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    What Are Your Pride Songs?

    We’re asking readers about the songs that first gave them the courage to come out or that still inspire them to live their truth.June is L.G.B.T.Q.+ Pride month — and what’s a Pride celebration without the music?Later this month, The Times will be publishing a special Pride installment of The Amplifier newsletter featuring some of your stories and song suggestions.We’re asking readers: Was there a certain song that first gave you the courage to come out? Why did the song animate you? Or, is there a particular song that, to you, embodies the spirit of Pride? What is it about the song that speaks to you?To participate, you can fill out the form below. We may feature your response in an upcoming newsletter.Your Pride songs More

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    The Film Story of the Stereotype-Busting International Male Catalog

    The catalog was more than a place to peruse the latest fashions. It reshaped society’s definitions of masculinity.One of the most famous “Seinfeld” episodes involves Jerry wearing a flamboyant “puffy shirt” — which was pretty much a copy of the “ultimate poet’s shirt” sold by International Male. The piece of apparel might be a pop culture footnote now, but for a while the mail-order catalog that inspired it meant quite a lot, as evidenced by Bryan Darling and Jesse Finley Reed’s documentary.In the early 1970s, Gene Burkard, a gay former airman turned entrepreneur, slightly retooled a medical garment called a suspensory into a “jock sock.” Its mail-order success eventually led to Burkard’s launching International Male, whose catalog peddled unabashedly outlandish men’s clothing modeled by unabashedly sexy hunks.Narrated by Matt Bomer, the doc breezily chronicles International Male’s rise and fall from the 1970s to the mid-00s. As the fashion commentator Simon Doonan argues in the film, International Male documented — and reinvented — gay and straight men’s shared fetishization of masculinity. Casting aside the cloaking devices known as dark suits and white shirts, the catalog displayed butch specimens lounging in hot pants, crop tops and thongs, with color schemes running a retina-searing gamut from coral and lime to prints like purple zebra stripes. Anticipating Instagram, the company turned clothing into lifestyle, while also providing a coded fantasy outlet for gay men around the country.Admittedly, the film is more dutiful than artful, ticking one box after another, a tendency that is especially obvious when it ventures to the dark side of paradise (the ravages of AIDS on employees and customers, the lack of diversity among the catalog models). Then it’s right back to knights in white satin and the realization that men’s gauze harem pants were once an instrument of liberation.All Man: The International Male StoryNot rated. Running time: 1 hour 23 minutes. Available to rent or buy on most major platforms. More

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    For Some, Blackpink’s Jennie Is the Only Reason to Watch ”The Idol”

    Fans of the K-pop group are tuning in to the new HBO series to marvel at the global pop star in her acting debut.Before airing on HBO, the drama “The Idol” dominated headlines and social media for its controversies: At the Cannes Film Festival, where the first two episodes premiered, the series was widely panned for its graphic sexual content; it was rewritten and reshot after Sam Levinson, the creator of the series “Euphoria,” replaced Amy Seimetz as its director; and in March, Rolling Stone published an article detailing a troubled production.But after its first episode was released on Sunday, a pop songstress took center stage. Not the main character Jocelyn, the show’s aspiring idol played by Lily-Rose Depp, but Dyanne, one of Jocelyn’s backup dancers portrayed by Jennie Kim, better known as Jennie of the K-pop girl group Blackpink.Blackpink — which consists of Jennie, Jisoo, Lisa and Rosé — has become one of the most globally recognized K-pop acts in recent years. Though Jennie isn’t the only member of the group to try her hand at acting, she may have its most high-profile role.On the internet, clips abound praising Jennie in her acting debut. In one widely circulated scene, Dyanne, eyes half-lidded, lips parted and hair perfectly tousled, shows Jocelyn how to do the choreography for her new single.The K-pop idol — clad in a loose, slightly ripped midriff, a black sports bra and high-waisted booty shorts — struts, poses, grinds, pops, locks and drops. Later, Jocelyn can be seen watching and wiping her tears over her failure to embody Dyanne’s indomitable stage presence.That star quality wasn’t lost on fans of the singer and viewers of the show either.“Jennie’s acting was very good for what her character was,” said Greta Dobson, a 27-year-old student in Brooklyn who considers herself a “blink,” what Blackpink fans affectionately call themselves. “It seems like it almost felt natural for her since she always has to do this for dance rehearsals. It must have been so meta for her.”“Jennie’s acting was very good for what her character was,” said Greta Dobson, a student in Brooklyn who considers herself a “blink,” what Blackpink fans affectionately call themselves.Eddy Chen/HBOSearch “The Idol” on TikTok or Twitter, and the number of posts critiquing the show is likely to match those commending Jennie’s performance.Within hours after the series premiere was released, a TikTok account (@d4jenn) posted seven “fancam” videos of nearly all the scenes where Jennie was featured in the show’s pilot. (Each clip has garnered thousands of views.)Anisa, 18, of Seattle, who runs the account and declined to give her last name, was one of many viewers who tuned into “The Idol” to watch her favorite K-pop star. She said had it not been for Jennie, she never would have watched the show.“I would completely stop watching it,” she said. “And end my subscription with HBO Max.”Though fans like Anisa were proud of Jennie’s acting debut, many hope the show’s first season, which consists of six episodes, will provide her with more screen time. “The show producers could’ve done a little more, even if she was a side character,” Ko Im, 37, a managing producer in Seattle, said in a message on Twitter. “They barely gave her lines she could really own.”She added, “We need to see that main character energy she already has.”Ms. Dobson, however, already speculates that Jennie may play a bigger role in the series.“Are they going to utilize Jennie’s dancing and singing background in the show? Is she going to take Jocelyn’s role?” she said. “I guess we’ll just have to watch to find out.” More

