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    The North to Shore Festival Comes to New Jersey

    A new arts festival featuring local and marquee-name talent is coming to the Garden State.Gov. Philip D. Murphy of New Jersey, along with the first lady, Tammy Murphy, had a vision: A new performance festival in their home state that could rival South by Southwest in Texas or Bonnaroo in Tennessee. And they had a plan to distinguish it.“Austin and Nashville are great towns,” the governor said, referring to two famous arts hubs that are connected to notable festivals. “But if you stop to consider the cultural priorities of the states that govern them, you say, ‘Wait a minute.’ You’re hoodwinked if you get taken by the coolness.”A festival in New Jersey, they argued, would be produced in a state whose values align with issues like gun safety and reproductive rights, a bragging right difficult to come by in the south. But what organizers are really touting with the event, which is being produced for the first time this summer, is the mix of homegrown talent and national acts (Halsey, Santana, Jazmine Sullivan) performing across three different cities, from the state’s largest city to the coast.The North to Shore Festival will roam from Atlantic City to Asbury Park to Newark throughout the month. Its inaugural run will feature more than 220 acts — including music, comedy, dance and film — in 115 venues. “When you combine all the talent we have in New Jersey with the fact that our values are on the right side of history, we thought, there’s no reason we couldn’t give this a shot,” Mr. Murphy said.In May, the festival doubled in size, in part because of a commitment to local talent. Grants of up to $5,000 were handed out to 58 New Jersey-based artists.“What I love about it is that it’s a combination of the biggest names in entertainment and comedy and film,” said John Schreiber, president and chief executive of the New Jersey Performing Arts Center in Newark, which is producing the festival, “but it’s also a chance to turn up the volume on the local folks I call the local heroes — the artists, the creators, the presenters, the producers — who work in these cities 365 days a year.”One example of this kind of artistic convergence is “You Got VERRRSED: NJ Poets vs. New York Poets,” which will take place in Newark on June 24, the day after Marisa Monte, a Grammy Award winner, performs there.In each host city, venues stretch beyond the familiar. Newark, for example, will host “Jersey Club 101,” a combination dance lesson and party, at Ariya Plaza Hall, a local dance club known for hosting private events and the occasional concert, on June 24.On June 9 in Atlantic City, a brewery, The Seed: A Living Beer Project, will host a multidisciplinary event, “From Earth to Cup,” with live music, pottery making and samples of its craft beers. The following afternoon at Sovereign Avenue Field, a popular skatepark, local hardcore and punk bands will play free shows in the “Back Sov Bullies Concert.”While Asbury Park’s famous rock club, the Stone Pony, will see its share of action — with Eric B. & Rakim, Brian Fallon, Demi Lovato and the B-52’s all scheduled to perform — stages at the lesser-known Watermark, down the street, will also be in heavy rotation and can expect to see more traffic than usual.Alexander Simone and his seven-piece band, the Whodat? Live Crew, will play there on June 14. Mr. Simone, 34, who is from the area and the grandson of Nina Simone, won a grant to take part in North to Shore with the band, which leans toward funk and R&B, after being nominated by local fans. The recognition confirmed something he already knew: “I am definitely one of the most known bands in this community,” he said.Now he hopes that other parts of the country will pay more attention to his music. “Artists are coming this way, to Jersey, and bringing people with them the way South by Southwest brings people to Texas,” he said. “They’re coming to see what we have to offer on this end.”Billboards along the Garden State Parkway and the New Jersey Turnpike are promoting the festival. Mr. Schreiber said he expects more than 350,000 people to attend. The overall windfall for New Jersey’s economy, he added, could be $100 million. “We’re betting the economic impact in all three of these communities will far outweigh any of the investment we have to make,” Mr. Murphy said.Amanda Towers, a founder of the Seed, a Living Beer Project, which will host a multidisciplinary event with music, pottery and beer in Atlantic City.Jennifer Pottheiser for The New York TimesNatalie Merchant, accompanied by New York City’s Orchestra of St. Luke’s, will perform in Newark on June 25. “I think it’s really ambitious and impressive,” she said of the idea behind the festival.But her decision to participate did not have much to do with performing in a liberal-leaning state, Ms. Merchant said. “I tend to not penalize my fans in states with political conditions like abortion restrictions.” Instead, “I talk about them onstage.”The North to Shore Festival will take place June 4-11 in Atlantic City, June 14-18 in Asbury Park and June 21-25 in Newark. More

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    ‘Shooting Stars’ Review: Brotherly Love and Basketball

    While hard to justify, this fictionalized portrayal of a young LeBron James and his high school team’s rise is buoyed by five young actors.Knowing that every inch of LeBron James’s life and career has been covered by the media in the past, it may be hard to justify “Shooting Stars,” a film focused not exactly on James’s rise as a phenom but instead on his high school squad. The movie is in essence an adaptation not only of a memoir of the same name (written by James and the journalist Buzz Bissinger, and released in 2009), but also of another film, the 2009 documentary “More Than a Game.”Yet for what it sets out to do, detailing the bond of young boys under surreal circumstances, “Shooting Stars” is a relatively sturdy retelling. Directed by Chris Robinson, the movie tracks the story of James and his childhood friends, a.k.a the Fab Five, over four years as they conquer the high school basketball landscape and reckon with the complications of a growing spotlight.Remarkably, the drama is buoyed less by the implicit understanding of who James went on to become than by the young actors, who share an infectious chemistry. (It helps that they all appear to be truly good at basketball.)The star is Marquis Cook, known as Mookie, an actual high school basketball recruit who naturally embodies a young LeBron — the boyish shyness nestled within messianic potential — likely because he is, as a young star, experiencing a version of what James did.Shooting StarsRated PG-13 for strong language, some suggestive references and teen drinking. Running time: 1 hour 55 minutes. Watch on Peacock. More

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    Alicia Keys Is Making a Musical. Her Own Life Inspired the Story.

