary, directed by Dawn Porter, will be a singular and deeply observant guide to her own — and the nation’s — story. As their car sped off — a secret service agent physically covering her husband, the vice president, to protect him — Johnson looks back and sees, “a bundle of pink, like a drift blossom, lying in the back seat. It was Mrs. Kennedy lying over the president’s body.”Shortly after Lyndon Baines Johnson was sworn in on Air Force One, the new first lady began recording her thoughts. Those 123 hours of audiotape became a trove for the journalist Julia E. Sweig’s best-selling biography “Lady Bird Johnson: Hiding in Plain Sight,” which makes a persuasive argument that the first lady was the president’s go-to adviser for good reason. Based on Sweig’s book as well as her subsequent podcast, the documentary cements that reappraisal with first-person force.Many of the archival images Porter so fluidly employs will be familiar, but they gain fresh energy and timely urgency from Johnson’s absorbing narration and her often stirring observations about Lyndon Johnson, their political partnership, the environment and the two events she so presciently knew would shape us for decades to come: the civil rights movement and the Vietnam War.The Lady Bird DiariesNot rated. Running time: 1 hour 40 minutes. In theaters and on Hulu. More

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    Taylor Swift’s ’1989 (Taylor’s Version)’ Repeats at No. 1

    Jung Kook of BTS’s solo album “Golden” debuts at No. 2 in another dominant week on the charts for Taylor Swift.Taylor Swift holds the top of the Billboard 200 album chart with her latest remake, while Jung Kook of BTS opens at No. 2 and a posthumous release by Jimmy Buffett lands in the Top 10.“1989 (Taylor’s Version),” a rerecording of Swift’s nine-year-old LP, stays at No. 1 for a second time after a huge debut, when the new edition topped the opening-week sales of the original. In its second week out, the remade “1989” had the equivalent of 245,000 sales in the United States, including 160 million streams and 122,000 copies sold as a complete package, according to data from the tracking service Luminate.Jung Kook, the latest member of the K-pop kings BTS to release a solo album during the group’s hiatus, starts at No. 2 with “Golden,” which notched nearly 42 million streams and sold 128,500 copies as a complete album, mostly on CD. Jung Kook — whose name is also sometimes spelled Jungkook — had a No. 1 single this summer with “Seven,” featuring the rapper Latto.Buffett, the “Margaritaville” singer who died of skin cancer in September at age 76, opens at No. 6 with “Equal Strain on All Parts,” which Buffett recorded this year and completed before his death. Featuring guest spots by Emmylou Harris, Angélique Kidjo and others — Paul McCartney plays bass on one song — “Equal Strain” arrived with 51,000 sales.Also this week, Drake’s “For All the Dogs” is No. 3, Morgan Wallen’s “One Thing at a Time” is No. 4 and Bad Bunny’s “Nadie Sabe Lo Que Va a Pasar Mañana” is No. 5. More

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    Russell Brand’s Alternate Reality

    On Sept. 12, four days before he was expected at the Troubadour Wembley Park Theater for another sold-out show, Russell Brand asked his fans for a favor. “I’ve always struggled with authority and being told what to do,” he wrote to ticketholders, attaching a questionnaire for a planned bit with his audience. “Even when it comes to something small like being offered a seat by a doctor, I’ll purposefully refuse rather than comply. Tell me about your relationship with authority — whether you tend to yield to authority or fight it.”Listen to This ArticleOpen this article in the New York Times Audio app on iOS.At the time, Brand’s more-than-two-decade quest for lasting attention had been proceeding apace along two tracks. In mainstream entertainment circles, at home and abroad, he remained the fading but still bankable British comedian whose selectively confessional accounts of heroin addiction and promiscuity made him an avatar of a very mid-aughts sort of fame — the guy who played a rocker version of himself in the 2008 film “Forgetting Sarah Marshall” and would later marry Katy Perry (it was brief). But for those partial to Brand’s midlife canon, he had come to resemble something more like a political sage.With Jesus-length hair, multidenominational tattoos and promises of unspecified revolution, Brand, 48, had in recent years been reaching millions daily across a media and wellness empire, fusing the downward-facing dogmatism of a proper guru with the cold efficiency of the YouTube algorithm. His remit was nothing less than “a social-political-spiritual movement,” he told listeners. His prime offering was a trove of foreboding and regularly misleading videos from his flagship series, “Stay Free with Russell Brand,” lobbed at a cumulative social media following of more than 20 million. His episode titles charted the ideological swerve of a man who once used his celebrity to elevate progressive causes: “STATE OF FEAR! COVID Propaganda EXPOSED!” “Leaked Audio PROVES Trump Right!”For the past year, Brand’s recording studio in the Oxfordshire countryside has been blessed as an emerging nerve center of the American right, or at least the anti-anti-right, with a procession of presidential candidates beaming in. In July alone, Brand interviewed Ron DeSantis, who compared Brand favorably to loathsome “corporate journalists”; hyped a pull-up contest with Robert F. Kennedy Jr., conservative media’s favorite lapsed Democrat and Covid conspiracy theorist; and scored the first sit-down with Tucker Carlson after the host’s dismissal from Fox News. “Maybe I’ve just been called a right-wing crazy for so long that I thought I was,” Carlson told me recently. “But if I agree with pretty much everything Russell Brand says, I don’t know what I am.”In July, Brand scored the first sit-down with Tucker Carlson after the host’s dismissal from Fox