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    Book Review: ‘Pageboy: A Memoir,’ by Elliot Page

    In the “brutally honest” memoir “Pageboy,” the actor recounts the fears and obstacles to gender transition, and the hard-won happiness that’s followed.PAGEBOY: A Memoir, by Elliot PageThere’s a scene in the third season of Netflix’s hugely popular “The Umbrella Academy” where Elliot Page’s character, sporting a new, short haircut, walks up to the other members of the titular superhero team to suggest a plan.There’s a derisive response from one of them: “Who elected you, Vanya?”Page glances around, slightly tentative. “It’s, uh, Viktor.”“Who’s Viktor?”The subtitles describe “dramatic music playing” as members of the group eye one another. Page hesitates for a second. “I am. It’s who I’ve always been.” Another beat. “Uh, is that an issue for anyone?”There’s little hesitation: “Nah, I’m good with it.” “Yeah, me too.” “Cool.”And thus plays out what might be the most mundane — and yet quietly empowering — depiction of gender transition in popular culture I’ve ever seen. Were Page’s real-life journey to transition only as simple, straightforward or well received.Instead, as he details in a brutally honest memoir, “Pageboy,” his life story was marked by fear, self-doubt, U-turns, guilt and shame, before he ultimately seized control of his own narrative.A child actor from Canada who burst onto the scene at the age of 20 with a breakout performance in the title role of “Juno” in 2007, Page went on to take roles in films that ranged from indie (“Whip It,” “Freeheld”) to blockbusters (“Inception,” “X-Men: Days of Future Past”).But fame didn’t free him to explore his identity; instead it trapped him into a role studios wanted him to play, offscreen as well as on, as an attractive young starlet.Much of the memoir — told in non-sequential flashbacks and flash-forwards — centers on Page’s path to understand who he really was, against a backdrop of bullying, eating disorders, stalking, sexual harassment and assault. Page grew up in Nova Scotia, the child of divorced parents — a less than loving father and a mother hoping against hope for a more conventional child than the gender outlaw she seemed to be raising.“Can I be a boy?” Page asked his mother at the age of 6. He found escape in solitary play and a rich fantasy life that ultimately blossomed into a career as an actor.The nonlinear structure makes following a clear narrative difficult, but that’s less important than seeing, through his eyes, how Page slowly pieces together a clear sense of himself. In that, it follows a tradition of trans memoirs, from Jennifer Finney Boylan’s “She’s Not There” to Janet Mock’s “Redefining Realness” to Thomas Page McBee’s “Man Alive,” among others, that explore how we explore our identities.From furtive, closeted relationships — he relates how he held hands under a blanket with his then-partner as they were bused from location to location while working on a film together — to coming out as gay in 2014 (“more a necessity than a decision,” he writes), Page flirted with, but backed away several times from, the notion that he might be trans.“My shoulders opened, my heart was bare, I could be in the world in ways that felt impossible before,” he writes of coming out as gay. “But deep down an emptiness lurked. That undertone. Its whisper still ripe and in my ear.”It’s in that tortured, contradictory internal monologue — familiar to other trans people as we contemplate what seems to be an extraordinary, unimaginable truth — that “Pageboy” is most powerful. Page doesn’t really delve into questions of masculinity, or what it means to be a man, but he brings to life the visceral sense of gender dysphoria, or at least one type of dysphoria: the sense that your body is betraying you. It’s an utterly alien sensation for those who haven’t experienced it:Imagine the most uncomfortable, mortifying thing you could wear. You squirm in your skin. It’s tight, you want to peel it from your body, tear it off, but you can’t. Day in and day out. And if people are to learn what is underneath, who you are without all that pain, the shame would come flooding out, too much to hold. The voice was right, you deserve the humiliation. You are an abomination. You are too emotional. You are not real.Moments of joy pierce “Pageboy” as well: his first real queer kiss; scenes of passionate sex; the blossoming of his relationship with his mother after he came out; the reflection of his flat chest in the mirror.Page disclosed his transition in December 2020, a few weeks before I did the same. I suspect he, like me, had been prepared for a future where trans lives would be broadly accepted, or at least tolerated, albeit with sporadic incidents of hate. Both of us inhabit left-leaning spaces (media, movies) where the appearance of support is de rigueur.How could we have expected instead the tidal wave of anti-trans animus that is surging across the right, with hundreds of bills proposed — and some passed — in state legislatures that would in some cases bar adults from accessing trans care; undermine private insurance; allow medical personnel to discriminate against transgender patients; and restrict performances by drag performers and trans people, including possibly Page.Trans men and women are attacked in very different ways. Trans women are demonized as sexual predators; trans men, when people think of them at all, are portrayed as misguided and misled girls and women, confused and unable to understand their own identity. “When I came out in 2014, the vast majority of people believed me, they did not ask for proof,” Page writes. “But the hate and backlash I received were nothing compared to now.”It was an unwelcome regression to a time studios controlled his public persona: “I am sick of the creepy focus on my body and compulsion to infantilize (which I have always experienced, but nothing like this). And it isn’t just people online, or on the street, or strangers at a party, but good acquaintances and friends.”Still, Page has no shortage of fans as well, vociferous defenders of possibly the most famous trans man in the world, and one whose onscreen portrayal of a superhero offers an alternative conception of masculinity rooted in inner strength and sensitivity rather than brawn and muscles.His character’s arc from Vanya to Viktor offers hope, too, of a world where transition is matter-of-fact, accepted — and incidental. “Truly happy for you, Viktor,” another “Umbrella Academy” member concludes.Page and the showrunner Steven Blackman were at pains to ensure his character’s journey reflected the nuances of real trans lives, not least that being trans was a character trait, not the defining one. They brought in McBee to weave an authentic narrative into what was then an already tightly packed and carefully scripted season.In the memoir, Page reflects on his complex relationship with store windows, and his image in them — a reminder, pre-transition, of a body and identity he saw but did not want to inhabit. McBee crafted that memory into another telling “Umbrella Academy” scene, where Page’s Viktor pauses in front of a storefront and is asked what he sees.“Me.” A smile and a shrug. “Just me.”Truly happy for you, Elliot.Gina Chua is the executive editor at Semafor.PAGEBOY: A Memoir | By Elliot Page | 271 pp. | Flatiron Books | $29.99 More