    The show is a highlight of the Public Theater’s new season, which will also include plays by Suzan-Lori Parks, Itamar Moses, Mary Kathryn Nagle and Ife Olujobi.For more than a decade, Alicia Keys has been quietly developing a musical inspired by her own turbulent adolescence growing up among artists in New York City. Now that musical, “Hell’s Kitchen,” is almost ready for viewing: It will be staged this fall at the Public Theater, the downtown nonprofit where “A Chorus Line” and “Hamilton” were born.By any measure, the musical will be big: It has a cast of 20, the biggest budget of any show the Public has ever done, and, of course, music by Keys, an R&B and pop singer who has sold tens of millions of records. The show will feature some of Keys’s best known songs, as well as new material she has written for the musical.“This is my pride and joy,” she said in an interview. “This is a major, major turning point in my journey.”“Hell’s Kitchen” doesn’t precisely track the events of Keys’s own life, but there are strong parallels. Set in the 1990s, it takes place over a few months in the life of a 17-year-old named Ali, who is being raised by a single mother in Manhattan Plaza, a large housing complex where many of the residents are performing artists; there is family tension, sexual exploration and musical discovery. (Ali, like Keys, is transformed by a passion for piano.)Keys has been deeply involved with the show’s development, and her own production company has the commercial rights to whatever life the show might have beyond the Public. “I’m never hands off,” Keys said. “There’s not one page, there’s not one sheet, there’s not one word, there’s not one song, there’s not one melody, there’s not anything that happens in this piece that moves without me completely immersed in it and ensuring its authenticity.”The musical was Keys’s idea, and in 2011 she selected the playwright Kristoffer Diaz (“The Elaborate Entrance of Chad Deity”) to write its book; in 2018, the two asked Michael Greif (“Rent”) to join the project as director, and Greif then brought it to the Public.“It’s very much about a young woman testing boundaries,” Greif said. “It’s a story about a series of collisions she has with very important people in her life when she’s 17, and how those collisions affect the person she was to become.”“Hell’s Kitchen” is scheduled to begin previews Oct. 24 and to open Nov. 19. An emerging actor named Maleah Joi Moon will play Ali; her mother will be played by Shoshana Bean (“Wicked”), and her estranged father will be played by Brandon Victor Dixon (“Hamilton”); Camille A. Brown will choreograph.The Public is already planning to stage “Hamlet” this summer, directed by Kenny Leon and starring Ato Blankson-Wood, as its sole Free Shakespeare in the Park production, but now will follow that with a new Public Works adaptation of “The Tempest,” with songs by Benjamin Velez and directed by Laurie Woolery. The Public Works program, which stages musical adaptations of classics featuring a handful of professional actors and a large ensemble of amateur New York City performers, began in 2013 with a different adaptation of “The Tempest.”“The Tempest” will be the final production at the Delacorte Theater in Central Park until 2025; the Public is trying to figure out whether and where it might stage a production next summer while the Delacorte is being renovated.In October, the Public will partner with NYU Skirball to present three Seán O’Casey plays staged by Ireland’s Druid theater.Starting in November at its downtown theater, the Public plans to stage “Manahatta,” a play that connects Manhattan’s Native American history with its contemporary finance industry, written by Mary Kathryn Nagle and directed by Woolery. That will be followed in February by “The Ally,” written by Itamar Moses and directed by Lila Neugebauer, starring Josh Radnor as an atheistic Jew whose social justice commitments are complicated by Middle East politics. In March comes “Sally & Tom,” written by Suzan-Lori Parks and directed by Steve H. Broadnax III, about a contemporary theater company trying to do a play about Sally Hemings and Thomas Jefferson. And in April is “Jordans,” written by Ife Olujobi and directed by Whitney White, a comedy about Blackness in an overwhelmingly white workplace.One thing the Public will not be doing: presenting its previously annual Under the Radar Festival of experimental work. “It’s entirely a financial decision,” said Oskar Eustis, the Public’s artistic director. “This does not mean the Public is abandoning its relationship with downtown experimental artists, but we’re going to be looking for a new way of embodying that.” More

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    ‘Past Lives’ Review: Longing for a Future

    Celine Song’s film debut, starring Greta Lee, follows two childhood friends who share a wistful kind of love across two decades and two continents.“Past Lives” is a wistful what-if story about two people, the children they were and the adults they become. The movie follows them through the years and across assorted reunions, separations and continents as well as milestones momentous and ordinary. It’s a tale of friendship, love, regret and what it means to truly live here and now. In a sense it is a time-travel movie, because even as the two characters keep moving forward, they remain inexorably tethered to the past, which means it’s also a story about everyday life.“Past Lives” centers on Nora (played as an adult by a terrific and subtle Greta Lee) and a boy named Hae Sung (Teo Yoo), though mostly it’s about her. The two first meet as schoolmates in their home city, Seoul. They’re charming — they’re children — and close. “He’s manly,” Nora, then called Na Young, tells her amused mother. “I will probably marry him.” Soon after the movie opens, the kids are walking home shoulder-to-shoulder, her eyes downcast. He’s received higher marks at school, which, in a portent of her later-life ambition, has upset her. Hae Sung comforts her because he’s a nice boy; he will become a nice man, but by then she will be long gone.This is the filmmaking debut of the Korean-Canadian-American playwright Celine Song (“Endlings”), who also wrote the script. Its narrative shape is fairly familiar: It opens in the present and then flashes back 24 years to when Nora was a girl in pigtails whose family was about to immigrate to Canada. In unfussy, naturalistic scenes and with onscreen text that marks the passage of time, Song follows Nora and Hae Sung as they go their different ways and reunite online a dozen years later as young adults. After a brief virtual reunion, they part ways. Another 12 years pass and they reconnect a second time.The movie’s modesty — its intimacy, human scale, humble locations and lack of visual oomph — is one of its strengths. The characters live in homes that are pleasant yet ordinary, the kind that you can imagine hanging out in, the kind you want to hang out in. There are few big, look-at-me details, though you might notice a poster for Jacques Rivette’s 1974 classic “Céline and Julie Go Boating” in Nora’s father’s home office in Seoul. Without making too much of this cinephile allusion, there’s a moment in the Rivette that does seem germane: “Your future is behind you,” one character says to another, which could serve as a tagline for this movie.Song draws you into her characters’ worlds seamlessly. As “Past Lives” develops, she toggles between Nora and Hae Sung at home and out and about, lightly sketching in how their everyday lives have developed. Even so, Nora — and Lee’s delicately calibrated performance — remains the movie’s gravitational center. By the time Nora is in her 20s, she is living in New York and has become a playwright. On a whim, she looks up Hae Sung on Facebook and discovers that he’s still in South Korea and has also searched for her. The two are soon regularly video chatting until Nora decides she needs to commit to her life in New York.These scenes of Nora and Hae Sung reconnecting are pleasant, partly because Lee and Yoo are both nice to spend time with. But as the days give way to one night after another, this interlude can also feel drifty and even a little innocuous, almost like filler. That’s partly because although Yoo is awfully nice to look at, and while Song continues to add in details about Hae Sung’s life in South Korea, the character never takes deep root in the story the way that Nora does. For much of it, he is effectively a ghostly figure, a beautiful specter on a laptop screen whose open face hides very little, including Hae Sung’s vulnerability and yearning.All this feels as specific, intentional and meaningful as the sight of different lovers embracing all around Nora and Hae Sung when, another 12 years later, they finally reconnect in person in New York. By then, each has settled into their respective lives, have separate histories, have made different memories. They have distinct personalities and ways of taking up space, and each has had a serious relationship, Nora’s with her husband, Arthur (John Magaro, wonderful). Like Hae Sung, Arthur has a sweet, transparent face that hides little, including the hurt that Nora sometimes causes him, one difference being that he actually lives with her.It’s important to Song’s overall design that one of the most crucial and extended sequences in “Past Lives” takes place not long after Nora breaks off with Hae Sung when they’re young adults. She’s rocked by their encounter, but she is soon en route to a writers retreat, an emblem of the horizons first glimpsed in her girlhood. Here, for the only time in the movie, Song lingers over a physical space, in this case a handsome, sunlit country house, a home. Nora lingers too in these rooms, and shortly after she settles in, another writer — Arthur — follows. Song stages and shoots his arrival from Nora’s room, the camera pointing through the open window as she lies asleep in her bed. She misses Arthur’s entrance, but soon after, Nora emerges from her room, awake in a present that — for the first time — feels like the future.Past LivesRated PG-13. In English and Korean, with subtitles. Running time: 1 hour 46 minutes. In theaters. More

