Aurelia Butler

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    Grammy Nominations 2025: See the Full List of Nominees

    Artists, albums and songs competing for trophies at the 67th annual ceremony were announced on Friday. The show will take place on Feb. 2 at Crypto.com Arena in Los Angeles.Beyoncé is the top nominee for the 67th annual Grammy Awards with 11 nods for her genre-crossing “Cowboy Carter.” The LP and its songs will vie for record, song and album of the year, as well as competitions in pop, rap, country and Americana categories.The superstar — who has already won more Grammys than any other artist — leads a pack of contenders that includes Charli XCX, Billie Eilish, Kendrick Lamar and Post Malone (all with seven nods apiece), followed by Sabrina Carpenter, Chappell Roan and Taylor Swift, who have six each.The ceremony, which is scheduled for Feb. 2, 2025 at the Crypto.com Arena in Los Angeles, will recognize recordings released from Sept. 16, 2023 to Aug. 30, 2024.Here is a complete list of the nominations, which were announced on Friday by the Recording Academy.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Shaboozey Toasts to His 6 Grammy Nominations

    The country singer’s “A Bar Song (Tipsy)” has been omnipresent; now it’s up for song of the year in February.It was one of the songs of the summer that persisted into the fall: ubiquitous in restaurants, grocery stores, coffee shops and, appropriately, bars.Now, Shaboozey’s “A Bar Song (Tipsy),” the foot-stomping smash that held No. 1 for 16 weeks on Billboard’s Hot 100 chart, will compete for one of the Grammys’ biggest awards: song of the year.But well before Friday’s nominations, the record helped change Shaboozey’s career. The genre-bending country singer and rapper born Collins Obinna Chibueze caught the attention of a member of Beyoncé’s team when he performed the song at a label showcase before it had been released.Not long after, he was tapped for features on Beyoncé’s “Cowboy Carter.” Then came the well-timed release of his third album, “Where I’ve Been, Isn’t Where I’m Going.”When his six Grammy nods rolled in — the first of his career — Shaboozey, 29, was on a tour bus in Kentucky as part of his arena tour with Jelly Roll, where each night he says he gets a rush when audiences sing, clap and stomp along to “A Bar Song.”“It’s the same feeling I get every single night I perform that song, from the first time I played it til now,” he said in an interview on Friday following his nominations, which include nods for best new artist and for his feature on “Spaghettii,” from Beyoncé’s LP.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    7 Deep Cuts From the 2025 Grammy Nominations

    Big names dominate the biggest categories, but lovely discoveries await on the ballot too. Hear tracks from Arooj Aftab, Sierra Ferrell, Tems, Idles and more.Grammy nominee Arooj Aftab.Luisa Opalesky for The New York TimesDear listeners,This morning, the nominees for the 67th annual Grammy Awards were revealed, and the names that appeared most often should be quite familiar: Beyoncé (leading the pack with 11 nominations), Billie Eilish, Kendrick Lamar, Post Malone and Charli XCX (all with seven nods apiece). The Grammys have rarely been so reflective of the top of the charts and the celebrity zeitgeist, and that can make the announcement feel anticlimactic. But if you dig a little deeper into the list — as I do on today’s playlist — plenty of surprises and discoveries await.All seven of the artists included below are nominated for Grammys next year, even if they’re not the marquee acts vying for the biggest, all-genre awards (record, album and song of the year). But the genre-specific categories are often the best places to find interesting music you might not have heard before: Today, I’m highlighting recent tunes from the Pakistani composer Arooj Aftab, the boisterous British band Idles and the Nigerian songwriter-turned-solo star Tems, to name a few. Plus, this collection of songs also features a certain Australian goth rock legend who has somehow never won a Grammy. Will 2025 be his year? We’ll find out on Feb. 2. Until then, here’s the full list of nominees, Ben Sisario’s roundup of all the story lines to watch and the pop team’s discussion of the year’s surprises and snubs.All the king’s horses and — oh, nevermind, nevermind,LindsayListen along while you read.1. Nick Cave & the Bad Seeds: “Song of the Lake”Let’s begin with this regal, oddly stirring opening track from Nick Cave & the Bad Seeds’ latest album, “Wild God.” Even though Cave may not leap to mind when you think of the Grammys, it’s still rather astonishing he’s never won one, given his deep, boundary-pushing discography and especially his late-career renaissance, which has included excellent recent albums like “Skeleton Tree” and “Ghosteen.” He and the Bad Seeds have two opportunities to finally take home a trophy next year: “Song of the Lake” is nominated for best alternative music performance and “Wild God” is nominated for best alternative album.▶ Listen on Spotify, Apple Music or YouTube2. Arooj Aftab: “Raat Ki Rani”In 2022, the composer and vocalist Arooj Aftab became the first Pakistani woman ever to win a Grammy, when her incantatory “Mohabbat” was awarded best global music performance. She’s nominated again in that category, for this hypnotizing, appropriately nocturnal track named for a night-blooming flower. The LP on which it appears, the enchanting “Night Reign,” also received a nod for best alternative jazz album.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Linda LaFlamme Dies at 85; Her ‘White Bird’ Reflected a Hippie Fantasy