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    Birds Sing, but Are They Making Music? What Scientists Say.

    When a bird sings, you may think you’re hearing music. But are the melodies it’s making really music? Or is what we’re hearing merely a string of lilting calls that appeals to the human ear?Birdsong has inspired musicians from Bob Marley to Mozart and perhaps as far back as the first hunter-gatherers who banged out a beat. And a growing body of research is showing that the affinity human musicians feel toward birdsong has a strong scientific basis. Scientists are understanding more about avian species’ ability to learn, interpret and produce songs much like our own.Just like humans, birds learn songs from each other and practice to perfect them. And just as human speech is distinct from human music, bird calls, which serve as warnings and other forms of direct communication, differ from birdsong.While researchers are still debating the functions of birdsong, studies show that it is structurally similar to our own tunes. So, are birds making music? That depends on what you mean.“I’m not sure we can or want to define music,” said Ofer Tchernichovski, a zoologist and psychologist at the City University of New York who studies birdsong.Where you draw the line between music and mere noise is arbitrary, said Emily Doolittle, a zoomusicologist and composer at the Royal Conservatoire of Scotland. The difference between a human baby’s babbling versus a toddler’s humming might seem more distinct than that of a hatchling’s cry for food and a maturing bird’s practicing of a melody, she added.Wherever we draw the line, birdsong and human song share striking similarities.How birds build songsExisting research points to one main conclusion: Birdsong is structured like human music. Songbirds change their tempo (speed), pitch (how high or low they sing) and timbre (tone) to sing tunes that resemble our own melodies.The Tempo of BirdsongA northern mockingbird stretches its tempo. Recording by David Rothenberg.The Pitch of BirdsongA northern mockingbird adjusting its pitch from one phrase to the next. Recording by David Rothenberg.The Timbre of BirdsongA northern mockingbird shifting its tonal quality across phrases. Recording by David Rothenberg.Other features, like cadence and tension, are also used in both birdsong and human music, said Tina Roeske, a behavioral neurobiologist who specializes in birdsong. Just as the familiar tune “In the Hall of the Mountain King” gradually builds speed “accelerando,” as the compositional notation is known, some birdsong does too, like that of the nightingale.While earlier studies focused on syntax, or how notes were ordered, newer research is integrating rhythm, too, by analyzing how notes are timed. In human music, rhythm is often thought of as a constant beat, like the one that opens “We Will Rock You” by Queen. But in birdsong, rhythm refers to patterns of notes, regardless of whether they are repeated.To humans, birdsong may appear to have “a random structure,” Dr. Roeske said. Because of the speed at which birds sing — up to four times as fast as most human music — that rhythm is “hard for us to grasp and appreciate,” she added.Dr. Roeske and her co-author Dr. Tchernichovski researched birds’ musical structure and found that birdsong rhythms fell into three general categories. The first is isochronous, in which intervals between notes are equidistant.Isochronous RhythmA thrush nightingale sings with equidistant intervals between notes. Recording by Tina Roeske.Alternating, in which a note is longer than the previous one.Alternating RhythmA thrush nightingale alternates its notes. Recording by Tina Roeske.And ornament, an exaggerated form of the alternating pattern.Ornament RhythmA thrush nightingale exaggerates its alternating rhythm. Recording by Tina Roeske.Human music contains these rhythmic patterns, too.In their 2020 study, Dr. Roeske and Dr. Tchernikovski compared recordings of thrush nightingales across Europe with examples from musical genres all over the world, including Western classical piano, Persian drumming and Tunisian stambeli. They found that birdsong and global music forms had the same types of timing components, integer ratios, which form the foundation of most melodies.In music, these ratios are the amount of time between notes. A 1-to-1 ratio means notes are evenly spaced, like in “Twinkle, Twinkle, Little Star,” but a 1-to-2 ratio means the time from one note to the next is uneven, like in “Itsy Bitsy Spider,” Dr. Roeske explained.When they charted integer ratios from birdsong and human music, the plots all produced a similar shape resembling a long-stemmed flower. This indicates that some birds build songs using patterns similar to those found in human music.Other researchers are gaining insights by focusing on birdsong rhythm.“We found that rhythm and syntax have a relationship that nobody has really thought about before,” said Jeffrey Xing, a graduate student in psychology at the University of California, San Diego, and an author of a September 2022 paper analyzing the song structure of the Australian pied butcherbird.Pied butcherbirds “seem to prefer some song rhythms over others,” such as isochronous rhythm, Mr. Xing said. In some ways, these rhythmic patterns follow rules like forms of poetry that have strict meter. A good example is a sonnet.“It’s a very rigid rhythmic structure that you have to follow, and somehow the syntax of the words you use has to conform to that,” he said.Human brains and bird brainsHollis Taylor has dedicated her life’s work as a violinist and ornithologist to the pied butcherbird, a species she deems a fellow musician.Ms. Taylor, who analyzed the bird’s rhythmic structures with Mr. Xing, records the birds’ songs in Australian deserts and savannas in the middle of the night. Then, she transcribes their notes into musical notation.