Aurelia Butler

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    Zach Bryan’s First No. 1 Is His Self-Titled Album

    The singer-songwriter, whose music crosses genre borders, also has the first rock release to top the Billboard 200 in over a year.Zach Bryan, the Oklahoma-raised singer-songwriter whose work fits somewhere on a continuum of country, rock and Americana folk, has logged his first No. 1 album and single with big streaming numbers.His album, “Zach Bryan,” opens at the top of the Billboard 200 chart with the equivalent of 200,000 sales in the United States. That includes 233 million streams and 17,000 copies sold as a digital download, according to the tracking service Luminate.Critics and playlist curators may quibble over exactly which genre tags to attach to Bryan’s work. But for chart purposes, Billboard has applied a straightforward test, ruling that “Zach Bryan” counts as both country and rock since Bryan’s work has appeared on both its country and rock charts. As such, “Zach Bryan” is the first rock album to top the chart in over a year, since the Red Hot Chili Peppers’ “Unlimited Love” early last year, and it has the biggest streaming week ever for a rock album. (Among country releases, Billboard reported, Bryan’s album has the fifth-largest debut streaming week.)In addition, Bryan notches his first No. 1 single on Billboard’s all-genre Hot 100 chart. “I Remember Everything,” Bryan’s duet with Kacey Musgraves, takes over from Oliver Anthony Music’s “Rich Men North of Richmond,” which falls to No. 6 after two weeks at the top.Also on the latest album chart, Travis Scott’s “Utopia” falls to second place after four weeks at No. 1, Morgan Wallen’s “One Thing at a Time” is No. 3 and Taylor Swift’s “Midnights” is No. 4. SZA’s “SOS” returns to the Top 10 for the first time in a month, jumping six spots to No. 5, after the release of a new music video for her song “Snooze.” More

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    First Look: ‘The Color Purple’ Movie Musical