    With her husband, David LaFlamme, she founded the rock band It’s a Beautiful Day and wrote a soaring paean to a generation’s dreams of escape.Linda LaFlamme, a songwriter and keyboardist who helped found the San Francisco folk-rock band It’s a Beautiful Day in 1967 and co-wrote the band’s soaring “White Bird,” an enduring anthem of the psychedelic era, died on Oct. 23 in Harrisonburg, Va. She was 85.She died in a nursing home of vascular dementia, her daughter, Kira LaFlamme Newman, said, adding that Ms. LaFlamme had a stroke in April.Linda Sue Rudman was born on April 13, 1939, in St. Louis, the middle of three children of Edward Leonid Rudman and Annette (Miller) Rudman. She was classically trained on piano and harpsichord, but her tastes veered toward jazz and rock ’n’ roll. After graduating from the University of Wisconsin with a bachelor’s degree in English in 1961, she moved to San Francisco.Two years later, she met David LaFlamme, an Army veteran who had played violin with the Utah Symphony. Musically and romantically, “we just clicked,” she said in a 2020 interview with the music website Please Kill Me.They married the following year and went on to form the six-piece unit It’s a Beautiful Day, with the help of Matthew Katz, who managed Jefferson Airplane. Mr. Katz sent his new act to Seattle, where he had a rock venue, for seasoning. The LaFlammes were living in a cold, drafty house there in early 1968 when they wrote “White Bird.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Susanna Mälkki and Santtu-Matias Rouvali Take Over the Philharmonic

    Susanna Mälkki and Santtu-Matias Rouvali made back-to-back appearances with the orchestra, leading similar programs with distinct style.Finland’s top exports may be machinery and fuel, but in classical music it is also one of the world’s leading producer of conductors.Over the past century, Finland has nurtured a culture of musical education that has brought about generations of brilliance at the podium. It has given us some of the finest conductors working today, like Esa-Pekka Salonen, as well as some of our buzziest, like Klaus Mäkelä, who picked up storied jobs in Amsterdam and Chicago before the age of 30.As if in a testament to the saturation of Finnish conductors, the New York Philharmonic booked two back-to-back: Santtu-Matias Rouvali, for a program that continues through Tuesday at David Geffen Hall, and Susanna Mälkki last week.The similarities between the two conductors’ programs don’t end with their nationality. Both opened with a contemporary work making its Philharmonic premiere; both featured late pieces by Richard Strauss; and both ended with music written during, and in the shadow of, World War I.Yet these two weeks at the Philharmonic felt satisfyingly distinct. There may be many Finnish conductors, but there is not a Finnish style of conducting. Mälkki and Rouvali both have an intelligent, even wise sense of shape, but are excellent in their own ways; she is a master of color, he of surprise. And the music they programmed, while superficially similar, differed in sound and scale.The biggest difference was between the two contemporary works. Rouvali’s concert, on Thursday, opened with Julia Wolfe’s “Fountain of Youth” (2019), a nine-minute exclamation that starts percussively, with scratch tones in the strings and scraped washboards. Then the score gradually expands to include the whole orchestra: fluttering, sustained notes in the winds and wailing, animalistic cries in the trombones, as well as stylistic interjections like blues, folk fiddle and rock.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Hippo’ Review: This Coming-of-Age Tale Can Go

    Trafficking in irreverence, the film follows a pair of stepsiblings with sexual tension.Like a stubborn toddler zipping his mouth shut while stomping his feet, “Hippo” manages to be noisily aggravating while saying nothing at all. Directed by Mark H. Rapaport in his feature debut, the indie film traffics in cynicism and irreverence while lacking in the quality it seems to want most: individuality.Shot in black and white and set in ’90s suburbia, the movie follows Hippo (Kimball Farley), a demanding teenager who lives at home with his mother (Eliza Roberts) and subdued stepsister, Buttercup (Lilla Kizlinger). The siblings are experiencing dual sexual awakenings, and a narrator (voiced by Eric Roberts) walks us through a multitude of stylized scenes in which the pair investigate their desires while pondering their greater purposes in life.Soon, and rather randomly, they each land on one. For Hippo, it is to protect the homestead from a variety of perceived threats. For Buttercup, it is to become pregnant.The story, then, is one of gendered stereotypes: Hippo, the chauvinist fixated on violence; and Buttercup, the virginal naïf longing to be with child. She is also in love with Hippo. What does she see in him? The film does not trouble itself to let us know, which is surprising given the sheer volume of narration overlaying shots of Buttercup lounging with a faraway look.“Hippo” is meant to be a comedy — a dark, muted one with a couple of rowdy set pieces. And although Roberts, channeling frivolity, does score some funny lines, the movie most often reads as a hollow exercise in mannered filmmaking, orbiting an array of characters whose carefully curated quirks are flimsy enough to blow away with the wind.HippoNot rated. Running time: 1 hour 40 minutes. In theaters. More