“The musician in me recognizes the musician in them,” Ms. Taylor said.Pied Butcherbird DuetsThree examples of pied butcherbirds singing duets. Recording by Hollis Taylor.She has observed what appear to be warm-up sessions, rehearsals and singing contests. Other than humans, there’s only a “small club” of species with an observed capacity to learn songs and vocal patterns, Ms. Taylor said, including songbirds, parrots, hummingbirds, bats, elephants and some marine mammals.Ms. Taylor has performed her birdsong-like compositions with orchestras around the world. She draws inspiration from the French composer Olivier Messiaen, who also transcribed birdsong into musical notation.Musicians’ fascination with birdsong has deep roots. Mozart, historians recount, kept a European starling in his Vienna apartment for three years. In a letter to his father, Mozart remarked at the “lovely” and precise way in which the starling learned and repeated one of his concertos.Fiona CarswellWhile there is no concrete evidence that Mozart’s starling influenced his compositions, the idea that birds affect the work of composers endures.The French composer François-Bernard Mâche, a founder of zoomusicology, speculates that birds may have influenced Igor Stravinsky’s compositions during summertime stays in what is now Ukraine. According to Dr. Doolittle’s research, the song patterns of Eurasian blackbirds found in that region resemble Stravinsky’s compositional style.Neuroscience research points to the idea that this affinity between birds and humans is not so unusual. In terms of musical ability, we are more like birds than we are like our primate cousins or other mammals, said Johan Bolhuis, a zoologist who specializes in the cognitive neurobiology of birds and humans.Our brains and songbirds’ brains have a similar way of learning musicality. But the brains of monkeys and non-songbirds, like gulls, are organized in a different way, Dr. Bolhuis said. It could be a sign of shared creative abilities: Like humans, some songbird species seem to improvise based on the song patterns they have learned.For example, both humans and birds can produce smash hits that evoke feelings in their listeners, the psychologist Dr. Tchernichovski explained.“When you hear music, what do you feel? Well, it depends on the music,” he said.For instance, listening to a funeral march might make you sad even if you’re vacationing on the beach, and a romantic song might fill you with love even if you’re working on your taxes. Birdsong can affect the behavior of other birds by luring in a mate or scaring off an unwanted foe, similar to how we might turn up the volume when we hear our favorite song or skip to the next track if the vibe is off.“This is the magic in music,” Dr. Tchernichovski said. “Bird songs seem to have some of this magic, too.”But there’s no evidence that their songs have meaning, Dr. Bolhuis said.“In the mind of the great composers, they actually meant something” with music, he said. “It’s not so much the case in birdsong.”Also, birds have a limited repertoire, whereas with only a limited number of items, the human mind “can be infinitely creative,” Dr. Bolhuis said.Researchers agree, however, that birdsong can communicate identity. “They can recognize individuals just the way you and I can recognize each other by our voices,” said Mike Webster, director of the Macaulay Library at the Cornell Lab of Ornithology.When birds from a certain area hear a familiar bird singing, he explained, it’s no big deal. But if the same bird moves to a new area, the birds there “go bananas” in a territorial uproar. In this sense, singing is like a way for birds to identify themselves — but there may be more to it than that.Why do birds sing?While scientists have studied birdsong for decades, they know little about why and how birds select specific tunes and what counts as deliberate communication versus meaningless song.Through brain-imaging studies, neuroscientists have found that the human brain responds to music most strongly along a particular neural circuit that is activated when a person listens to a song perceived as pleasant. Studies have shown that birdsong elicits the same response in female birds, possibly as an evolutionary mechanism for mate attraction. But scientists still wonder whether birds sing for entertainment in addition to mating.“What’s going on in the bird’s head when it’s singing? Is it happy?” Dr. Webster said. Humans often sing when they are emotional — happy and heartbroken alike — but scientists do not know if birds have such an emotional range.Dr. Webster, who studies bird behavior and communication, added another unknown: If birdsong’s main purpose in some species is for males to attract females, then why do some females also sing? “Female song actually arose very early in songbird evolution,” he said. “In species where females don’t sing, it’s because they’ve lost the ability to sing rather than it being gained.” This indicates that it may have once been evolutionarily beneficial for females to sing — and scientists can’t say why.There are other mysteries. Ornithologists have observed “bird chatter” in parrots, when two birds appear to be whispering to each other. There are also nonvocal sounds, Dr. Webster said: Some birds snap their wings, some drum on trees and others rub their feathers together as if playing the violin. The purpose of these sounds — whether communicative, musical or both — sits on the next frontier of ornithology research.“We’ve just scratched the surface,” Dr. Webster said. “Birds are constantly making sound, and I think most of the time we don’t really know why, and we don’t really know what they’re saying to each other.” More

