Aurelia Butler

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    How Many Biographies on the Page and Screen Do You Know?

    Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about literature that has gone on to find new life in the form of movies, television shows, theatrical productions and other formats. This week’s quiz highlights films that were adapted from the biographies or autobiographies of their notable subjects.Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the books and their screen adaptations. More

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    Lileana Blain-Cruz Directs ‘El Niño’ For Her Met Opera Debut

    When Peter Gelb, the Metropolitan Opera’s general manger, asked the director Lileana Blain-Cruz what she wanted to stage, she didn’t need any time to think about her answer: “El Niño.”A couple of years ago, she had already been hired to direct Missy Mazzoli’s “Lincoln in the Bardo,” an adaptation of the George Saunders novel that will premiere in the 2026-27 season, but Gelb was curious about what else she might be interested in.Long a fan of John Adams and his collaborations with the director-librettist Peter Sellars, Blain-Cruz particularly loved their 2000 oratorio “El Niño,” a blending of the Nativity story with ancient and modern texts, like poetry by Rosario Castellanos and Gabriela Mistral.“It makes you weep, and you don’t expect it,” Blain-Cruz said of the piece. “It shook me and stayed in my imagination for a while after I heard it, but I didn’t know when I would have a chance to make it happen onstage myself.”Gelb quickly said yes. Now, Blain-Cruz’s production of “El Niño” will premiere at the Met on Tuesday, bringing with it the return of the brilliant mezzo-soprano J’Nai Bridges and the long-awaited house debuts of Julia Bullock, Davóne Tines and the conductor Marin Alsop.Davóne Tines, center, makes his Met debut in “El Niño. Costumes are by Montana Levi Blanco. Lila Barth for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Lourdes Portillo, Oscar-Nominated Documentary Filmmaker, Dies at 80

    Her films centered on Latin American experiences and received wide acclaim.Lourdes Portillo, an Oscar-nominated Mexican-born documentary filmmaker whose work explored Latin American social issues, died on Saturday at her home in San Francisco. She was 80.Her death was confirmed by her friend Soco Aguilar. No cause was given.One of Ms. Portillo’s best-known works is her 1994 documentary “The Devil Never Sleeps,” a murder-mystery in which she investigates the strange death of her multimillionaire uncle, whose widow claimed he had died of a self-inflicted gunshot wound. In 2020, the Library of Congress selected the film for the National Film Registry.“Using vintage snapshots, old home movies and interviews, the film builds a biographical portrait of Oscar Ruiz Almeida, a Mexican rancher who amassed a fortune exporting vegetables to the United States and went on to become a powerful politician and businessman,” Stephen Holden, a Times movie critic, wrote in a 1995 review of the film.The documentary had the tenor of a telenovela and presented open questions about Mr. Ruiz Almeida’s mysterious life and death and the people who could have had a motive for the murder.“The more Oscar is discussed, the more enigmatic he seems,” Mr. Holden wrote.Ms. Portillo crafted the film’s story line from the information her mother relayed over the phone while Ms. Portillo was living in New York, she said in a talk at the Academy Museum of Motion Pictures in Los Angeles last year.The museum screened the movie last year as part of a series honoring Ms. Portillo and other filmmakers who have made significant contributions to cinema.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Cher, Dave Matthews Band and A Tribe Called Quest Join Rock Hall of Fame