News.Screenshot from RumbleLike Joe Rogan, the carnivorous pooh-bah of this intellectual space, Brand appeared interested in teaching a certain kind of man how to be a certain kind of man, mining the tension between think-for-yourself riffs and listen-to-me conclusions. (Brand has been a repeat guest on Rogan’s podcast.) Unlike Rogan, he appeared to model a more expansive vision of manhood — vegan, sober, Aldous Huxley-quoting. The event in Wembley, part of a tour scheduled for late summer and early fall, seemed designed to accentuate Brand’s overlapping profiles: electric live performer and terminally online click-hunter. As with much of his output lately, the marketplace would help dictate his direction. The tour was called “Bipolarisation” for two reasons, he joked: because people would be polled and “because I’m severely mentally ill.” His September email to attendees requested answers to several related prompts. “What’s the strangest way you’ve yielded to or gone against authority?” the first question read. “What’s the weirdest/naughtiest/most embarrassing thing you’ve done in reaction to being told what to do?” another asked.Three days later, Brand’s followers received a less whimsical communication. In a prebuttal video posted across his social media, Brand said he was about to face “very serious allegations that I absolutely refute,” without detailing them. He insisted that all past relationships were consensual. He darkly suggested that “another agenda” might be at play, noting that supporters had long warned him about “getting too close to the truth.” The next day, Sept. 16, The Sunday Times, The Times of London and Channel 4 Dispatches published a yearslong joint investigation in which four women accused Brand of sexual assault between 2006 and 2013. The accounts were specific, revolting and, in some cases, bolstered by medical records and other contemporaneous evidence. The accusers included a woman who was 16, the British age of consent, during her relationship with Brand, who was in his early 30s. She said Brand once forced her to perform oral sex as she strained to push him off, stopping only after she punched him in the stomach. There was a time, as recently as a few years ago, when this sort of reputational earthquake almost certainly would have followed the dutiful rhythms of celebrity crisis management: performative introspection, nominal contrition (often paired with a narrow denial of the most grievous offenses), a pledge to disappear for a while. Instead, Brand’s story quickly became a self-evident data point in two divergent realities. In the first, the one still tethered at least somewhat to traditional notions of scandal and consequence, Brand was an overnight pariah and criminal suspect. The police in London opened investigations. More women came forward, including an extra on Brand’s 2011 film “Arthur,” who filed a civil suit in New York claiming that Brand assaulted her in a bathroom on set. Brand’s management company almost immediately dropped him. YouTube suspended him from making money from his channel, which has more than six million subscribers. A parliamentary committee chairwoman wrote to Rumble, the video platform that caters to the right and exclusively carries Brand’s full episodes (shorter clips still appear on YouTube), expressing concern that he might continue to profit there and “undermine the welfare of victims.”In the second reality, the victim was Brand, and his welfare was suddenly the concern of many, from the powerful new friends he has made to the “awakening wonders” (as he addresses his flock) refusing to abandon him. His example has become a repentance-free case study in a very 2023 template for public survival, a post-post-#MeToo lesson in the spoils and fortifications available to those who are thought to be scorned by the right people. “Criticize the drug companies, question the war in Ukraine, and you can be pretty sure this is going to happen,” Carlson said of Brand on X (formerly Twitter), to which Elon Musk, the site’s reply-guy owner, responded: “Sure seems that way!” Rumble also posted on X, calling the parliamentary letter a “deeply inappropriate” intrusion of the state. Already, for those who support Brand and those who do not, his fate is being processed as a kind of referendum — on who gets to decide what happens to the accused; on what a preternaturally charismatic figure can talk himself into or out of; on the limits, or limitlessness, of tribal loyalty.Brand leaving the Troubadour Wembley Park theater in London in September. He performed just hours after sexual assault allegations were made public.James Manning/Press Association, via Associated PressThough the balance of his live tour was scrapped within days, Brand kept one last date, Sept. 16 in Wembley, hours after the allegations landed. “You came,” he said to a crowd of about 2,000, according to the BBC, walking out to “You Don’t Own Me,” the feminist standard performed by Lesley Gore. He told his guests he loved them and talked about teaching his young children to be skeptical. One fan held a sign reading, “We stand by you.” Another threatened to kick down a ladder carrying paparazzi outside. And by the end of the night, the room had a new answer to Brand’s preshow queries.How had they most memorably snubbed authority? How had they responded when told what to do and think?With a standing ovation for a freshly accused predator.More than a week after the allegations, “Stay Free” returned, unbowed but discernibly altered. Brand appeared alone, his bare chest visible beneath a largely unbuttoned white button-down. The show credits, which once ran about 20 names deep, were gone — not necessarily because Brand’s whole team was but perhaps because associating with him had become more complicated. “The corporatist state and global media war against free speech is in full swing!” Brand told his listeners. “How do I know? Take a guess.”Seated at a desk, with a “Daily Show”-style prosecutorial montage of videos and