    The director Blitz Bazawule added magical realist elements to his adaptation. But convincing Fantasia Barrino to return after Broadway took some work.“The Color Purple” is a monumental, and monumentally successful, work that has taken many forms: Alice Walker’s original 1982 novel, a Pulitzer Prize winner; Steven Spielberg’s 1985 movie, an Oscar nominee many times over that launched the screen career of Whoopi Goldberg and introduced Oprah Winfrey in her first movie role; and two Tony-winning Broadway musical productions, the box-office smash original in 2005 and the revival in 2015.Now there is a film version of the musical, directed — as no other adaptation has been — by a Black filmmaker, Blitz Bazawule, from a script by a Black screenwriter, Marcus Gardley. And the 2023 movie, due Dec. 25, manages to bring something new to its sweeping story, adding elaborate fantasy sequences that redefine the characters and the feel. It’s now a period drama with a magical realist twist.From left, Henson, Fantasia Barrino and Danielle Brooks lead a musical number. Warner Bros. Pictures“It was very important that the grand multiverse that is ‘The Color Purple’ is represented in this film,” Bazawule said.This multiverse encompasses the storied history of productions of “The Color Purple,” with celebrity producers from earlier iterations like Spielberg, Winfrey and Quincy Jones (who was responsible for the music in the original film), as well as Scott Sanders, who put the show on Broadway. And it builds on its past with performers including Fantasia Barrino and Danielle Brooks, who reprise their Broadway roles. Rounding out the cast are Taraji P. Henson, Colman Domingo, Halle Bailey and a few surprise cameos.The film’s biggest introduction just might be Bazawule, a 41-year-old Ghanaian filmmaker, visual artist, author and musician whose résumé ranges from his self-financed indie debut to Beyoncé’s visual album “Black Is King.”Blitz Bazawule, pointing, on set with his cast, including, from left clockwise, Louis Gossett Jr., H.E.R., Jon Batiste, Henson, Colman Domingo, Barrino, Brooks and Corey Hawkins. Eli Ade“We were all blown away by Blitz and his vision,” Spielberg said in a statement made before the Hollywood strikes. He also admitted that, while he was thrilled with the stage musical, he initially wanted his take “to be the only film version of the story.”Conversations with Winfrey and Sanders — who had been campaigning for the movie musical for a while — helped change his mind. “It’s a reimagining and so different than the movie that I had made,” he said. “It really does stand apart.”“The Color Purple” starts in rural Georgia in the early 1900s and winds through the life and family of Celie (Barrino), an impoverished Black woman who suffers tremendous abuse at the hands of nearly every man in her life — most notably Mister, her husband (Domingo) — and a socioeconomic system built to grind her down. Her evolution toward independence in the mid-20th century mirrors the hard-won march toward liberty of women, queer people and colonized nations, all of which figure into the story.The fantasy sequences put the audience in Celie’s imagination. It’s a counterweight, Bazawule said, to the notion that abused people are docile.“I find that to be completely wrong,” he said in a video interview last week from Burbank, Calif., where he was finishing the film. “The abused are constantly working their way out of it. And if we were just in their heads, we will know that they are not just sitting and waiting for a savior. Celie was actively saving herself.”Those sequences, written into the screenplay and envisioned by Bazawule as glorious song-and-dance numbers, gave Celie more agency. “In previous iterations, quite frankly including the stage musical, she’s a passive protagonist for a good part of the storytelling,” said Sanders. Now, audiences can see “what her inner voice was telling her, as she was moving through her self-discovery and triumph over adversity.”Barrino, the “American Idol” alumna, played Celie in the first Broadway production and on tour, and needed to be convinced to revisit the role. “She was very, very hesitant to do it,” Bazawule said, “because