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    How KIRAC Trailed Michel Houellebecq From the Bedroom to the Courtroom

    The art collective KIRAC was embroiled in court battles over a film about the author’s sex life. Is the dispute a performance? A marketing stunt? Or a genuine cultural feud?On Saturday night, an eclectic art crowd was gathering outside an industrial garage in Amsterdam East, where Michel Houellebecq, the celebrated French author, was set to speak.Houellebecq had on May 24 released “A Few Months of My Life,” a new book describing a tumultuous period from October 2022 to March 2023 when he collaborated with a Dutch art collective called KIRAC. Together, they worked on a film, shooting scenes that show the married 67-year-old author making out with young women.Although Houellebecq had consented to making the film, he later changed his mind and tried to back out. Beginning in February, he brought court cases in France and the Netherlands to stop the movie from being shown. Last month, an Amsterdam judge upheld Houellebecq’s complaint and granted him the right to see a final cut of any re-edited film four weeks before release, giving him a chance to file another action if he doesn’t like what he sees.In “A Few Months of My Life,” a 94-page autobiographical work, Houellebecq digs deep into his hatred for KIRAC. He names the group’s leader, Stefan Ruitenbeek, only once, describing him as a “pseudo-artist” and “a cockroach with a human face.” Female KIRAC members are referred to as “the sow” and “the turkey.”According to the organizer of Saturday’s event, Tarik Sadouma, Houellebecq had not come to Amsterdam to promote his new book, but to talk about his work generally. As a condition of his participation, Houellebecq asked Sadouma to bar Ruitenbeek and his cohorts from the event.Yet just as the audience took its seats inside, Ruitenbeek burst through the door, dressed as a giant brown cockroach, with bobbing antennae and a furry cape. He was trailed by KIRAC members, one wearing a false pig snout, another filming the whole thing.“I’m here!” cried Ruitenbeek, taking the stage, to a mixture of jeering and cheers. “I’m the cockroach!”A woman taking tickets tried to wrangle the camera from the cameraman and Sadouma shouted for the intruders to leave. Eventually, Ruitenbeek — pleading, “No violence!” — left with his entourage.Michel Houellebecq released a 94-page autobiographical book, “A Few Months of My Life,” about his experiences with KIRAC.Philippe Matsas/FlammarionThis was the latest episode in an ongoing, surrealistic conflict between KIRAC, a fringe art group that posts its films on YouTube, and Houellebecq, one of the world’s most famous authors.Was it a performance? A marketing stunt? Or part of a genuine cultural feud? Who could really tell?KIRAC, an acronym for Keeping It Real Art Critics, is often described as an art collective, but its creative center is Ruitenbeek and Kate Sinha, a writer who is also Ruitenbeek’s life partner. They make films that at first appear to be documentaries, or possibly mockumentaries, typically set in the art world. In them, the boundaries between reality and fiction are often blurred, narratives sometimes conflict and onscreen characters can appear to be playing a game with the truth.It is also often difficult to discern KIRAC’s political views. In one of its films, the Dutch architect and curator Rem Koolhaas is criticized as “macho” and “patriarchal.” In another, KIRAC seems to decry diversity efforts, arguing that the artist Zanele Muholi was given a retrospective at the Stedelijk Museum, in Amsterdam, “only because she is from South Africa, Black and lesbian.” (Muholi now uses they/them pronouns and identifies as nonbinary.)Seen as provocateurs or pranksters, and sometimes art world trolls, KIRAC’s members often deliver critical monologues directly to the camera, usually in the form of articulate academic analysis from Sinha, or mocking insults from Ruitenbeek.“In the broadest sense, we’re just trying to make great films, intellectual entertainment,” Sinha said. “I think we are primarily artists, interested in the object we make, which is always the film.”Sinha in “Time’s Up, Old Man,” a KIRAC film in which she criticizes the Dutch curator and architect Rem Koolhaas.KIRACIn a joint interview, Ruitenbeek and Sinha said they developed the concept for the Houellebecq film with the author and shot 600 hours of footage of him, with his contractual consent. Houellebecq only objected when they put together a two-minute trailer for the work in progress, according to Ruitenbeek and Sinha.In that clip, Ruitenbeek explains that a “honey trip,” or sex holiday, that Houellebecq had planned in Morocco had been canceled because the author feared being kidnapped by Muslim extremists. (Houellebecq has a long history of making critical statements about Islam, and some readers have found Islamophobic sentiments in his books.)“His wife had spent an entire month arranging prostitutes from Paris, and now everything was falling apart,” Ruitenbeek says in the trailer, in voice-over. He then suggests that there are plenty of young Dutch women in Amsterdam who would have “sex with a famous writer out of curiosity,” and invites the author to visit.In a French court, Houellebecq argued that the trailer violated his privacy and damaged his image. He asked the court to make KIRAC pull the trailer from all online platforms, remove any mention of his wife arranging prostitutes and pay her damages. The court rejected Houellebecq’s case.Later, in the Dutch court, Houellebecq argued that KIRAC had violated contract law, and misled him so that he ended up “in a different film than the one originally intended,” according to his Dutch lawyer, Jacqueline Schaap. An appeal judge in that case found for Houellebecq.The film is still unfinished and continues to evolve, Ruitenbeek said. After Houellebecq left the project, KIRAC filmed in and around the court proceedings, as well as shooting other moments, such as Saturday night’s cockroach show.Ruitenbeek said he was now rethinking the material, and a final cut may not come for months.“We started off this project in an open-minded attitude toward each other; we took each other as artists,” Sinha said of the collaboration with Houellebecq. “It feels like he backpedaled and put on a different coat.”Houellebecq last week agreed to an interview for this article, but pulled out after learning that he would not be shown his quotes before publication. (At the event in Amsterdam, he again declined to comment, claiming that he did not speak English, although he speaks it in the KIRAC film.)Ruitenbeek’s over-the-top voice-overs and willingness to play a goofball suggest that KIRAC is going for humor. But, often, the subjects of its films don’t find them funny.“They point fingers at others, but carve out a safe space for themselves’,” said the artist Renzo Martens, who was the focus of an unflattering movie. “From this safe space they are brave enough to cut into other people’s flesh.”Three Dutch institutions that KIRAC has lambasted — the Stedelijk Museum, the Van Abbe Museum and the Kunstmuseum, in The Hague — declined to comment for this article.Salima El Musalima in KIRAC’s film “Honeypot.” More than 1,000 people signed a petition calling the film “a glorification of sexual violence.”KIRACThijs Lijster, a senior lecturer on the philosophy of art and culture at the University of Groningen, said that there is “something threatening in their ways of going about their work. They have a style of filming, and approaching and talking to people, which is, in a way, rather hostile.”It is not just KIRAC’s targeting of artists and institutions that has been controversial. Over time, its films have evolved to enter the realm of social commentary, drawing ire from across the political spectrum.Some viewers saw the group’s 19-minute film “Who’s Afraid of Harvey Weinstein?,” in which Sinha speaks about sexual power dynamics between the American film producer and his rape victims, as dismissive of the #MeToo movement.A leading art school in Amsterdam, the Gerrit Rietveld Academy, canceled a KIRAC screening after dozens of complaints from students, former students and teachers about statements in the group’s films that they found sexist and racist. The Weinstein movie was championed on a right-wing populist Dutch blog, Geen Stijl. Suddenly, KIRAC became a magnet for conservative followers.Although Ruitenbeek and Sinha said their personal politics are progressive, KIRAC didn’t disavow the attention, and instead produced a film called “Honeypot.” For that, the group convinced a conservative Dutch philosopher and activist, Sid Lukkassen, to have sex on camera with a left-wing student. The idea was to see if the intimate act would somehow bridge a political gap.More backlash ensued. When an Amsterdam arts center called De Balie screened “Honeypot,” a feminist collective submitted a petition with more than 1,000 signatures that called the film “a glorification of sexual violence.” The petition’s signers also included the right-wing Dutch politician Paul Cliteur and some of his followers.Ruitenbeek and Sinha both said their clash with Houellebecq was no stunt. They maintained that they don’t want to be in court with the author, whom they both described as “a genius.”Ilvy Njiokiktjien for The New York Times“It was interesting that these two sides teamed up against the film for opposite reasons,” said Yoeri Albrecht, De Balie’s director, who did not cancel the event. “I’ve never seen that happen in the more than a decade that I’ve been organizing events here.”The ambiguity around the group’s motivations only feeds the interest in KIRAC’s work. Many who have been following the Houellebecq affair are unsure whether it’s real or a postmodern KIRAC fiction.“Everyone is wondering, are they playing a game together?” said Simon Delobel, a curator who teaches at the Royal Academy of Fine Arts, in Ghent, Belgium, where he was introduced to the group’s work by his students. KIRAC and Houellebecq were surely “well aware that it can be interpreted as a stunt,” he added.Yet Ruitenbeek and Sinha both said their clash with the author was no stunt. They don’t want to be in court with Houellebecq, whom they both described as “a genius.” They just want to be in conversation with him, Sinha said.Ruitenbeek added that when he showed up at Houellebecq’s talk on Saturday, he thought there was a small chance that everyone would laugh and give each other hugs. He was “very happy the day he went to get the cockroach suit,” Sinha said. “After all these intimidating court cases,” she added, “we were back on our own territory again: making art.”Léontine Gallois More

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    Hipgnosis, the Album Artists Who Made Pink Floyd’s Pig Fly