    Mary J. Blige and Ozzy Osbourne were also voted in, but Sinead O’Connor, who died last year at 56, did not make the cut.Cher, Ozzy Osbourne, Peter Frampton and Mary J. Blige are part of the Rock & Roll Hall of Fame’s class of 2024, along with Dave Matthews Band, Kool & the Gang, Foreigner and A Tribe Called Quest, the hall announced on Sunday.The latest crop of stars will officially join the pantheon in a ceremony on Oct. 19 at Rocket Mortgage Fieldhouse in Cleveland, where the hall’s affiliated museum is also located.The 39th annual group of inductees matches the hall’s genre and demographic spread of recent years, with a pop diva (Cher), a metal idol (Osbourne), a top funk band of 1970s and ’80s vintage (Kool & the Gang), a couple of ’90s hip-hop and R&B heroes (Blige, Tribe) and rock mainstays from the boomer (Frampton, Foreigner) and Gen X (Matthews) eras.Of those artists, four were elevated to the hall on their first nomination: Cher, Foreigner, Frampton and Kool & the Gang. Osbourne was nominated for the first time as a solo act, though he had joined the hall as part of Black Sabbath in 2006. The Rock Hall has come under increasing pressure in recent years to diversify its ranks with more women and artists of color, and has made progress in that regard, though some critics say it is not enough.“Rock ’n’ roll is an ever-evolving amalgam of sounds that impacts culture and moves generations,” John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, said in a statement. “This diverse group of inductees each broke down musical barriers and influenced countless artists that followed in their footsteps.”Seven acts that were nominated in February did not make the cut: Mariah Carey, Jane’s Addiction, Oasis, Sade, Eric B. & Rakim, Lenny Kravitz and, perhaps most surprisingly, Sinead O’Connor, whose death last year, at age 56, elicited a global outpouring of grief and a reconsideration of her place in rock history.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Review: Children Sing of Resistance at the Philharmonic

    Olga Neuwirth’s “Keyframes for a Hippogriff,” a chaotic explosion of postmodernism, had its American premiere, conducted by Thomas Sondergard.The composer Olga Neuwirth doesn’t tend to call her works anything as straightforward as symphonies or concertos.Instead, over the years, Neuwirth, 55, has classified pieces in fanciful categories: an “amphigory” for violin and ensemble, a “ballet mécanomorphe,” a “distorting mirror” for orchestra, a “footnote” for soprano.And now, “musical calligrams.” That is the subtitle of “Keyframes for a Hippogriff,” the sprawling, chaotic explosion of postmodernism that the New York Philharmonic played on Saturday evening at David Geffen Hall, conducted by Thomas Sondergard.“Hippogriff” was to have had its world premiere with the Philharmonic as part of its Project 19 series of new works by female composers. But the pandemic intervened, and the piece came to New York after being performed by the Berlin Philharmonic and the Royal Stockholm Philharmonic, two of the other commissioners.It is good news for those of us who keep pressuring orchestras to commission music larger in scale than the 10- or 15-minute length of the standard concert opener. That position has become something of a prison for contemporary works, offering audiences a little taste of the new that can be quickly forgotten over the next hour or two of standard repertory.Thirty minutes long, and scored for a big orchestra, countertenor soloist, children’s choir, broad battery of percussion, electric guitar and pair of synthesizers, “Hippogriff” is not so easily dismissed. Grand and in-your-face, it keeps surging from hushed, tensely vibrating simmers to piercing instrumental and vocal roars.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Catfish,’ the TV Show That Predicted America’s Disorienting Digital Future

    MTVThis is Danny. He fell in love with a woman he’d met online. When he saw her photo, he called it love at first sight.He and Rosa talked on the phone daily for months and exchanged reams of texts in Spanglish. They bonded over being Puerto Rican.“You’re so funny, Daddy,” she once texted him. “You’re so sexy, my love,” Danny replied. Though they’d never met, he was making big plans: marriage and family.When the red flags started to pile up, Danny contacted “Catfish,” on MTV, for help. The truth was far from what he’d hoped. Rosa was secretly Jose.The TV Show That Predicted America’s Lonely, Disorienting Digital FutureSince its first episode aired in 2012, “Catfish: The TV Show” has held up a mirror to our online lives, reflecting how we present ourselves and make sense of love, lust, trust, companionship and loneliness in an increasingly digital world. Each episode unfolds like a detective show, with the host Nev Schulman summoned to untangle truth from lies, to take relationships that exist only on computers and phones and drag them into our three-dimensional reality.Listen to this article with reporter commentaryThe saga of Danny and Jose, which aired in 2017, is emblematic of the deception, dashed hopes and complicated situations regularly featured on the show.Danny contacted “Catfish” for help, believing Rosa had moved from Connecticut to Orlando, where he lived, but still would not meet him. Rosa had warned Danny that she had anger issues, in part because she had been molested as a child. When meeting with Schulman and his co-host Max Joseph, Danny said he wanted to help her by bringing more faith into her life. “I think I could make her a better person,” he said. “We plan to have a family.”In their research, Schulman and Joseph quickly discovered the so-called mask, meaning the unwitting person whose photos had been sent to Danny: a woman named Natalie. But Rosa’s real identity was harder to pin down. “This is the weirdest thing that’s ever happened to me,” Danny said when shown the evidence. “I never had anybody send me fake pictures.”Schulman called Rosa to inform her that Danny was now aware she’d lied about the photos. Though combative, she agreed to meet in Connecticut. It became clear that she had never moved.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    A Man Hailed as Cindy Birdsong’s Rescuer Is Accused of Exploiting Her