text, Brand blamed the “collusion between big tech and government” and a “centralist state and globalist elite” that he suggested was persecuting him. He discussed the letter from Parliament, alleging ties between its author and Google (“a competitor to Rumble”). He welcomed Jimmy Dore, another conspiracy-theory-minded comedian-podcaster, for a remote interview, thanking him for a mood lift “at a time where I plainly need it.” “Stay strong,” Dore said. This booking choice was notable. Dore, who has himself been accused of sexual harassment, is among a cluster of high-profile Brand supporters who seem particularly invested in the idea that false or agenda-led accusations are an occupational hazard for their lot. Andrew Tate, the misogynist mega-influencer awaiting trial on rape and human-trafficking charges in Romania, tagged Brand on X: “Welcome to the club.” Donald Trump Jr., whose father has been serially accused, posted a meme on Instagram showing the former president, Brand, Tate and Julian Assange, the WikiLeaks founder, who was accused of rape. “Notice a pattern?” the meme read, alongside Trump Jr.’s caption: “One day they’ll be coming for you. I don’t believe in this much coincidence and neither should you.” For Brand’s audience, long encouraged to consider his voice too dangerous for entrenched interests to abide, the allegations stand as proof of concept, only making him more credible. “Enough of us know what’s going on here,” one commenter assured him upon his return. “No wonder they’re trying to silence you,” another posted on an October video that criticized President Biden.“It’s almost like cancel capital,” Nick Marx, a professor of film and media studies at Colorado State University and the co-author of a book on right-wing comedy, told me. “It’s something he recognizes as having a value distinct from money.” With Trumpian verve, Brand has reframed accusations against him as an act of war against everyone who backs him. “They’re out to get you,” he told his audience in November, citing “censorial forces” like YouTube and quoting from Kafka’s “The Trial.” “I’m just in the way.” And like the former president, Brand has channeled lessons from his early rise, betting on his basest self — and on the accommodations and calculations that those around him have always made.Since his public beginnings, Brand has derived his power from appearing to get away with something, from saying and doing what others never would. His fame was entwined with an almost ostentatious misogyny, a sizzle reel of mistreated women and gleefully poor taste for which he was broadly celebrated. His best-selling 2007 memoir relayed such rollicking tales as breaking the phone of a Turkish sex worker mid-encounter because the ringing bothered him. The British tabloid The Sun saluted him as its Shagger of the Year from 2006 to 2008. A breezy 2008 GQ profile winked at the “souvenir” that Brand acquired at a photo shoot (“her name is Penny”) and shared an anecdote from another romantic partner who claimed he told her, “I’m Russell Brand — I can do anything I like.” Brand denied this, semantically. “That may be the informing attitude,” he told the magazine, “but that’s never explicitly stated.”Brand with the singer Katy Perry, to whom he was briefly married, at the premiere of “Get Him to the Greek” in 2010. Kevin Winter/Getty ImagesEven scandal generally served Brand’s ends. In 2008, he and a co-host set off a national uproar after broadcasting on Brand’s BBC radio show the prankish voice messages they left for Andrew Sachs, a beloved former actor on “Fawlty Towers.” Sachs’s granddaughter Georgina Baillie was in a relationship with Brand in her early 20s. The messages to Sachs included singsongy Brand lyrics: “It was consensual/and she wasn’t menstrual.” Suspensions followed. Gordon Brown, the sitting prime minister, scolded him. Brand eventually resigned. His cad-for-the-masses legend grew anyway. “He was being very much rewarded,” Baillie, now 38, told me. “It didn’t even occur to me that I deserved an apology.”In interviews, people who know Brand described him to me as someone almost pathologically incapable of not having an audience and willing to do virtually anything to keep it. He has often admitted as much, joking that he could be whatever his followers wanted. “Are you unapologetically yourself?” he asked in August. “Because I’m not. I’m apologetically myself. ‘Hello, I’m me. Is this OK with everyone? I can change it if you want.’” (Brand and a longtime associate did not respond to an interview request or fact-checking queries.)In the 2008 GQ piece, Brand identified one clear gift (“attracting attention”) and warned playfully that his wider influence should be curbed. “I don’t think for a minute that I should be the person that comes up with how we organize a new postapocalyptic order,” he said, “because I think I’d exploit it to get girls.”When Brand speaks now about forging a new social order, he attributes his rise as a media force, accurately enough, to a collapse of faith in traditional institutions. Left unsaid is that Brand himself was a creation of legacy gatekeepers and their customers — the media companies that employed him, the outlets that toasted him, the viewers who couldn’t resist — and a leering testament to their priorities. What has lingered for some lately is not how so many people missed the signs about him but why they seemed so eager to ignore them. In recent months, two former employers, the BBC and Channel 4, announced internal inquiries into Brand’s past workplace behavior. Channel 4, where Brand was accused of flashing a female colleague, aired the investigative documentary about him in September. Its title: “In Plain Sight.”