    The filmmaker Anton Corbijn’s documentary “Squaring the Circle (The Story of Hipgnosis)” tells the tale of the London design company devoted to crafting the perfect LP sleeve.In early 1980, Aubrey Powell, the then-33-year-old co-founder of the pioneering British design company Hipgnosis, flew to Hawaii to photograph the cover for the British rock band 10cc’s “Look Hear?” album.The shoot involved a specific sheep (only one was available on Oahu, at a university farm) seated on an old-timey psychiatrist’s couch (which had to be constructed by a Honolulu props company) on the island’s North Shore. The sheep, out of its element and skittish from the crashing waves, ruined the first day of the session, so a veterinarian was called in to tranquilize the animal for day two. Success.The final cost of the sleeve design, including airfare and a sheep wrangler, came to £5,043 — about $26,000 in today’s money and a big sum for the time. (But then again, as Powell, known as Po, said in an interview, back then the music industry “was awash with money.”) In the end, at the behest of Hipgnosis’ other co-founder, Storm Thorgerson, the U.K. version of the LP jacket was dominated by the words “Are You Normal” in large capital letters. The photo of the sheep on the chaise longue was shrunk to about the size of a postage stamp.A scene from the documentary shows the 1980 shoot for 10cc’s “Look Hear?” album artwork, which involved a sheep.Aubrey Powell/Hipgnosis LtdIn an interview, the 10cc singer and bassist Graham Gouldman admitted that though he’d had the album art explained to him in the past, he couldn’t recall what it meant. “But I know it’s a brilliant picture,” he said. As for all that pricey effort for such a tiny image? “It doesn’t matter, does it?” Gouldman said. “It’s art. So it’s got to be done.” He added, “And in Hipgnosis’ case, if you can get the record company to spend the money, then good for them.”The Dutch filmmaker Anton Corbijn, the director of “Squaring the Circle (The Story of Hipgnosis),” a documentary on the design firm that opens in New York on June 7, had a slightly different take. “It’s just not normal to fly all the way to Hawaii to do that picture,” he said. “But it makes for a good story.”“Squaring the Circle” is full of this and other good stories about the oft-absurd lengths the London-based Hipgnosis traveled in pursuit of the perfect LP sleeve in the era before Photoshop. Among the 415 album covers Hipgnosis made between 1968 and 1983 was Pink Floyd’s “Animals” (1977), for which a 40-foot inflatable pig was photographed floating between the chimneys of London’s Battersea Power Station. Unfortunately, the single cable affixed to the pig snapped, and up the balloon went — into the flight zone for Heathrow Airport.“That was all very exciting, and rather alarming,” recalled the Pink Floyd drummer Nick Mason, whose bandmate Roger Waters came up with the idea for the shoot, “because it was obvious that you could have a major disaster for an airline that happened to fly into the escaping pig.” No planes were harmed in the making of the LP cover, but in the end, Hipgnosis had to resort to a photo collage to achieve the desired effect.The documentary — shot largely in high-contrast black and white by Corbijn, himself a rock photographer and video director known for his work with U2 and Depeche Mode — features new interviews with Powell, plus a number of high-profile former Hipgnosis clients, including all three surviving members of Pink Floyd (David Gilmour, Mason and Waters) and Led Zeppelin’s Robert Plant and Jimmy Page. Paul McCartney, Peter Gabriel and Gouldman are also among the talking heads. Noel Gallagher, a fan, provides some modern-day context and comic relief.HipgnosisA selection of Pink Floyd album covers designed by Hipgnosis, clockwise from top left: “Atom Heart Mother,” “Wish You Were Here,” “The Dark Side of the Moon” and “Animals.”HipgnosisMuch of the film focuses on the close working relationship between Powell and Thorgerson, who came up together in the Cambridge, England, art scene of the 1960s, where they were friends with young members of Pink Floyd. (Peter Christopherson, a founding member of the British industrial band Throbbing Gristle who died in 2010, became a full partner in Hipgnosis in 1978.) The design studio would end up doing nearly all of Pink Floyd’s album covers, including “Atom Heart Mother” (1970), which was simply a photograph of a cow in a field, and, most famously, “The Dark Side of the Moon” (1973), with its iconic image of a triangular prism refracting light into a rainbow pattern. (Hipgnosis’ second-best-known cover also came out in 1973: Led Zeppelin’s “Houses of the Holy,” which features a group of naked children scaling basalt columns.)The “Atom Heart Mother” jacket in particular represented a major departure from the style of the time, which Mason described as putting “a picture of the lovable moptops on the front.”“We started making demands — which Pink Floyd totally backed us on — saying ‘No title, no name of the band on the cover,’” said Powell, now 76. “This was unheard-of in the world of marketing and record companies.” He described presenting the “Atom Heart Mother” artwork to the suits: “When you walked in there with long hair and earrings, showing them a picture of a cover of a cow, they would go apoplectic.”It tended to be Thorgerson, by all accounts a stubborn genius, driving the record executives to apoplexy. “The greatest line about Storm was that ‘He’s a man who wouldn’t take yes for an answer,’” Mason said. “It was almost inevitable that whatever was done, particularly by the record company, would involve Storm having to shout at them.”Thorgerson and Powell took different approaches to communicating with artists and labels.Hipgnosis LtdThorgerson, who died in 2013, could be confrontational with the musicians as well. “He didn’t care if it was Paul McCartney or Roger Waters, he would express himself quite vehemently,” Powell said. “And often I would have to go around fighting the fires to maintain some kind of credibility. At the end of the day, it kind of worked because I managed to persuade the artists that it was the idea that was important. Forget about Storm’s personality.”Corbijn said that, ultimately, the documentary was a “story of love and loss.” Hipgnosis came to an end at the dawn of a new era, in which music videos ruled and compact discs, with their significantly smaller artistic canvases, became the dominant mode of distribution. (Of course, today most people see album art in miniature on their phones.) Thorgerson and Powell, who were moving over to filmmaking, had a falling out over money and didn’t speak for 12 years after that. “It was like the end of a marriage,” Powell said. The two reunited after Thorgerson fell ill; he died of cancer at the age of 69.In more recent years, Powell said, he’s been heartened to see that Hipgnosis’ album covers have broken “that barrier to be taken seriously as fine art.” He added, “A lot of thought went into those pictures. We didn’t take photographs of the band and slap it on the front with their names big and the title in big white letters. This was work that was taken extremely seriously. And I hope that comes over in the film.”Powell pointed to Hipgnosis’ cover of Led Zeppelin’s final studio album, “In Through the Out Door” from 1979, which involved lovingly recreating an actual New Orleans juke joint in a studio in London. He indicated that making the album’s visuals (which, after all that work, came wrapped in a brown paper bag) likely cost more than it did for the band to record the music itself.“You know,” Powell said with a laugh, “that sums up the period of time.” More

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    ‘Transformers’ Statues Cause a Big Fight in Georgetown