    The son of the former Supreme says in court papers that the man who sought to help his mother after she became incapacitated also took advantage of her financially.Just last year, Brad Herman, a longtime behind-the-scenes aide to celebrities, drew praise from the family of Cindy Birdsong, an ailing former member of the Supremes. He was credited with helping to rescue her from what they described as a friend’s undue influence over her care and finances.But now, Mr. Herman has been named in a petition brought by Ms. Birdsong’s son, who is accusing him in court papers of financial elder abuse and misappropriation of her money.The son, Charles Hewlett, who has been appointed the conservator of his mother’s affairs, is seeking damages and the return of what his petition describes as missing funds.The allegations follow months of court proceedings over who should control a conservatorship overseeing the finances and medical decisions of Ms. Birdsong, 84, who was once part of a Motown group that became music royalty.Today, Ms. Birdsong is not able to communicate and is on a feeding tube after a series of strokes. She has lived at nursing facilities and hospitals since 2021 and a judge ultimately put Mr. Hewlett in charge of her affairs late last year.“Mr. Herman used his position of trust and confidence to take advantage of Ms. Birdsong’s dependency and exercised care, custody and control over Ms. Birdsong’s property,” argues the petition filed in Los Angeles Superior Court this month by Susan Geffen, a lawyer for Mr. Hewlett.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Judith Hill Sang With Pop Royalty. Now She Is Composing Her Own Story.

    The singer, songwriter and multi-instrumentalist was close to Michael Jackson and Prince. After their deaths, her world crumbled and she had to rebuild on her own.The first time the musician Judith Hill performed her anguished requiem “Black Widow” for an audience, she wept, right onstage.The song’s title is an epithet that has been directed at her for years by tabloids and trolls because as a vocalist and artist, she had been close with two of pop’s biggest stars shortly before their deaths. She was Michael Jackson’s duet partner and performed at his televised memorial in 2009. And for two years before Prince’s fatal overdose in April 2016, she was his protégée, collaborator and more. They shared what she has called “an intense relationship”; he told her he loved her.Prince’s sudden, accidental death derailed her promising career — which he had been guiding — and she spiraled into deep grief, depression and self-doubt as online cruelty rained down. It took years before she was able to face what happened, personally or musically.“It was a deep wound,” she said onstage at a recent showcase at Mercury Lounge in Lower Manhattan, after the soulful, fierce “Black Widow.” Then she brushed her tears away — “enough of that” — and soon started another number, “Dame De La Lumière,” a detailed tribute to her mother and grandmother, with a rippling, urgent chorus that has become her anthem: “Bad times make strong women.”Both songs are on “Letters From a Black Widow,” her new record, due Friday. It is a concept album that reckons forcefully with her past — not just the boldfaced part, but also the myriad woes and distortions that conspired to make her feel fearful and less-than. The dozen tracks that finally tumbled out chart her path of self-reflection and forgiveness, with achingly personal lyrics paired with muscular funk, soul and blues, and backed by her shredding, soaring guitar. It’s a new reach for an artist known mostly for her acrobatic and emotional vocals; she wanted her determined message to resonate, too.“I felt unmuted,” she said, “like I was free to say something now, because I felt like I had really put a muzzle on myself for so long, and was just afraid. And it was very, very liberating to do that.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More