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    Actors Authorize Potential Strike With Hollywood Writers Still Picketing

    The NewsThe union that represents more than 160,000 film and television actors voted on Monday night to authorize a strike, two days before it is to begin negotiations on a new labor deal with the Hollywood studios. The result from members of the SAG-AFTRA union, with 98 percent authorizing a strike, was expected, and it came during the sixth week of a strike by Hollywood writers and just a day after the Directors Guild of America tentatively agreed to a new contract.“Together we lock elbows, and in unity we build a new contract that honors our contributions in this remarkable industry, reflects the new digital and streaming business model and brings ALL our concerns for protections and benefits into the now!” Fran Drescher, the president of the actors’ union, said in a statement.About 65,000 members cast ballots, or 48 percent of eligible voters. The actors’ current agreement with the Alliance of Motion Picture and Television Producers, which bargains on behalf of the studios, expires on June 30.Members of SAG-AFTRA supported the striking Writers Guild of America at a rally last month outside Warner Bros. Studios in Burbank, Calif.Chris Pizzello/Associated PressWhy It Matters: The actors have the same worries as the writers.Many of the actors’ concerns echo what the Writers Guild of America is fighting for: higher wages; increased residual payments for their work, specifically for content on streaming services; and protections against using actors’ likenesses without permission as part of the enhanced abilities of artificial intelligence. According to the writers, the studios offered little more than “annual meetings to discuss” artificial intelligence, and they refused to bargain over limits on the technology.The Directors Guild, in contrast, said on Sunday that it had reached a “groundbreaking agreement confirming that A.I. is not a person and that generative A.I. cannot replace the duties performed by members.” Details about what that meant were not revealed.Background: It has been a long time since the last actors’ strike.The last time the actors went on strike was in 2000, in a dispute over commercial pay. The strike lasted close to six months.What’s Next: Negotiations begin on Wednesday.With negotiations expected to begin on Wednesday, SAG-AFTRA is bullish about what this strike authorization means. “We’re obviously coming in from a position of strength, but we’re not looking to strike,” said Duncan Crabtree-Ireland, the union’s chief negotiator. “We’re here to make a deal.” He added: “But we’re also not going to accept anything less than what our members deserve. If a strike is necessary to achieve that, we’re prepared.”The Alliance of Motion Picture and Television Producers said in a statement that “we are approaching these negotiations with the goal of achieving a new agreement that is beneficial to SAG-AFTRA members and the industry overall.” More

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    Review: In ‘Days of Wine and Roses,’ Two Souls Lost in an Ocean of Booze

    In Craig Lucas and Adam Guettel’s jazzy new musical, Kelli O’Hara and Brian d’Arcy James are a glamorous couple succumbing to alcoholism.If not for the unbridled drinking, it might easily have been a screwball comedy. Just look at them: Kirsten, blondly beautiful with a tolerant smile and a quick riposte; Joe, curly-haired cute but too arrogant to grasp that he’ll have to up his game to win this woman.Within moments of their meeting in 1950 in New York City, he bursts suavely into song — some presumptuous romantic blather about the two of them together under “a chapel of stars.” Whereupon she teases him right back down to earth.