“It was this wash of devil-may-care, it’s-exciting-to-push-boundaries-or-just-have-no-boundaries, and women were less than,” Shaparak Khorsandi, an early peer of Brand’s on the comedy circuit, told me of the era that made him. “Yet a man behaving absolutely appallingly was given endless television and radio contracts.”The subject of the day in December 2014 was immigration, and the lineup for a BBC political panel was suitably formidable: a Conservative member of Parliament, another from Labour, a Sunday Times columnist. But two combatants stood out: Nigel Farage, then the leader of the U.K. Independence Party, reprising his argument that new entrants to Britain were a dangerous resource drain, and Brand.“There is a corrupt group in our country using our resources, taking away our jobs, taking away our housing, not paying taxes,” Brand agreed. But it was “the economic elite” funding Farage’s party. “His mates in the city farted,” Brand continued; Farage was “pointing at immigrants” and “holding his nose.” The studio audience roared.Raised as a working-class “bloke” in his frequent telling, Brand had long angled to amplify his voice on the left, infusing early appearances with sometimes deliberately shocking allusions to global affairs. He has delighted in claiming that on Sept. 12, 2001, while employed as a presenter at British MTV, he showed up at work dressed as Osama bin Laden. The following spring, he was detained by the police after fully disrobing at a protest in Piccadilly Circus, “explaining himself by mentioning ‘ecological,’ ‘Armageddon’ and ‘culture’ without making a great deal of sense,’” according to a news report from the time. (“Oh, God,” an MTV spokeswoman said then. “That sounds like Russell.”)Brand speaking in Parliament Square in London during a protest against the Conservative Party’s austerity policies in 2015.Tim Ireland/Associated Press“Even before he was famous, he sort of fancied himself a bit of a Che Guevara,” Khorsandi told me. After he was famous, Brand expanded his political footprint proportionally. In 2012, he was invited to testify before a parliamentary committee on drug policy, walking the halls in a black tank top and bolero hat. The same year, he developed a short-lived talk show for American TV, FX’s “Brand X With Russell Brand,” appearing with Matt Stoller, a liberal policy researcher. (The men met while Brand was shooting “Forgetting Sarah Marshall,” which Stoller’s brother, Nicholas, directed; they reconnected in 2011 at the Occupy Wall Street protest at Zuccotti Park in New York.) “They wanted to do a more radical version of ‘The Daily Show,’” Stoller told me of “Brand X” in August. “It was a bad show.”Brand’s political breakthrough came in a viral BBC interview in 2013 with Jeremy Paxman, one of Britain’s most fearsome questioners. Paxman appraised Brand as a “trivial man” whose calls for revolution and apathy about voting gave him away. “You’ve spent your whole career berating and haranguing politicians,” Brand responded. “Then when someone like me, a comedian, goes, ‘Yeah, they’re all worthless — what’s the point in engaging with any of them?’ you sort of have a go at me because I’m not poor anymore.” The exchange enshrined Brand as perhaps the nation’s foremost lefty. “It had a massive impact,” George Monbiot, a well-known environmentalist and writer, told me. “It galvanized people. It galvanized me.”In short order, Brand was hailed as a kind of crossover intellectual, validated by authors and thinkers who schlepped to his East London home to appear on his popular YouTube series, “The Trews,” a portmanteau of “true” and “news.” Academics said they could become entranced by Brand’s free-associative conviction on their subjects, even when he sounded only semi-sensical — absorbing the quick-draw wit and baroque vocabulary of a host liable to deploy “perspicacity” or “effulgent” off the cuff. “I actually remember thinking at the time, Oh, this is how a new religion would start,” Edward Slingerland, an expert on ancient Chinese thought now teaching at the University of British Columbia, told me of their interview.For activists, Brand became a treasured ally, showing up at rallies — to oppose austerity, protect tenants, support firefighters — and invariably attracting cameras. He also began ingratiating himself with more mainstream politicos, at one point initiating a correspondence with Bill de Blasio, whose 2013 mayoral victory in New York had briefly stirred the left. “I do remember thinking of him as a fellow traveler,” de Blasio told me. In 2015, Ed Miliband, then the Labour Party’s leader, made a pilgrimage to Brand’s home for the web series, hoping to reach younger voters within its seven-figure following. Both men came to rue their choices. “Obviously knowing what I know now, I regret doing it,” Miliband said after the assault allegations. Brand’s second thoughts arrived sooner, when his imprimatur could not prevent a Conservative election triumph. “My only regret,” he said afterward, “is I thought I could be involved.”If Brand felt disillusioned, he was not alone on the British left. “They used Russell,” Monbiot said of Labour. “But they never embraced him.” Brand has since resolved to live “beyond all political systems.”Among onetime admirers, the most generous interpretation for Brand’s political transformation is bleak but straightforward: Today’s version of him is the logical upshot of social media incentives, boundless ego and a bespoke personal radicalism that was always a little ominously amorphous. (“I don’t know how to describe Russell’s politics,” Marianne Williamson told me in August, warmly recounting the fund-raiser he helped host for her during the 2020 Democratic presidential primary.) In this reading, Brand is simply who we told him to be — or at least what the algorithm did. He has been known to track his trend lines on social media obsessively, staying apprised of follower counts and video performance. A job posting on Brand’s website earlier this year for a “YouTube Optimiser” was bracingly explicit: The task was to juice viewership and propose topics “based upon topics covered by similar channels and those that our audience watch.” This is the path from interviewing favored commentators of the right, like Ben Shapiro or Jordan Peterson, to having those videos recommended to fans of Ben Shapiro and Jordan Peterson, to sounding increasingly like Ben Shapiro and Jordan Peterson.