it’s heavy work — it weighs down on the artists. And she was dealing with her own personal healing.”He won her over by showing her a rough clip of a dream sequence between Celie and Shug Avery, the sultry chanteuse played by Henson; it promised character development on a big scale. “I said, ‘We’re going to go there — you know, we’ll have a 50-piece orchestra. It’s going to be wild,’” Bazawule said. (Barrino and the rest of the cast were unavailable for interviews because of the actors’ strike.)Bazawule working with Henson and Barrino on set. He had to convince Barrino to reprise her Broadway role. Eli AdeBazawule’s first hire was actually the choreographer Fatima Robinson, a veteran who has worked with everyone from Michael Jackson to Mary J. Blige, and who choreographed the 2006 movie musical “Dreamgirls.” Bazawule recalled watching her videos for Aaliyah, his friends stopping the tape over and over to copy the moves, when he was a teenager in Accra. “She’s always had such a regal reverence and a curiosity about dance from all over the world,” he said.Her hip-hop and R&B pedigree is evident in neck swivels and shoulder shimmies that connect TikTok dances to their 20th-century lineage. Some of the songs were sped up to match her moves, Sanders said. Bazawule also had her choreograph narrative scenes and help with the way the camera moves around the actors. “It’s always in a ballet with the narrative,” he said.Bazawule is a multihyphenate who started as a painter, then became a hip-hop performer; he records as Blitz the Ambassador. (His given name is Samuel; his stage name, he said, had a lot to do with his production style: “very fast and very glitzy.”) But even he had trouble with the basic structure of a movie musical, incorporating songs into the action. “The biggest challenge was to figure out, how do you take this very sprawling music and turn it cinematic?” he said.He separated the score into its three root genres — gospel, blues and jazz. And he brought in new arrangers for each: Ricky Dillard, Keb’ Mo’ and Christian McBride. (The original Broadway numbers are by Brenda Russell, Allee Willis and Stephen Bray, pop and R&B songwriters.) He also wrote songs for the movie, including a beat-driven work anthem for Harpo, Mister’s son (Corey Hawkins). “The goal was to make sure that the music was always talking to each other,” he said, and to have it be in tune with a contemporary soundtrack.His ambitions were evident from his first pitch to the producers, when he showed them a full storyboard he had pencil-drawn himself. During Bazawule’s presentation — via video during the height of covid — “I literally texted Oprah,” Sanders recalled. “I went, ‘Oh, my God, this is the guy.’ And she wrote back, ‘Yes, he is!’”“It was a slam-dunk 100 percent” Oprah said in a video interview recorded before the strike and shown at Essence Fest. “I loved being on set to witness how he brought this new vision to the screen.”For all its popularity, “The Color Purple” is not without its critics, especially when it comes to its depiction of gender dynamics. Some view it “as anti-Black male,” Bazawule said. “We were very conscious of that.” The filmmakers aimed to depict a masculine “evolution,” from the entrenched sexist beliefs of Mister’s father (Louis Gossett Jr.) to Mister, capable of redemption, to his son Harpo, loyal to the feisty and feminist Sofia (Brooks) — a male character Bazawule called “aspirational.”From Mister (above, played by Domingo) to his son Harpo (Hawkins, with Brooks), the film aims to show a masculine evolution.Ser BaffoEli AdeSpielberg’s 1985 adaptation was also dinged for downplaying a lesbian story line, which is more foregrounded in this version. “Times have changed in the way we relate to sexual orientation, to race, to abuse — you can show and talk about certain things that may have been challenging back then,” Bazawule said. “Our job was just to make sure that we’re meeting our audience where they are.” His hope was to appeal to younger moviegoers, and mint a new generation of “Color Purple” fans.“We all knew that we had to do our absolute best,” he said, “because the bar is high, and we couldn’t be the ones to come in below it.” More