“Wow,” she says. “Who are you wooing? It can’t be me; you don’t know me.”This is the addiction-canon classic “Days of Wine and Roses,” though, so some of us already know them. In JP Miller’s luridly frank 1958 teleplay, starring Piper Laurie and Cliff Robertson, and in Miller’s somewhat defanged 1962 film adaptation, starring Lee Remick and Jack Lemmon, Kirsten and Joe are the attractive pair who make a harrowing, hand-in-hand descent into self-destruction by way of alcohol.In Craig Lucas and Adam Guettel’s jazzy, aching musical based on the teleplay and the film, Kelli O’Hara and Brian d’Arcy James are an awfully glamorous Kirsten and Joe — O’Hara, in exquisite voice, singing 14 of the show’s 18 numbers, seven of them solos. Directed in its world premiere by Michael Greif for Atlantic Theater Company, this “Days of Wine and Roses” fills the old Gothic Revival parish house that is the Linda Gross Theater with glorious sound.“Two people stranded at sea,” Kirsten and Joe sing sparely, hauntingly, in the brief and perfect prologue. “Two people stranded are we.”So they are. But when they first meet, at a party on a yacht in the East River, Kirsten is a nondrinker primly uninterested in alcohol, while Joe is determined that she indulge, because then she can be his drinking buddy. That she acquiesces and then falls so far makes him her corruptor, or so her taciturn father (a wonderfully gruff Byron Jennings) will always believe.“Get rid of him, Kirs,” he tells her when it is already too late. And anyway it’s the oceans of booze in their relationship that really need to go.Lucas and Guettel, who mined the same midcentury period to great success in their 2005 Broadway musical, “The Light in the Piazza,” in which O’Hara also starred, have each spoken publicly of past personal struggles with substance abuse. Excising the heavy-handedness of previous versions of “Days of Wine and Roses,” and softening the details of Joe’s degradation, they go deeper into the heart-rending familial fallout of addiction.Lucas (book) and Guettel (music and lyrics) occasionally presume the audience’s familiarity with the plot, or steer so far clear of melodrama that they veer into emotional aridity. But they also capture unmistakably the bliss that Kirsten and Joe feel inside their bubble of a threesome: just the two of them and alcohol, throwing a private party that goes on and on.The high that makes sobriety so unthinkable: James and O’Hara as a couple whose lives disintegrate.Sara Krulwich/The New York TimesNot for these reveling lovers the swelling strings of Henry Mancini, who scored the film; in the cocktail-mixing song “Evanesce,” Guettel gives them bright, fast music, frenetic and danceable — and when they do a bit of soft-shoe in salt spilled on the floor, there’s a playful heedlessness to their sandpaper percussion. (Choreography is by Sergio Trujillo and Karla Puno Garcia.) This is the high that makes sobriety so unthinkable for Kirsten and Joe, even as their lives disintegrate.Which they do, alarmingly, despite their love for each other and for their hyper-capable daughter, Lila (Ella Dane Morgan), who learns very young to look after herself, and to lie to cover for her parents. It’s Joe who finds the strength, eventually, to choose their child over alcohol, and Kirsten who feels abandoned by her husband, as she clings to what was their private world.Affecting as O’Hara is, Kirsten is less fully drawn than Joe, whose back story makes him a recently returned veteran of the Korean War. (The combat flashback Joe suffers during one drunken binge feels gratuitous.)Kirsten gets no such context, and consequently seems oddly contemporary, which makes the show, for all its ’50s design flourishes, feel unrooted in time. (Sets are by Lizzie Clachan, costumes by Dede Ayite.) Kirsten is aware of the sexism that pervades her era — she makes snappy reference to the minuscule number of female senators — but the show doesn’t entirely seem to be. (Warning: Spoilers ahead.)There is no sense of the opprobrium that would greet a female alcoholic in the 1950s, let alone one who leaves her child, or the severe judgment that would be passed on a married woman who sleeps with strange men when she’s on a bender. Or how any of that would contribute to Kirsten’s own self-loathing.Still, this “Days of Wine and Roses” has wells of compassion for her thrall to alcohol.“Don’t give up on me,” Kirsten writes to her daughter. She might even mean it when she adds: “I’ll be home soon.”Days of Wine and RosesThrough July 16 at the Linda Gross Theater, Manhattan; atlantictheater.org. Running time: 1 hour 45 minutes. More