“You can either try to drive the masses or be driven by them,” Faiz Shakir, the 2020 campaign manager for Bernie Sanders, told me after appearing on Brand’s show in August to push his labor-supporting nonprofit. “He’s more driven by them. It’s ‘Here’s where I think they already are.’”Brand has said that at least half his viewers are in the United States. After he interviewed DeSantis last summer, a person close to the campaign’s decision-making told me the host was seen as a conduit to men under 45, especially those who were not lifelong Republicans. On air, Brand can sound occasionally uncomfortable with his new constituency. Last year, he pressed Peterson to “prioritize compassion” rather than antagonize trans people. In the otherwise slobbering session with DeSantis, Brand almost begged him to agree that imposing an ideology on others was illiberal. “What about the freedom of those opposed?” Brand asked. But such flashes have been rare. In 2015, Brand called Trump a joke whose “punchline is a worse world for everyone”; by this February, he was posing with Trump Jr. at a Rumble event in Florida. He once quoted Gandhi on nonviolent protest; now he mocks those “clutching their pearls over Jan. 6.” Jeff Krasno, a former manager of Brand’s, suggested on his own podcast in September that Brand has by now “likely drunk his own kombucha,” adding, “there’s a clear business rationale for the content that Russell generates.”The Republican presidential candidate Ron DeSantis appeared on “Stay Free With Russell Brand” in July.Screenshot from RumbleOnstage, Brand has prided himself on a thrill-seeking gameness. “You have to be truthful and honest,” he has said of his comedy, “self-aware and willing to take risks.” Yet in many ways, Brand’s reinvention was exceedingly safe. He would be rewarded for playing the hits, for doing the expected. He would be cancel-proofed, if it came to it, with an army of backers primed to distrust anyone who attacked him.This is the less charitable read on Brand’s evolution: His alt-rightward drift — and his escalating insistence that mainstream outlets were corrupt agents of the status quo — has coincided roughly with the investigative journalism of mainstream outlets he now calls corrupt agents of the status quo. According to The Times of London, the reporting began in 2019, and Brand’s team was made aware of one assault allegation in 2020. In the years since, Brand has been “setting himself up more and more as the lone voice of truth,” Monbiot, Brand’s former progressive ally, told me. “It would definitely align with an attempt then to exonerate himself using the same argument.”Even privately, though, Brand’s orbit seems increasingly paranoid. After the allegations were made public, Brand’s father, Ron, wrote to Monbiot, who previously criticized Brand’s political shifts, to suggest that no one was safe from whatever plot had ensnared his son. “Do you think you could be next?” Ron Brand asked, according to messages Monbiot shared with me. The elder Brand later sent a conspiracy video about the World Health Organization and the World Economic Forum, two favorite targets for Brand and others who use “globalist” unironically. Tucker Carlson, who said that he and Brand have been speaking often, told me the allegations against Brand were “inevitable,” suspicious and cynically engineered to play on the debauched past of a man who is now remarried with children. “We’re leaving the part of history where people try to persuade each other in good faith,” Carlson said. “We’re entering the part where we just throw our opponents in jail or accuse them of crimes.”So far, Brand’s podcast guests have likewise stayed loyal. In an industry rife with voices insisting they are about to be silenced, loudly saying the things they swear you can’t say anymore, Brand represents a rousing spectacle, Staying Free despite the designs of a sinister “they.” “The cancelers of the world seem with each passing week to become more and more crap at their jobs,” the writer Matt Taibbi said on Substack in October, promoting his interview with the “conspicuously still-breathing Russell Brand.” Teasing an interview in November with Alex Jones of Infowars, who has described the assault allegations against Brand as a vast conspiracy, Brand suggested a kinship: “Have you noticed,” he said, raising two fingers for scare quotes, “how many of the wild Alex Jones ‘conspiracy theories’ have come to pass?”More than anything else, Brand is testing a tantalizing kind of liberty before a group that reveres the word. He has hinted about a financial crunch since YouTube began blocking his profits, telling viewers on Rumble that he is “plainly in a position where your direct support is going to be incredibly valuable.” But if Brand’s strategy is successful — if he can subsist without the institutions that long sustained him, the collaborators who abandoned him, the former fans who might wince through his movie scenes now — there is a new kind of power in that freedom, and a new kind of freedom in that power.“We’re planning a movement so that we can form new communities as the apocalypse apparently unfolds before our very eyes,” he told listeners on Oct. 26. “Without you, we are nothing.” The episode turned moments later to another aspiring movement leader: Vivek Ramaswamy, a returning guest and the first presidential candidate to appear with Brand after the allegations. Speaking from Iowa, midcampaign, Ramaswamy called for a “great uprising” against establishment forces. “It’s when they tell you to shut up that you have to actually grow the spine to be more vocal than ever,” Ramaswamy said.“I can see why there would be an appetite to censor you,” Brand replied admiringly. The host thanked his guest for “elevating the caliber of the conversation” in his “stream of freedom.” He previewed future episode subjects: the Covid lab-leak theory, another chat with Jordan Peterson, “the necessity for radicalism in politics.” Then he made a promise.“Next week,” Brand vowed, raising his open hands, “the revolution will grow a little stronger.” More