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    Steve Harwell, Former Smash Mouth Lead Singer, Dies at 56

    He was a founding member of the band, which broke out in the late 1990s with hit songs like “Walkin’ on the Sun” and “All Star.”Steve Harwell, the former lead singer of the rock band Smash Mouth, which was best known for its 1999 hit “All Star,” died on Monday. He was 56.His death, at his home in Boise, Idaho, was confirmed by the band’s manager, Robert Hayes, who said the cause was liver failure.Smash Mouth was founded in 1994 in San Jose, Calif., and was made up of Mr. Harwell, the guitarist Greg Camp, the drummer Kevin Coleman and the bassist Paul De Lisle. Its first success came with the song “Walkin’ on the Sun,” from the band’s debut album, “Fush Yu Mang” (1997).An upbeat track with a dark undertow, calling to mind both the Doors and contemporary ska-punk, “Walkin’ on the Sun,” with songwriting credits going to all four band members, went into steady rotation on MTV and topped Billboard’s alternative chart.The song’s music video laid out the band’s aesthetic and attitude. Dressed in short-sleeve shirts and shades, with fedoras and soul patches, the four members looked like rougher versions of the image-obsessed retro hipsters depicted in the 1996 comedy “Swingers.” The video features a dance party straight out of a 1960s beach movie and ends with a drag-race crash, with Mr. Harwell — beefy, with tattoos on his arms — behind the wheel.“The question of a particular style never once crossed our minds,” Mr. Harwell said in a 1997 interview. “We didn’t want to be labeled as a punk band, a ska band, a surf band, a rock band, a pop band or a whatever band. We just wanted to be us, Smash Mouth, and leave it to the people to interpret what we are.”The band Smash Mouth in 1999. From left, the guitarist Greg Camp, the drummer Kevin Coleman, Mr. Harwell, and the bassist Paul De Lisle.Bob Berg/Getty ImagesThe band’s big-time crossover came with “All Star,” from its next album, “Astro Lounge,” in 1999. Backed by harder-driving guitars, Mr. Harwell, with a slight sneer, sings an outsiders’ anthem to ignore ridicule and shoot for the moon:Hey now, you’re an all starGet your game on, go playHey now, you’re a rock starGet the show on, get paid“All Star” — written by Mr. Camp, the band’s guitarist — went to No. 4 on Billboard’s Hot 100 singles chart, the band’s best-ever chart position, and found a lasting audience through movie soundtracks. In 1999, it was used in “Inspector Gadget” and “Mystery Men,” and two years later the song got its broadest exposure when it played during the opening credits of “Shrek,” the animated hit that featured Mike Myers as a grouchy but good-hearted ogre.The “Shrek” soundtrack — which also featured Smash Mouth’s amped-up version of the Monkees’ “I’m a Believer,” in the closing scene — went double platinum, and the film won an Academy Award for best animated feature. “All Star” was everywhere.“We had no clue how big ‘Shrek’ was going to be,” Mr. Harwell recalled in a 2019 article in Rolling Stone. “We sold millions of records off that alone. The song was reborn again.”Since then, “All Star” has lived on, becoming a rich source for online parodies. Nearly 25 years later, the song has garnered nearly a billion streams on Spotify alone, and the sound of Mr. Harwell’s slightly raspy voice is still linked to the song’s recognizable opening lines: “Somebody once told me/The world is gonna roll me/I ain’t the sharpest tool in the shed.”Steven Scott Harwell was born on Jan. 9, 1967, and grew up in San Jose. He began his musical career as a rapper with the group F.O.S., which stood for Freedom of Speech. With a sound reminiscent of West Coast groups of the late 1980s and early ’90s like N.W.A and Cypress Hill, it released a single, “Big Black Boots,” in 1993. But by then Mr. Harwell was already restless.“Around the time we were about to put out our single, this kid Snoop Dogg came out and changed everything,” he recalled in 2017 interview with the music website Stereogum. “I was at a radio convention in Las Vegas watching MC Hammer, of all people, and I just looked at my manager, ‘I’m tired of all this hip-hop’” — he added an expletive — “‘I want to start an alternative rock band.’”After “Astro Lounge,” Smash Mouth released five more studio albums through 2012, with diminishing levels of success. In 2006, Mr. Harwell was a cast member on “The Surreal Life,” a reality show on VH1 in which onetime celebrities live together; his fellow cast members included Sherman Hemsley of “The Jeffersons,” Florence Henderson of “The Brady Bunch” and Tawny Kitaen, known for her appearances in Whitesnake music videos.Mr. Harwell performing in 2003. “We didn’t want to be labeled as a punk band, a ska band, a surf band, a rock band, a pop band or a whatever band,” he said. “We just wanted to be us.”Kevin Winter/Getty ImagesFor the last decade, Mr. Harwell’s career had been marked by health problems and occasionally erratic behavior. In 2013, he was diagnosed with cardiomyopathy, a heart condition, and Wernicke’s encephalopathy, a neurological condition that can affect speech and memory.In August 2020, while many parts of the country were still under major restrictions related to the Covid-19 pandemic, Smash Mouth appeared at the Sturgis Motorcycle Rally, a huge annual event in South Dakota, and performed before thousands of fans — very few of whom, according to reports and videos of the event, were wearing masks or taking any precautions.Mr. Harwell drew cheers from the crowd — but wide condemnation elsewhere — when he said from the stage, “We’re all here together tonight, and we’re being human once again,” and made a crude dismissal of the viral threat.Mr. Harwell performing with Smash Mouth in Brooklyn in 2015. He retired from the band in 2021. Brad Barket/Getty ImagesIn 2021, Mr. Harwell left the band and retired from performing after a live show in upstate New York during which he was seen slurring his words, using profanity and apparently giving a Nazi salute.“I’ve tried so hard to power through my physical and mental health issues, and to play in front of you one last time, but I just wasn’t able to,” he said in a statement at the time.He is survived by his fiancée, Annette Jones; a brother, Mark; and three sisters, Carla Crocker, Michelle Baroni and Julie Harwell.In 2022, Smash Mouth recruited a new lead singer, Zach Goode, and the group has concerts scheduled in coming weeks, including one on Thursday in Madera, Calif. Mr. Hayes, the manager, said the band was still scheduled to perform there.In a statement on Monday, Mr. Goode said: “I love singing these songs every night and carrying on the spirit of rock n roll in front of the best fans in the world. I will continue to try, in my own way, to honor what Steve and the band have created.” More