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    Jenny Lewis Keeps Finding the Magic

    Jenny Lewis didn’t mean to wind up with the marimba.But for the last year, a vintage percussion instrument has occupied pride of place in the singer-songwriter’s forest green home studio. She inherited it from her godfather, Jerry Cohen, a music editor for TV and movies and an amateur musician, who died suddenly last spring. He was a surrogate dad to her, the kind who surreptitiously bought Hanukkah presents when money was tight in her household, and introduced her to jazz records when she was 10. She was the only person in the room with him when he passed away.“He was my mentor and my best friend and the most Jewish of all people in my life,” she said. “Jerry would want me to get lessons on the marimba.”Lewis, the 47-year-old indie artist whose country-rock troubadour style and evocative lyricism has earned her comparisons to songwriting greats from Nashville’s Music Row to Laurel Canyon, has suffered a lot of loss lately. Her mother’s death, in 2017, was the backdrop for her last album, “On the Line,” in 2019. Now, after losing Cohen and another mentor, the album designer and her “rock ’n’ roll dad” Gary Burden, there is “Joy’All,” an album out June 9 that grapples with aging, life cycles and romantic (im)possibility and yet somehow feels vivacious.Lewis inherited the marimba from her godfather, Jerry Cohen, a music editor for TV and movies and amateur musician, who died suddenly last spring.Ariel Fisher for The New York Times“My 40s are kicking my ass,” she sings on the third track over peppy acoustic guitars, “and handing them to me in a margarita glass.” The song is called “Puppy and a Truck,” her latest — and perhaps most lasting — prescription for happiness; she scored them both. “Having survived this moment, I felt like it was important to project something joyful,” she said.The dog, Bobby Rhubarb, a shiny black cockapoo, greeted me with a waist-high leap when I visited Lewis recently at her home at the end of a wildflower-lined canyon road in the San Fernando Valley. The house is called Mint Chip — there’s an ice cream cone etched in stained glass by the garage — and Lewis acquired it after promising to maintain the whimsical touches that the Disney animator who built it in the 1950s installed. It attracts the fantastical too: during the pandemic, Lewis said, she discovered a baby squirrel had been sneaking in and hiding acorns under her pillow.There is more than a little magic to her life. It’s in the way Lewis amplifies the space around her (she decked out that truck, a Chevy Colorado, with ersatz Gucci seat covers) and even the way she made it out of a career as a child actor to succeed in another artistic universe.“She’s a unicorn,” said Soleil Moon Frye, her fellow child star (“Punky Brewster”) and a friend for decades. Even as a preteen, Lewis had musical skills, said Moon Frye, who documented their Hollywood crew’s adolescence in home movies, released as the 2021 documentary “Kid 90.” “We would memorize these hip-hop songs — she was always so good at rapping.”Though she’s pegged as a country-tinged folk rock songwriter, Lewis’s keystone is still hip-hop, reggae, soul and funk — “finding the story in rap-style verses and picking up an acoustic guitar, and kind of marrying the two worlds,” she said. A printout of the Wikipedia entry for “3 Feet High and Rising,” the landmark album by De La Soul, rested on the music stand in her studio; she was paging through it to understand all the samples they had used.Though she’s pegged as a country-tinged folk rock songwriter, her references for “Joy’All” included Tracy Chapman, Portishead and Frank Ocean.Ariel Fisher for The New York TimesHer references for “Joy’All” included Tracy Chapman, whose conversational delivery she admires, Portishead and Frank Ocean. About half of the tracks for the LP were created over two years in Los Angeles. The rest she made in Nashville, where she has also had a home since 2017. It’s her fifth studio album as a solo artist — she started out in popular indie bands, Rilo Kiley and the Postal Service — and her first release on Blue Note Records, the storied jazz label. (After her own tour, she’ll be joining the Postal Service on the road this fall.)Dave Cobb, the