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    For Joan Armatrading, Classical Music Is Just Another Genre

    The pioneering singer-songwriter is unveiling her first classical composition, Symphony No. 1, this month.Last year, Chi-chi Nwanoku, the founder and artistic director of the Chineke! Orchestra, received an email out of the blue from the singer-songwriter Joan Armatrading. She, the message said, had finished composing her first classical composition.They exchanged a few more emails about the piece, Symphony No. 1, and Nwanoku called to verify that she was talking with the real Armatrading, known for hits like “Love and Affection,” “Down to Zero,” and “Drop the Pilot.” She wanted to hear the music, with the idea of having Chineke! premiere it — which the ensemble will do on Nov. 24 in London.Rather than sending over a recording or a score, Armatrading decided that the only way forward was to visit Nwanoku’s home. The two sat at the kitchen table, and listened to the 30-minute electronic piano version of what would become the symphony through separate sets of headphones, with Armatrading watching Nwanoku carefully for any hints of a reaction.At one point, Nwanoku broke into a smile. Armatrading stopped the tape, assuming there was something wrong. But Nwanoku was just pleased by a moment of harmonic expansion, from total unison into flowing harmony.“I’ve never done that before, with a composer looking at my facial expressions,” Nwanoku said recently. “It’s very unusual.” More

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    Doechii Stays Balanced With 24-Hour Spas and a Good Girls Night

    This 25-year-old rapper is ready for a “new era” inspired by movies and theater. But first: a tour with Doja Cat. Here’s what keeps her on track.Before the 25-year-old rapper and singer Doechii began opening for Doja Cat on the Scarlet Tour last month, she had a high-profile warm-up gig in her hometown, Tampa, Fla., performing before Beyoncé on her Renaissance World Tour.“Just to be in the stadium was incredible, and it was surreal,” Doechii said on a recent call from her Los Angeles home. “I’ve always looked up to her, and I’ve studied her for a really long time, so it was full circle, and I was extremely honored.”The opportunity followed years of hard work as Doechii developed her signature flow, which can be bombastic, nimble or melodic. In 2022, “Persuasive,” a bass-heavy track blending dance music and alternative R&B, became her first major-label single when she signed to a partnership between Top Dawg Entertainment (home of SZA, who appeared on its remix) and Capitol Records. “What It Is,” featuring Kodak Black, cracked Billboard’s Hot 100 chart earlier this year.Now she’s working on a “new era,” she said, inspired by references from movies like “The Wizard of Oz,” her love of Broadway shows like “Wicked” and her penchant for maximalism. “I created this world that I want my fans to live in with me and escape,” she said. “A place to where I can’t be wrong. I can’t be critiqued in this world because it’s my genre and my lane, which is alternative hip-hop.”(The new era will begin next year, when she releases a new album.)Before she hit the road with Doja Cat, Doechii shared what’s keeping her sane, creatively agile and dressed to the nines. These are edited excerpts from the conversation.1Apple EarPods (With the Cord)AirPods suck. You lose them, they fall out of your ears. Nothing is louder than the O.G. Apple headphones. I have accidentally put my headphones in my pocket, washed and dried them by accident, and they still work. So it’s a staple.2Newport Shorts CigarettesEvery now and then I love a good Newport short. I had a cigarette on the V.M.A. red carpet recently — it’s fashionable in a really toxic way. It’s a great prop and I’ll be using it on tour, but a fake one. Don’t smoke cigarettes, y’all. Don’t do what I do.3Dsquared2 and Early 2000s FashionI’ve been obsessed with trashy couture, or at least that’s how I would define my style. Let’s wear a gown with a trucker hat. Why not? Let’s put on a skirt with some muddy boots and a fancy club bag. I just think it’s just so cool, and Dsquared2 is a brand that I’m just obsessed with.4New York CityNew York really challenges me every time I go there. The energy is literally a brand. And to me, New York just represents fame. It’s like that classic American dream, and I just love that. It’s not a place that I would necessarily want to live again, only because it’s too cold.5GarageBandI still don’t know how to use Pro Tools, still don’t know how to use Ableton, Logic, none of those fancy ones. GarageBand has been there for me. It’s easy and anybody can use it. Any upcoming artists reading this, just know that GarageBand is the program that you should start with, and it’s free.6A Girls NightI don’t know if I would be able to survive without my girlfriends. In the darkest times, a girls night will always pull me out of it. There’s just moments where you have so much clarity over a glass of wine.7Botox and FillerYearly, I’ll do a Botox and filler appointment. It’s like an annual maintenance day, facial, massage, Botox and filler. You come out and you’re a year younger.824-Hour SpasI hate that I’m saying this because now my team is going to know, but sometimes after a show I’ll just sneak off. I’ll leave the hotel and I’ll go and have a secret spa day alone by myself. And it could be two in the morning, but they have them in New York.9Day Partying in MiamiI love a good day party on a boat, a classic South Beach yacht party. We stop, we do jet skis. We did that in Miami recently when I was recording my album. You just chill in the water, drink, smoke and have a good time. I have to have that in my life. It’s necessary.10Nightlife in TampaI would go day party in Miami and night in Tampa because I think that nightlife in Miami gives me more of a Los Angeles vibe. Nightlife in Tampa is more ratchet and just fun and spontaneous. You could pull up to the club in a hoodie and flip-flops and nobody’s going to judge you. It’s not about how you look or who you are. You can be famous and nobody will care. I can just have a good time and be barefoot twerking on the floor and nobody’s going to record me. More