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    Steve Harwell: How Smash Mouth’s ‘All Star’ Got a Second Wind From Memes

    The track, sung by Steve Harwell, took a winding path to evergreen status that illustrates how social media and fan-made content have transformed the music business.Long before it became a soundtrack nugget and an internet meme, it was just a rock band’s attempt to land a radio hit.But the long path to evergreen status for “All Star,” the 1999 track by the California alternative band Smash Mouth, whose founding lead singer, Steve Harwell, died on Monday at age 56, is an illustration of how social media and fan-made content have transformed the music industry.The song took shape while the group was working on its second album, “Astro Lounge,” after its first taste of success with the song “Walkin’ on the Sun” (1997). The group submitted a batch of songs to its record company and was told: “You’re not done. We don’t hear a single, so keep working,” Robert Hayes, the band’s manager, told Rolling Stone in 2019. Greg Camp, Smash Mouth’s guitarist and primary songwriter, said the song’s lovable-loser theme (“I ain’t the sharpest tool in the shed”) emerged from fan mail. “About 85 to 90 percent of the mail was from these kids who were being bullied” for being Smash Mouth fans, he told the website Songfacts. “So we were like, ‘We should write a song for fans.’”“All Star” was quickly placed on film soundtracks, including “Inspector Gadget” and “Mystery Men,” in 1999. (The original music video had clips from “Mystery Men,” a superhero sendup starring Ben Stiller and Janeane Garofalo, among others.) But the song’s immortality began with its placement in “Shrek,” the 2001 animated favorite starring Mike Myers and Eddie Murphy, where the song plays in the opening credits. The film grossed a total of $484 million around the world, according to the site Box Office Mojo.A decade or so later, generational nostalgia kicked off another level of success for “All Star,” when the children who grew up on “Shrek” began meme-ing on it relentlessly. There was the version made up entirely of samples of Bill O’Reilly saying his name. And the one, from “The Tonight Show Starring Jimmy Fallon,” with lyrics stitched together from “Star Wars” clips. There were the ones sung by Jon Sudano, a YouTuber, showing him melding the song — sometimes painfully — to hits like Adele’s “Hello” and Nirvana’s “Smells Like Teen Spirit,” or with the vocal line maddeningly shifted one beat from the original. And don’t forget the guy who recreated Mussorgsky’s “Pictures at an Exhibition” using samples of Harwell’s voice.Perhaps the most popular take was “Mario, You’re a Plumber,” a Mario Bros.-theme adaptation — with actual effort taken to write new lyrics — that has garnered 1.6 million views on YouTube.Those were all iterations of what has become a key avenue for artists to find wide success in a fragmented media environment, with user-generated content ricocheting through social media to propel a new song (see Lil Nas X, “Old Town Road”) or point younger listeners to an old one (Fleetwood Mac, “Dreams”).In the case of “All Star,” this process kept an old track alive for years and led to gigs like the band performing a snippet of the song on a Progressive insurance ad in 2020. All of that activity tends to drive listeners back to streaming services, and “All Star” has garnered just under a billion streams on Spotify alone.In an interview with the music site Stereogum in 2017, Harwell expressed the contrasting opinions artists sometimes have about such memes. On the one hand, it’s valuable exposure, and that can lead to money in their pocket. On the other … it’s not always fun to have one’s work flattened into a joke.“It’s entertaining, I get it,” Harwell said. “It doesn’t bother me, but at the same time, I don’t love it.” More

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    Have You Seen Paul McCartney’s Lost Bass Guitar? Tips Welcome.

    For decades, mystery has surrounded the fate of the missing bass that accompanied the Beatles as they rocketed to fame. A new campaign is trying to find it. Before Beatlemania, there was the distinctive Höfner violin bass — the first guitar that Paul McCartney bought after becoming the bassist for the Beatles.That bass can be heard on some of the band’s most famous hits, including “Love Me Do,” “She Loves You,” and “Twist and Shout.”Mr. McCartney picked up the instrument in a Hamburg music store in 1961, and it accompanied the Fab Four as they rocketed to stunning success, becoming the most famous band in the world. But the guitar vanished eight years later.A new campaign is seeking to find the missing instrument, and hundreds of people have responded, hoping to help solve the decades-old mystery: Where is Paul McCartney’s missing bass guitar?“It’s a hugely significant instrument in its own right,” said Nick Wass, a semiretired consultant for Höfner, the guitar’s manufacturer, who has joined forces with two journalists to try and track the guitar down. “It’s the bass that made the Beatles.”“The bass was absolutely at the heart of the origins of the Beatles sound,” said one of the journalists, Scott Jones, who worked for the BBC. “The smallest pieces of information can often lead to the biggest breakthroughs,” he said of their appeal for tips on its fate.Mr. Jones’s wife, Naomi, is the other journalist behind what they are calling The Lost Bass Project.The three Beatles fans have urged members of the public to come forward with any information that might help. No tip is too small, they say, and they are promising to keep sources confidential. They say they have already received several credible leads since the project was launched on Saturday.The instrument’s treasured place in Beatles mythology is intertwined with the band’s story. After the departure of their original bassist, Stuart Sutcliffe, Mr. McCartney, who had been playing guitar, switched instruments to replace him during a residency in Hamburg in 1961. For that, he needed a new bass guitar.“I got my Violin Bass at the Steinway shop in the town center. I remember going along and there was this bass which was quite cheap,” he said in a 1993 interview with Guitar Magazine, adding that he had not wanted to go into debt and could only afford the Höfner, 500/1 guitar at the time. It cost about £30 pounds, or $38, he recalled. “And once I bought it, I fell in love with it.”Paul McCartney performing in 2017.Kamil Krzaczynski/Agence France-Presse — Getty ImagesMr. McCartney took the guitar back to Britain, where it accompanied the Beatles through hundreds of gigs — from the band’s early concerts at the Cavern Club in Liverpool, where they were spotted by Brian Epstein, who would become their manager, to the recording of their first two albums. It was repaired in 1964, according to the team behind the new search, and then used along with other bass guitars.But the last confirmed sighting of the instrument was in London in 1969, in video footage of the band members writing their final album, “Let It Be.” Rumors have percolated ever since about what happened to the instrument: The Lost Bass Project suggests that it could have been stolen or lost either from the basement of Abbey Road Studios, or from the Apple Corps recording studio on Savile Row.A representative for Paul McCartney declined a request for an interview. But Mr. Wass said he understood, from previous communications with Mr. McCartney, that he was keen to be reunited with the instrument. “He calls it the ancient one,” Mr. Wass said.Among the leads they had received, Mr. Jones said, were suggestions that the instrument could have traveled to the United States or Japan. But he added that all the leads need to be vetted. “Somewhere among that information there is going to be the answer,” he said.Other iconic instruments have been lost and found over the years — one close example being a Gibson acoustic guitar belonging to John Lennon, which was bought in 1962 and then lost the following year. Half a century later, it re-emerged and was sold at auction in 2015 to an anonymous buyer for $2.4 million.It is unclear what the market value of Mr. McCartney’s missing guitar would be, but the team behind the search insists that the effort is not for monetary gain, calling the guitar “priceless.”“We just want to know where it is,” said Mr. Wass. More