Nashville producer (Brandi Carlile, John Prine, Chris Stapleton) who worked on the album, was awe-struck by her ease and perennial good moods. “If you don’t like Jenny Lewis, you don’t like people,” he said. Their sessions, tracking instruments like pedal steel and Mellotron, along with birdsong from Lewis’s Nashville backyard, flowed easily. “To say she led is absolute, because we all played to her,” he said, adding: “Everything she writes about is true. She literally showed up every day with the puppy and her truck.”She has the openness of someone who has spent a lifetime cheerfully talking about herself, and the staggeringly eccentric stories of a showbiz veteran. Sitting on the midnight blue couch in her minimalist living room, Lewis, in a sweatshirt, sunset-hued corduroys and a single gold hoop earring inscribed with her last name, touched on being Jewish; the spiritual guru Ram Dass; the female Elvis impersonator who was her childhood babysitter; the time her mother convinced Lucille Ball to have a sitcom wrap party in their ramshackle house (“Lucy walks in, and she goes, ‘What a dump!’”); and the swap meet in Atlanta where she buys knockoff Gucci socks by the armful. “I would never buy a real Gucci sock — that’s so silly,” she said.Telling stories about Cohen, she cried. When she was a child, he took her to his job on the Universal Studios lot and let her draw and animate her own movies using giant old film machines. Being with him when he died “was probably like the most important moment of my whole life,” she said.Lewis’s parents, itinerant lounge musicians, split when she was a toddler. Her acting career in the ’80s changed the family’s fortunes, for a time, but her mother’s drug addiction and instability outpaced her sitcom earnings. She was estranged from her parents for decades, then reconciled with each late in their lives. Her father’s bass harmonica sits on a stand on her mantel.“On my dad’s deathbed, he basically was like, ‘learn musical theory,’” she said. “So there has been this pressure, from my people, to do better and learn more.”Jess Wolfe, one half of the duo Lucius, befriended Lewis and sings backup on “Joy’All.” “I really understand the need for trying to lift yourself up through your art and hoping that it can do the same for other people — she did that, in her cool, effortless Jenny Lewis kind of way,” Wolfe said.“She’s always had to figure it out and take care of herself,” she added. “She is incredibly resourceful and incredibly clever about how to do something, effectively, efficiently and affordably. Truly, I’m always blown away by her in that sense — I will always feel creative when I’m around her.”“Everything she writes about is true. She literally showed up every day with the puppy and her truck,” the producer Dave Cobb said.Ariel Fisher for The New York TimesAt age 40, after Lewis separated from her longtime partner, the musician Johnathan Rice, she moved to New York for the first time, realizing a teenage ambition. She lived in her pal Annie Clark’s (St. Vincent) apartment for two years, starting the side project NAF there with some friends. Then came Nashville, where she learned how to two-step at a honky-tonk across from the Ryman Auditorium.In a rehearsal at a space covered in red velvet in Nashville last week, which she shared over a video call, Lewis directed her all-female backing band (she seeks out women for the stage and, for this outing, even has a female tour manager — a relative rarity in the industry, and a first for her). “You guys just pedal on that, and let me do my thing,” she said, as they prepared to sing “Acid Tongue,” the title track off her 2008 solo debut. “Let’s get those ‘oohs,’” she instructed. The harmonies rolled in. “Well done,” she told them. “It’s just feeling confident.”Back in L.A., Lewis had confided that aging as an unfiltered, undoctored music star isn’t easy. “I see myself and I don’t always love it,” she said. “But I’m trying to embrace being a woman in her 40s, and all that has to offer.”She is contentedly single now, though trying out a dating app, and itching to write about it — even, she admitted, enjoying that more.“My life is outrageous,” she said, although her songwriting is not straight autobiography. “But if I’m being honest, I’m in every single line.” More