    A professor decorated a sidewalk in Georgetown with 10-foot sculptures of Bumblebee and Optimus Prime. The well-heeled locals were not pleased.The thing about putting a pair of 10-foot statues of metal-hewn Transformers outside your townhouse in the most picturesque district of the nation’s capital is that the neighbors are going to have opinions.And on Prospect Street in Georgetown, they were not pleased.The statues — Bumblebee and Optimus Prime, two of the good guys from the long-running “Transformers” movie franchise — appeared in January 2021 outside the white-brick home of Newton Howard, a cognitive scientist and machine-learning expert with ties to the intelligence community.He had ordered them from a factory in Taiwan to the tune of more than $25,000 each. Where large brick planters had once blended in with the local aesthetic, there was now something akin to outsider art by way of an anonymous welder and Hollywood’s reinterpretation of 1980s toys.Plenty of people love the statues, which resemble invaders from the future, in a neighborhood that does its best to hang on to its cobblestone past. Students at nearby Georgetown University can’t get enough. Neither can tourists: The Transformers statues have their own entry on Google Maps as a place of interest, with 4.9 stars. “The best part of visiting Georgetown,” one reviewer declared.“People are at my door every day,” Dr. Howard, 53, said at his home on a recent afternoon. “It doesn’t bother me. I find it to be beautiful that actually people are appreciating things.”But some of his neighbors are less enthusiastic, and the critics of his notion of a Georgetown-appropriate sidewalk display have been trying to get rid of Bumblebee and Optimus Prime for more than two years.Dr. Howard, a bald man with an unplaceable accent, wears dark round eyeglasses that come equipped with a camera and a microprocessor that allows him to translate languages on the spot, he said.He paid $3.75 million for the townhouse and moved in during the pandemic. In 2021, he snapped up the one next door for $4.8 million. The homes lie close to his job at Georgetown University School of Medicine, where he is a research professor in the department of biochemistry and molecular and cellular biology. (He added to his real estate holdings in 2022, when he bought a $3.6 million home in Potomac, Md. It has 14 bathrooms and a bocce court.)Dr. Howard greeting tourists who stopped by to see his Transformers sculptures.Zak Arctander for The New York TimesPutting up the Transformers wasn’t the only thing Dr. Howard did to irritate his Georgetown neighbors, who learned shortly after his arrival that he wasn’t some sort of shabby, retiring professor. He had flashy taste and he liked to show it off, parking a number of expensive cars on Prospect Street: a yellow McClaren 720S (new ones start at $310,000), a 2005 Porsche Carrera GT (which goes for $1.4 million and up), a Porsche 918 (fewer than 1000 were made, and they go for well over $1 million). Not to mention an MRAP tank and a small airplane from his collection that he once parked in front of his home. The car show came to a stop only after he received complaints.A rich guy with loud cars is one thing, a known story. The Transformers were something else altogether. They quickly became a flashpoint in Georgetown, and on the internet, after the local news site DCist reported on the efforts of Dr. Howard’s neighbors to get the statues removed.Sally Quinn, the author and longtime Georgetown resident, said she was firmly in the anti-Transformers camp. “I think they’re really ugly,” she said. “Some people may like them. You know, everybody’s taste in art is different. But that’s not the point.”The point, she continued, was historical preservation: “People come to Georgetown because it’s Georgetown. It’s a beautiful, quaint village.”But the author Kitty Kelley, who said she has lived in the neighborhood for “two husbands,” or since 1977, sent Dr. Howard a handwritten card in support of his sidewalk flair.“All you have to do is take a walk through Georgetown, and you’re going to see gnomes and wrought-iron benches,” said Ms. Kelley, who is known for her dishy biographies of Jacqueline Kennedy Onassis (“Jackie Oh!”), Oprah and Nancy Reagan. “You’ll see cement lions of all sizes. So why should this man be deprived of using the space right outside his front door?”“Maybe it isn’t Picasso,” she continued. “It isn’t a sculpture by Degas, but I think he’s entitled.”Ms. Kelley noted that her own outdoor decorations have included topiary monkeys, a seven-foot bird feeder and “an angel who’s shooting something across the yard.”So: Was Dr. Howard a champion of free expression who found himself on a crusade against exclusionary zoning and “snooty neighbors,” as Slate cast him? Or was he an attention-seeking scofflaw with questionable taste?Or maybe this was simply a case of an eccentric and mysteriously rich guy being eccentric and mysteriously rich.Optimus Prime, a Transformers statue in front of Dr. Howard’s home, with flowers in its hand.Zak Arctander for The New York TimesNeighbors Weigh InGeorgetown is not the most futuristic place. Some of the streets still have cobblestone and the remains of streetcar tracks. The neighborhood is filled with pastel rowhouses from the 18th and 19th centuries and with newer homes meant to recall the older structures.The area also has its share of stately brick mansions that make you wonder who lives there, or used to. Often, it’s someone well-off, but occasionally it’s a someone someone. Power players in media, politics and entertainment — like Madeleine Albright, Ben Bradlee, Katherine Graham, John Kerry, Joe Lieberman and Elizabeth Taylor — have called Georgetown home. But it wasn’t always Washington’s glamour spot.“Georgetown was kind of a dump in the early 20th century,” said George Derek Musgrove, the co-author of the 2017 study “Chocolate City: A History of Race and Democracy in the Nation’s Capital.”The old houses had largely fallen into disrepair, and the neighborhood was home to working-class Irish and African Americans. Then, with the explosion of government hiring during the New Deal, Ivy League graduates moved in. They fixed up their homes in an array of styles until the national craze for historical preservation took hold. In 1950, “Old Georgetown” was designated a federal historic district, with all the restrictions on home modification that entailed.