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    Jimmy Buffett Died of Rare Form of Skin Cancer

    The singer’s website said he had Merkel cell carcinoma for four years and died at his home on Long Island.Jimmy Buffett died of skin cancer at his home in Sag Harbor, N.Y., on Long Island, according to a statement on the singer-songwriter’s website.After Mr. Buffett died on Friday at age 76, his site announced the death but did not give a cause or specify where he died. In an update over the weekend, the website said that he had Merkel cell carcinoma for four years. A rare and aggressive form of skin cancer, Merkel cell is diagnosed only about 2,500 times a year in the United States, and until recent years it had carried a life expectancy of five months.Mr. Buffett’s 1970s hits like “Margaritaville” and “Cheeseburger in Paradise,” which mingled country-rock with bits of calypso melodies and had wry lyrics about the carefree life of boating and loafing at beachside bars, made him a cult hero on a huge scale.He sold at least 23 million albums in the United States alone, according to the Recording Industry Association of America, on par with Jimi Hendrix and the Beastie Boys. And Mr. Buffett’s annual tours — in which he usually appeared barefoot, in a comfy T-shirt or Hawaiian button-down — were hugely successful, drawing millions of fans who sang along, drank prodigiously and called themselves Parrot Heads.Mr. Buffett was one of pop music’s most successful and ambitious businessmen, building a huge empire on the brand of good times and island escapism that he sang about in his songs. That included Margaritaville restaurants and resorts, footwear, drink mixes and a 2018 Broadway jukebox musical, “Escape to Margaritaville.”This year, Forbes estimated his net worth at $1 billion, with $570 million attributed to his tours and recording and $140 million in planes, homes and his shares in Berkshire Hathaway — the holding company whose chairman and CEO is multibillionaire investor Warren Buffett, who had been a longtime friend. More

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    ‘Office Race’ Review: Slow and Not So Steady

    Beck Bennett stars in this funny, familiar Comedy Central sports movie, but Joel McHale steals the show.“Office Race,” a ribald comedy from Jared Lapidus about an inveterate deadbeat reluctantly training for a marathon, understands one of the great unspoken truths about running: that it is a miserable, arduous, soul-destroying pastime, and also deeply, profoundly rewarding.Beck Bennett stars as Pat, a lazy, quasi-oafish sales rep at an investment app start-up. His idea of a marathon is watching all of the “Fast and Furious” movies in succession, but in a bid to woo a client who is zealously athletic, Pat claims a love of long-distance running — a lie that doesn’t land him the deal, but does commit him to participating in a marathon in three months’ time with the client’s enthusiastic running club. Thus Pat aches, sweats, groans and generally hates his life. In other words, he learns to run.Bennett makes for an adequate schlub, and his journey from the couch to 26.2 miles is satisfying if a bit too familiar — we get the usual sports movie beats, from training montages to motivational speeches. The supporting cast, though, is uniformly great, including the always-wonderful J.B. Smoove as a champion racewalker who advises Pat to partake of dipping tobacco to fortify his lungs, as well as Kelsey Grammer, in a small but funny part as a wise former coach turned owner of a sports store. But the “Office Race” M.V.P. is Joel McHale as Pat’s maniacal, pun-loving boss and race rival, Spencer, who chugs energy drinks, has sex with Pat’s girlfriend and goes insane in obsessive pursuit of marathon glory — a minor comic master class whose only fault is that Spencer doesn’t appear in every scene.Office RaceNot rated. Running time: 1 hour 22 minutes. Watch on Comedy Central platforms. More