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    Actors to Start Voting on Contract on Tuesday

    The SAG-AFTRA board voted on Friday to send the tentative deal with studios to its members for a ratification process that will end in early December.The union that represents movie and television actors said on Friday that its national board had voted with 86 percent support to send a tentative contract with studios to members for ratification.The ratification process will start on Tuesday and end the first week in December. Actors can go back to work immediately, however.Members are expected to approve the contract, which Fran Drescher, the union’s outspoken president, valued at more than $1 billion over three years. She highlighted the “extraordinary scope” of the agreement, noting that it included protections around the use of artificial intelligence, higher minimum pay, better health care funding, concessions from studios on self-taped auditions, improved hair and makeup services on sets, and a requirement for intimacy coordinators for sex scenes, among other gains.“They had to yield,” Ms. Drescher said at a news conference during a nearly 30-minute monologue that touched on Veterans Day, Bela Lugosi’s Dracula costume, her parents, the Roman Empire, the stubbornness of studios, Buddhism, Frederick Douglass and her dog.The union, SAG-AFTRA, which represents tens of thousands of actors, and the Alliance of Motion Picture and Television Producers, which bargains on behalf of studios, reached the tentative agreement on Wednesday. It followed a bitter standoff that contributed to a near-complete shutdown of production in the entertainment industry. At 118 days, it was the longest movie and television strike in the union’s 90-year history.The tentative deal was also historic, according to the studio alliance, which said it reflected “the biggest contract-on-contract gains in the history of the union.” The actors’ strike, combined with a writers’ strike that started in May and was resolved in September, devastated the entertainment economy. Hundreds of thousands of crew members were idled, with some losing their homes and turning to food banks for groceries. Some small businesses that service studios — costume dry cleaners, prop warehouses, catering companies — may never recover.The dual strikes caused roughly $10 billion in losses nationwide, according to Todd Holmes, an associate professor of entertainment media management at California State University, Northridge. While the big studios are based in Los Angeles, they also use soundstage complexes in Georgia, New York, New Jersey and New Mexico.Kevin Klowden, chief global strategist with the Milken Institute, an economic think tank, was more cautious with his estimate, putting losses at more than $6 billion. He said it “may take a while” to know the true size.On Friday, the SAG-AFTRA board, which includes Sharon Stone, Sean Astin and Rosie O’Donnell, made public a summary of the tentative contract’s contents. While not receiving everything it asked for, the union achieved significant gains.The final sticking point involved “synthetic fakes,” or the use of artificial intelligence to create an entirely fabricated character by melding together recognizable features from real actors. The union won consent and compensation guarantees.“You could imagine prompting a generative A.I. system that’s been trained on a bunch of actors’ performances to create a digital performer, for example, who has Julia Roberts’s smile,” Duncan Crabtree-Ireland, SAG-AFTRA’s executive director, said in an interview. “Before this agreement, there wasn’t any contractual or legal basis to require consent or prohibit that. Now there will be.”But this strike was never about stars. A-listers like Jennifer Lawrence and Brad Pitt negotiate their own contracts (or, more precisely, their agents do). The tentative contract covers minimums, or what actors who don’t have any clout get paid.SAG-AFTRA had demanded an 11 percent raise for minimum pay in the first year of a contract. Studios had insisted that they could offer no more than 5 percent, the same as had recently been given (and agreed to) by unions for writers and directors. In the end, the union was able to win a 7 percent first-year raise.“This is really important because it sends a very clear signal to other unions,” Mr. Crabtree-Ireland said. “I’m not aware of anyone ever being able to break the pattern before, because it’s always been that the A.M.P.T.P. establishes a number and everyone gets held to it.”SAG-AFTRA failed in one regard. It had gone into negotiations demanding a percentage of streaming service revenue. It had proposed a 2 percent share — later dropped to 1 percent, before a pivot to a per-subscriber fee. Ms. Drescher had made the demand a priority, but companies like Netflix balked, calling it “a bridge too far.”Instead, the studio alliance proposed a new residual (a type of royalty) for streaming programs based on performance metrics, which the union, after making some adjustments, agreed to take. It is similar to what the Writers Guild of America achieved in its negotiations: Actors in streaming shows that attract at least 20 percent of subscribers will receive a bonus.Unlike the Writers Guild, however, SAG-AFTRA also got the studio alliance to agree to a system in which 25 percent of the bonus money will go into a fund that will be distributed to actors in less successful streaming shows.“I felt like, is this a win or a loss?” Ms. Drescher said. “But we’re getting the money. We opened a new revenue stream. What matters is that we got into another pocket.” More