“By the time you get to 1960, and John Kennedy leaves his Georgetown mansion on N Street for the White House, you just couldn’t afford to get in if you wanted to,” Mr. Musgrove said.A lot of the residents support efforts to keep things more or less the same. Catherine Emmerson, whose family lives close to Dr. Howard, helped start the Prospect Street Citizens’ Association a few years ago to stop a condo conversion that would have blocked local residents’ views of the Potomac River. When the Transformers arrived, the group had a new target.It’s not that the association was against celebrating film history. In fact, its members argued that the condo conversion would have threatened something that ought to be a landmark (and now is): a set of steep steps on Prospect Street, built in 1895, that appeared in “The Exorcist.” (Think: tumbling priest.)But that was “The Exorcist.” A film. (Maybe?) An old movie, at least. The “Transformers” franchise, which has grossed more than $5 billion across six films, was more like … I.P. (Michael Bay, the “Transformers” producer, declined to comment on Dr. Howard’s decorating choices or the neighbors’ reaction.)And the Citizens’ Association had clear recourse. Before putting up the statues, Dr. Howard did not apply for any kind of permit, despite Georgetown’s historic status and the fact that the sidewalk is public space.There is a process, a local official emphasized when he appeared in front of the Advisory Neighborhood Commission via video in March 2021, three months after Bumblebee and Optimus Prime had become part of the neighborhood. And he had bypassed it entirely.The commission went on to inform him that, before gaining approval, he would have to apply to something else: the Old Georgetown Board, a federal body of three architects that ruled on any changes to the exteriors of properties.Ms. Emmerson and another neighbor, the author and former television journalist Luke Russert, also weighed in. Ms. Emmerson argued that the statues represented a safety hazard and drew crowds of disruptive gawkers. (Dr. Howard later had his Transformers bolted in place.)An Optimus Prime statue watches over the neighborhood from Dr. Howard’s rooftop.Zak Arctander for The New York TimesMr. Russert was more blunt. “What’s to stop someone from putting up a statue of Joseph Stalin and saying, well, this is provocative, it’s art, it speaks to me?” he argued. “They are a nuisance, they are an eyesore, and they detract from the spirit of the neighborhood.”As tensions continued, Dr. Howard said he started hearing two terms that he had never heard before — NIMBY and YIMBY. (“Not in my backyard” vs. “Yes in my backyard.”) The pro-development crowd wanted to claim him as a hero. He declined to ally himself, exactly. Instead, Dr. Howard argued, his statues were all about “the American idea,” because they welcomed visitors to a cloistered part of the city.“You don’t want to just come up with ways to shut down your neighborhood so nobody comes into it,” he said.His critics disputed the notion that he was motivated by an idea of civic good. “His repeated disregard for the law and procedure tells a story of someone who is not operating in good faith for the collective community,” Ms. Emmerson wrote in an email to The New York Times.‘The Real Tony Stark’There was no horde outside Dr. Howard’s townhouse on a recent Sunday afternoon. A young man paused to snap a photo of his 2-year-old son standing with the statues. The toddler’s blue and yellow shoes matched Optimus Prime’s color scheme.From the rooftop, a six-foot Optimus Prime statue peeked down at the street. It had once stood at the front door, but after the initial controversy Dr. Howard commissioned a taller version for the sidewalk. Then he moved the original, perched as if part of some SWAT team on the lookout for any Decepticons.The interior of Dr. Howard’s home, which he said he decorated himself, resembled a lair. The glassy back of the townhouse overlooks the Potomac, where the buzz of jets headed into and out of Reagan National Airport adds to the techno-paradise vibe. Motorcycles were parked in the living areas as objets, and five more Transformer statues stood guard. There was also a giant model of Iron Man, a Marvel superhero dear to Dr. Howard.“A lot of people used to call me the real Tony Stark,” he said, referring to Iron Man’s alter ego.The interior of Dr. Howard’s Georgetown home includes motorcycles and more Transformers sculptures.Zak Arctander for The New York TimesThe memorabilia on display included his concealed carry permit, as well as framed photographs of him with Bill Clinton and Tim Tebow, the former N.F.L. quarterback who became known for kneeling in prayer on the field. Dr. Howard, who said he is a follower of Messianic Judaism, a religion sometimes referred to colloquially as Jews for Jesus, said that he and Mr. Tebow belong to the same fellowship group. (Mr. Tebow couldn’t be reached for comment.)His home was fastidious, except for a half-built child’s toy in the living room. Dr. Howard has four children, ranging in age from 5 to 26, he said. (The older children are from a previous marriage.) He and his wife, Rebecca, are also fostering five Afghan refugees, he added.Senator Markwayne Mullin, Republican of Oklahoma, became friends with Dr. Howard through a shared interest in Afghanistan.“I call him Tony Stark,” he said. “I would have called him that without the statue.” (Senator Mullin made a splash in 2021 for personally trying to escort Americans out of Afghanistan after Kabul fell to the Taliban, against the explicit wishes of the State and Defense Departments. Dr. Howard was “very involved” in similar efforts, Senator Mullin said.)The professor — who is, duh, a fan of the “Transformers” movies — said the sculptures had a deeper meaning for him. Not only did they represent machines and humans coexisting in harmony, he said, but the word “transform” had a great deal of personal significance.“I like changing things when you’re in a status quo and they’re wrong,” he said. “When one looks at themselves and feels self-pity and falls into dwellings of darkness, you should transform.”Dr. Howard has gone through several transformations himself. He was born in the Sinai Peninsula when Israel controlled it. His family — Egyptian Jews who ended up living in France, he said — moved to the United States when he was 11.He said he joined the Army at 18, then worked as a linguist in Michigan “across various agencies,” specializing in Arabic, Farsi and Dari. He changed his name around that time because, he said, “it was offered by an agency.” He declined to provide more detail.