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    Folk Implosion Returns With ‘Music for Kids’

    Lou Barlow and John Davis made tracks for the 1995 cultural flashpoint. They split after a 1999 LP, but reunited during the pandemic, and made plans to release more songs.By the early 1990s, Lou Barlow was used to getting some weird fan mail. The lyrics he wrote for his band Sebadoh seemed to excavate the loneliest and weirdest secrets of his inner world — subject matter that invited Barlow’s listeners to form an unusually close relationship to its singer. He didn’t think much of it when one of those fans, a teenager named Harmony Korine, sent him the full-length script for a pretty out-there movie he’d written called “Kids.”“It seemed kind of extreme, but I was used to it,” Barlow recalled in a video interview. He began corresponding with Korine, who wanted Barlow to write the music for his film, which was not some pipe dream but actually in an early state of production. Korine, he said, had a clear vision: “He obviously knew what he was talking about.”Directed by the photographer Larry Clark, “Kids” would indeed become a cultural flashpoint upon its 1995 release for its colorful, and arguably exploitative, depiction of wayward New York City teenagers caught up in drugs and sex. It would serve as a launching pad for Korine’s own directorial ambitions, and the careers of the actresses Chloë Sevigny and Rosario Dawson. And for many viewers, the “Kids” soundtrack was an introduction to some of the stranger artists in then-contemporary American independent music: the outsider singer-songwriter Daniel Johnston; the mysterious post-rock practitioners Slint; and the Folk Implosion, Barlow’s eclectic band with John Davis, who ended up scoring a good chunk of the movie.An incomplete version of that soundtrack is available on some streaming platforms, but it cannot be heard as it was initially presented. (Multiple songs — different ones — are missing on Apple Music and Spotify; the LP isn’t on Tidal or Amazon Music.) A Domino publicist said in an email that Universal — the parent company of London Records, which first released the “Kids” soundtrack — no longer held the rights to any of the music, and that “a partial selection had become available erroneously.”But now, the Folk Implosion’s contributions to that soundtrack will be reissued on Sept. 8 via Domino Records as “Music for Kids.” It contains all the original compositions the band made for the movie, many of which have never been available on streaming, as well as a grab bag of sonically similar Folk Implosion recordings from subsequent albums. “Music for Kids” also doubles as a flagship release for the duo’s reunion. Davis left the band in 1999 on unfavorable terms; today, they’re working on new Folk Implosion recordings, and making plans to perform together.“There’s a core spark to it that feels almost genetic,” Davis said in a separate video interview.Their collaboration as the Folk Implosion was, in fact, inspired by a fan letter that a teenage Davis wrote to Barlow in the late ’80s, when Barlow was living in Westfield, Mass. At the time, Barlow was beginning to gain attention for his work in Sebadoh, following his stint as the bassist in the alternative rock band Dinosaur Jr. His experience with the indie music scene had made him acutely aware of its limitations, and in Davis, he found a cerebral collaborator who wasn’t afraid to talk freely about the creative process.“John, he’s an actual intellectual,” Barlow said. “Him being a fan of my work really made me feel safe — that I could just start talking.”Their mutual openness led the Folk Implosion in a very different direction. Contrary to Dinosaur Jr.’s grungy guitar heroics, or Sebadoh’s homespun singer-songwriter recordings, Davis was more comfortable pushing Barlow to experiment with rap and R&B production methods. Most of their songs originated as drum and bass compositions before they layered in samples, loops and nontraditional instrumentation.The Folk Implosion’s “Music for Kids” includes the group’s songs from the movie and additional tracks.Domino Records“We were trying to poke fun at the pieties of this very white indie-rock world, and be open to other influences,” Davis said. He described a dynamic in the underground scene where white musicians, fearing accusations of cultural appropriation, stayed away from historically Black genres altogether. The Folk Implosion was inspired by groups like Devo and Public Image Ltd., who freely combined disparate styles into their own creations. As Barlow put it, “we really felt like everything