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    boygenius on Its First Grammy Nominations and Keeping Rock Fun

    Julien Baker, Phoebe Bridgers and Lucy Dacus earned six nods for their debut LP, “The Record.” Texts from fellow nominees Taylor Swift and Billie Eilish followed.For boygenius, the indie-rock supergroup with a penchant for neckties and introspective songs, this fall has held the kind of firsts that prove a rock band has turned into a phenomenon: its first arena show at a Madison Square Garden packed with fans chanting every lyric, its first performance at the Hollywood Bowl, and soon, its first feature on “Saturday Night Live.”On Friday, there was another first — and second, third, fourth, fifth and sixth — with boygenius’s debut Grammy nominations as a band, a haul that included nods for two of the biggest contests: record of the year (for the ethereal and anthemic “Not Strong Enough”) and album of the year (for “The Record”).The recognition has capped off a whirlwind period for Julien Baker, Phoebe Bridgers and Lucy Dacus, successful indie performers in their own right who turned an idea for a one-off collaboration in 2018 into a group that has captured the hearts of Gen Z fans and beyond, establishing a reputation for free-spirited onstage antics and the kind of wholesome bond not usually associated with touring rock stars.On a Friday afternoon video call, the trio discussed their nominations, songwriting and the future of their music from the basement of a New York City hotel where they were preparing for “Saturday Night Live” this weekend, a rack full of possible costume choices lined up behind them. It was in that hotel basement that they heard the good news, then, as Baker put it, “did a little screaming, hugging, jumping up and down,” before the texts started flowing — including notes from Taylor Swift and Billie Eilish, who also received six nominations each.“It’s like when kids cry on Christmas morning because I do feel so overwhelmed that I could just go to sleep,” Baker said.These are edited excerpts from the conversation.This has been a remarkable year of firsts for you. Has it changed your relationship to the album, playing in these large arenas?BAKER Not in a corny way you guys, but that’s the metric I return to. My relationship to it has stayed static, by making something that we preserved.BRIDGERS And it’s grown — I think of “True Blue” now as a kind of communal experience because that’s kind of the first moment in the set where the audience acts the same way every night. Lucy and I have pretty low voices and when people sing “True Blue,” they sing the octave up which is really funny.DACUS If I was doing “True Blue” for karaoke I would do the same thing.What about your relationships with each other? You’ve been around the world together at this point, in high-pressure situations — what’s different about your friendship?BAKER I’m proud of us. I think our communication has gotten better. We set out with a clear list of priorities in mind, and our excitement about the music and our genuine relationship with each other was at the top. That has stayed intact because we kept it as a priority. It’s being spoken into the project every day.BRIDGERS When you guys hit me up to have dinner the other night before we actually had to go into work, seeing you not at work first, I was like, this is so nice. We just got to talk about people and hang out.DACUS I’m not sick of you guys.Why do you think “Not Strong Enough” rose to the surface for the Grammys? You’ve talked about how it’s about mental illness, about self-hatred — is it the darkness that connected with audiences?DACUS I think the four-on-the-floor kick pattern connected with audiences. For me writing above everything is important, but you could switch out the lyrics of the song and I think it would be just as much fun.BRIDGERS I was like, we need a song that could be played on the radio, can we make one that’s like, really fun? And you guys understood the assignment.DACUS But “Not Strong Enough” is not a typical radio song, so it both fails the assignment but weirdly succeeded because it’s on the radio. Finneas said this too, it’s like you trying to copy your idols and failing is who you are. Something like that.BAKER And also “fun” is deep. Like you could retroactively dissertation explain what is just implicitly communicated by us having fun and writing lyrics in the way that we do. We put a breakdown in “Not Strong Enough” because it rocks; I want to have a good time!Has this past year made you want to dig deeper into boygenius or are you feeling like it’s time to return to your independent careers?DACUS We decided before it all started what the limits were, and that has allowed us to dig the deepest that we were willing to up until this point. We’ve put all of our energy into this knowing that there’s kind of a cap on this era of boygenius. We’re all going to make our own solo records after this — that’s fair to say, probably.BRIDGERS Or try.So you have six nominations as a band, but Phoebe has one extra (for a collaboration with SZA, “Ghost in the Machine”). Are you lording it over the other two?BRIDGERS All day. No, but it was the first one announced and Lucy was like, it would be so funny if we were all watching and it was only that. But I’m so proud of SZA.DACUS [whispers Bridgers’s section of “Ghost in the Machine”] I’ve had it stuck in my head all day.This year’s nominees are led by women — did that stick out at you at all watching it?BRIDGERS I noticed a lot of music I love.DACUS We’re excited for more pals to be getting recognized and the fact that we’re women isn’t the cool part — the music is the cool part.Have you been batting around any ideas yet for a Grammys performance? Nirvana suits?DACUS I haven’t thought about this at all because I did not think it was going to happen, so now it just opens up a whole world of having to think about things. More