“There’s a lot of things during that phase of my career that should be kept secret,” he said.Dr. Howard — whose doctorates include concentrations in mathematics and neuroscience, and who holds an appointment at the University of Oxford alongside the one at Georgetown — is a curious mix of limelight-seeking and discreet. After college, he said, he worked in military intelligence. He later did work for InQTel, which is functionally the C.I.A.’s venture capital fund.What precisely he did to get rich is unclear. He said his wealth resulted from selling various businesses, some of which he could not talk about. The walls of his townhouse are filled with commemorative plaques of his patents, many of which have defense industry applications, including “Wireless Network for Routing a Signal Without Using a Tower” and “System and Method for Automated Detection of Situational Awareness.”A tabletop Transformer in Dr. Howard’s townhouse beside a couple upright books.Zak Arctander for The New York TimesHe said he suffered a traumatic brain injury in 2000 while delivering medical supplies, though he declined to offer more detail. After his recovery, he decided to focus on applying the principles of machine learning to the human brain, and turned to neuroscience. “I figured instead of sitting and getting my brain worked on, I would work on it myself by studying it,” he said.His ventures include Aiberry, a start-up that tries to use A.I. analysis to improve on mental health screening. He said he hoped to help solve the problem of degenerative diseases like Parkinson’s and Alzheimer’s with a cloud-connected device implanted in the brain, using A.I. to optimize the levels of deep brain stimulation.In other words, he would like to help human beings preserve their humanity by becoming a little more machine.The RulingThe Old Georgetown Board seems to rule with an iron fist — just try putting up a neon sign in the neighborhood — but its power is advisory. The city of Washington, D.C., has the real authority to enforce decisions, but the influence of neighbors complaining in unison cannot be discounted.Topher Mathews, a commissioner for Georgetown’s Advisory Neighborhood Commission, said that the Transformers mess wouldn’t even make his top five neighborhood dramas of the past 10 years. Easily outstripping it, for instance, was the agita caused over the opening on O Street of Call Your Mother Deli, which attracts long lines.And locals love to bring up the Tree Incident of 2018, which involved a new homeowner’s decision to prune and cut down magnolia trees on his property, which happened to be the former home of Ms. Onassis. In response, a neighbor created a Halloween display with a mock tombstone reading, “Beloved magnolia 1840-2018 destroyed R.I.P.,” and a grim reaper that announced “Tree Killer Lives There.”Dr. Howard has argued that his statues constitute meaningful public art. The “Transformers” movies follow a classic good-versus-evil struggle in which the Autobots (the good guys) work to save humanity from the Decepticons (the bad guys). Reviewing the first installment of the franchise in 2007, Manohla Dargis of The New York Times wrote that it was “part car commercial, part military recruitment ad, a bumper-to-bumper pileup of big cars, big guns and, as befits its recently weaned target demographic, big breasts.” The Old Georgetown Board took up the matter of Dr. Howard’s statues in spring 2021, and the city gave him a six-month permit to keep them up. But well after the six months was up, Bumblebee and Optimus Prime were still in place.Dr. Newton Howard shows off a device that he says will use A.I. to optimize and adjust the levels of deep brain stimulation.Zak Arctander for The New York TimesBy the time the board met again, in April 2023, Dr. Howard claimed that he had spent tens of thousands of dollars fighting to keep his statues up, an amount that included legal and architect advisory fees and city fines.This time, the board ordered him to take the statues down. Instead of complying, Dr. Howard appealed to the D.C. Public Space Committee. He also rebuffed offers from the Advisory Neighborhood Commission to help him find another place in the neighborhood to display his statues.Dr. Howard seems to enjoy the attention that has come with the ongoing case. He has talked extensively with the press about his crusade. He was flattered that Paramount, the studio behind the Transformers movie, had invited him to the Washington premiere of the next installment, “Transformers: Rise of the Beasts,” which comes out June 9.As DCist and The Washington Post chronicled the twists and turns of the neighborhood drama, sentiment online seemed to swing his way. A student at Georgetown University started a Change.org petition, signed by more than 900 people, to keep the statues up. “This is so dumb,” Hayden Gise, an Advisory Neighborhood Commission vice chair who lives in a neighborhood close to Georgetown, wrote on Twitter. “Let him live oh my god. Everyone loves property rights until some guy does something cool.”On May 25, the statues’ fate went before the Public Space Committee. Dr. Howard had hired Paul Strauss, D.C.’s shadow senator, to represent him. Or, as Mr. Strauss put it, he was acting as counsel for Optimus Prime, while a colleague represented Bumblebee.“People have misunderstood the issue,” Mr. Strauss said. “You talk about compatibility with a historic district? Technically, these guys are millennia old. I mean, they’re prehistoric.”Mr. Strauss and Dr. Howard also persuaded Peter Cullen and Dan Gilvezan, actors who voiced Optimus Prime and Bumblebee on the 1980s cartoon series based on the toys, to attest at the hearing about the history and significance of the nearly 40-year franchise.The entreaties didn’t work. The D.C. Public Space Committee denied Dr. Howard a permit, meaning that he would have to take the statues down himself, or the city would. It wasn’t a question of art; it was a question of following the rules.Dr. Howard didn’t seem inclined to stand down. Before the meeting, he suggested that he would appeal a ruling against him on First Amendment grounds. His lawyer clarified that they saw the issue as one of equal protection: Plenty of people fill their sidewalk planters in Georgetown and never get dinged for it. Why is his client required to seek a permit for what is in his planter?After the meeting, Dr. Howard said he thought he would apply for a new permit. But he seemed deflated.“I’m sad,” he said in a text to a reporter, adding,“What do you think I should do?”The victory that Dr. Howard said he was seeking was a moral one.“I know what these Transformers mean to me,” he said. “What does it mean to them?”As of June 1, the statues were still standing.Kitty Bennett contributed research. More