should be melded together.”Following a whirlwind trip to New York City, where Barlow got a firsthand look at the particular method of Korine and Clark’s madness, he and Davis convened at Boston’s Fort Apache Studios to work on the soundtrack. As the movie was being completed, they were mailed VHS tapes of scenes. The percussively frantic “Nasa Theme” was written for when Sevigny’s character, Jenny, ventures to N.A.S.A., an all-ages dance party at the once-thriving Club Shelter. The jaunty “Cabride” was meant to accompany Jenny as she rides in a taxi cab after learning she has tested positive for H.I.V.Not all of these compositions made it into the film: “Cabride” was cut in favor of a jazz song that Clark preferred. Others, like the haunting “Raise the Bells,” which plays over a lonesome montage of early morning New York City, were pulled right from Barlow’s existing discography. “A lot of things they chose to actually put in the movie, we recorded on a four-track at my house,” Davis noted, including the melancholy yet ascendant “Jenny’s Theme,” which appeared multiple times in the film.A scene from the 1995 film “Kids,” which would become a cultural flashpoint upon its release.MiramaxBut the two never seemed to encounter much resistance as they worked on the soundtrack, which they made without a restrictive budget. (They were paid a flat fee: “I know our lawyer thought it was low, whatever it was,” the band wrote in an email.) The lack of guardrails led to its biggest single, “Natural One.” Conceived for a scene where a group of teenage girls talk frankly about their sex lives, the song was ultimately left out of the final cut. (In its place, Korine inserted a Beastie Boys track.) Nonetheless, the Folk Implosion refused to consign it to the archives.“We didn’t know it would be popular, but we knew that we’d done something very good,” Davis said. After the movie was finished, they received some extra money from London Records that allowed them to add vocals and complete the song. Upon its release and promotion, “Natural One” reached an unlikely position of No. 29 on the Billboard Hot 100.The surprise hit invited plenty of attention from curious labels, appropriate in a post-Nirvana era when plenty of big-money contracts were handed out to underground acts. The Folk Implosion signed with Interscope, but the ride wouldn’t last long. Barlow found himself in the untenable position of having to reassure his Sebadoh bandmates that his attentions weren’t divided, which became increasingly difficult.“For all the success I was having, I still had a pretty remarkable lack of confidence,” he said. And Davis became conflicted about participating in mainstream entertainment, which exacerbated his own anxiety about becoming a public figure.Barlow, left, and Davis in 1999. After the release of an album that year on a major label, Davis left the band.David Tonge/Getty ImagesSlowly, their relationship started to fray. Davis ended up quitting the band after the release of “One Part Lullaby” in 1999, their only record for Interscope. They would not speak for over 20 years. But near the start of the pandemic, they became Facebook friends. “I started thinking to myself, ‘What if Lou died, and we never talked to each other again?’” Davis said. After a handful of online interactions, they reconnected over the phone, where they hashed out some of those longstanding issues. They raised the possibility of collaborating again, which led to the “Kids” reissue and their upcoming plans for the Folk Implosion.In a joint interview, they displayed a lively and easygoing dynamic: lots of laughter, lots of smiles. Davis was a very deliberate and politically conscientious speaker on his own — he made frequent reference to writers such as bell hooks and Imani Perry — but he appeared lighter in Barlow’s company. The two freely completed each other’s thoughts, and made instant reference to what the other was more likely to remember about the past.“It’s virtually the same,” Barlow said, of their resumed friendship. As Davis listened on, he explained he was “happy to change the ending” of what had been a sad conclusion to an otherwise fruitful experience.“I don’t think anything’s actually finished until we’re gone,” he said. “I would like to think of us in terms of folk or jazz musicians — people who keep playing music until they dropped dead.” Working with Davis again, he said, had reminded him of the excitement of their initial collaboration. “I could never predict where those songs would end up,” he said. Now, as their new songs have taken shape, “they always surprise me.” More