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    Billy Joel Will End Madison Square Garden Residency in 2024

    The singer-songwriter, one of New York’s most beloved musicians, will conclude his monthly gig at the Manhattan arena after his 150th career concert there.In December 1978, Billy Joel headlined Madison Square Garden for the first time, playing three shows on the tour for his first No. 1 album, “52nd Street.” Dozens more performances followed there over the years, and in January 2014, Joel began a monthly residency as the Garden’s first “music franchise.”Now the monthly gig is coming to an end. On Thursday, Joel and the Garden announced his final 10 shows in the series, saying the residency will conclude in July 2024 with his 104th show in the series, which will be his 150th lifetime performance at the Garden.“I’m kind of flabbergasted that it lasted as long as it did,” Joel said at a news conference at the Garden. “My team tells me that we could continue to sell tickets, but 10 years, 150 shows — all right already!”James L. Dolan, the chief executive of MSG Entertainment, which owns the Garden and other venues, added: “Billy Joel’s franchise run has made history — not only for Madison Square Garden, but also for the music industry overall.”Joel’s run at MSG has been a cultural phenomenon and a business unto itself. Every show has sold out, and aside from a dozen or two standards — you are all but guaranteed to hear “Piano Man,” “Allentown,” “New York State of Mind” and “It’s Still Rock and Roll to Me” — the set list varies enough to keep fans coming back again and again. The roster of special guests has included Bruce Springsteen, Tony Bennett, Olivia Rodrigo and Joel’s daughter Alexa Ray Joel.The residency has continued on a roughly monthly schedule since its inception, aside from an 18-month break during the Covid-19 pandemic, returning in November 2021.According to the trade publication Pollstar, Joel’s residency has played to nearly 1.7 million people through its 89th performance in April, and sold $207 million in tickets. By his final show, the residency will have grossed over $250 million.The idea for the residency came about following Celine Dion’s two record-breaking runs in Las Vegas, which started in 2003 and ultimately sold about $660 million in tickets. But Joel balked at traveling there. “I knew I didn’t want to be a resident in a place like Vegas,” he once said. “I don’t even like Vegas.”Joel’s performances at the Garden have become “the Super Bowl of music events,” Dennis Arfa, his longtime booking agent, told The New York Times last year. It has also inspired a new residency model that has lately taken hold in the music business, with some superstar artists preferring longer stays at a smaller number of venues, rather than crisscrossing the map one gig at a time — a move that can reduce touring costs and provide a bit of branding buzz. Last year, for example, Harry Styles played 15 dates at the Garden and, in late 2022 and 2023, another 15 at the Kia Forum in Inglewood, Calif.Joel, 74, will begin his 10 countdown shows on Oct. 20. A representative for the singer said that while he is ending this run, Joel is not retiring.“There’s only one thing that’s more New York than Billy Joel,” Mayor Eric Adams of New York said in a statement, “and that’s a Billy Joel concert at MSG.” More