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    Horror Movies to Stream Now: ‘Don’t Move,’ ‘Time Cut’ and More

    This month’s picks include 2000s nostalgia, feminist thrills and the one and only Corey Feldman.‘Mads’Stream it on Shudder.David Moreau’s spectacular single-shot thriller is set at the beginning of the end of the world. It begins as a young woman violently stabs herself in a car driven by Romain (Milton Riche, excellent). It continues as Romain’s girlfriend, Anais (Laurie Pavy, fearless and unhinged), becomes infected with an unexplained affliction that turns her into a feral maniac. And it ends with a despairing scene inside an elevator that — actually, I’ll stop there, because to say more would ruin the perspective-shifting twists that vault this singular French film down its deranged and gruesome path.As he showed in his assaultive home invasion film “Them,” Moreau is an assured writer and propulsive director. Philip Lozano’s disorienting cinematography, along with pulsing sounds and foreboding voice-overs, together have a grip that doesn’t let up. For fans of the New French Extremity who want to feel like it’s 2000 all over again, this nihilistic film is a must-see.‘The Birthday’Rent or buy it on major platforms.Eugenio Mira’s nightmarish farce premiered at the Sitges International Film Festival in 2004 but was never shown in theaters after making the festival rounds. It’s now streaming for the first time after building a following when a bootleg copy was uploaded to YouTube. Jordan Peele considers it “a cinematic marvel,” according to the film’s press notes.I’m including it here not because it’s a horror film in any traditional sense; the blood bath stuff doesn’t arrive until late. What it does have is Corey Feldman giving an all-out, darkly comedic performance that’s one of his best.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    New Movies and Shows Coming to Netflix in November: ’Emilia Pérez’ and More

    A parade of notable new titles are coming for U.S. subscribers all month. Here’s a roundup of the most promising.Every month, Netflix adds movies and TV shows to its library. Here are our picks for some of November’s most promising new titles for U.S. subscribers. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)‘Emilia Pérez’Starts streaming: Nov. 13A winner of multiple prizes at the Cannes Film Festival earlier this year, this genre-bending, gender-bending movie has Zoe Saldaña playing Rita, a lawyer enlisted to help a cartel boss formerly known as Juan begin her new life as Emilia (Karla Sofía Gascón), while also helping Emilia’s wife, Jessi (Selena Gomez), adjust to the change. Written and directed by the accomplished French filmmaker Jacques Audiard — and featuring songs by the composer Clément Ducol and the singer Camille — “Emilia Pérez” is at once a comedy, a musical and a crime drama, shifting approaches freely as it tells the story of a woman aiming for a profound transformation of a messy life.‘The Piano Lesson’Starts streaming: Nov. 22Following “Fences” (2016) and “Ma Rainey’s Black Bottom” (2020), Denzel Washington’s latest film adaptation of the plays in August Wilson’s “Pittsburgh Cycle” tackles one of the playwright’s most popular works. Produced by Washington (with Todd Black) and directed by Washington’s son Malcolm, “The Piano Lesson” has John David Washington (another son) as Boy Willie, who hatches a plan to buy some land by selling his family’s hand-carved piano, currently in the possession of his Uncle Doaker (Samuel L. Jackson) but held dear by Willie’s sister, Berniece (Danielle Deadwyler). Set in the 1930s, the film is a lively and complex drama about a Black family debating the best way to honor its enslaved ancestors — either by preserving their history as-is or by using their legacy as a way to get ahead.‘Spellbound’Starts streaming: Nov. 22One of the first feature film projects announced by Skydance Animation (way back in 2017) finally makes it to the screen after a production complicated by Covid and distribution difficulties. Rachel Zegler voices Ellian, a princess of the kingdom of Lumbria, which is being torn apart after a spell transformed the king (Javier Bardem) and queen (Nicole Kidman) into monsters. Featuring songs by Alan Menken and Glenn Slater, and direction by Vicky Jenson (best-known for her work on “Shrek”), “Spellbound” follows Ellian’s multi-step quest to save her family and her people.‘Our Little Secret’Starts streaming: Nov. 27The 2022 Netflix movie “Falling for Christmas” saw the return of Lindsay Lohan as a leading lady in a film for the first time in nearly a decade; and the movie went on to become one of the streamer’s biggest hits that holiday season. Two years later, Lohan is once again surrounded by wreaths, ribbons and twinkling lights for the romantic comedy “Our Little Secret.” She play Avery, who gets stuck at a holiday gathering with her boyfriend’s family, where she discovers that her man’s sister is dating Logan (Ian Harding), with whom Avery had a messy breakup 10 years earlier. Since the exes both want to make a good impression for their new significant others’ fussy mother (Kristin Chenoweth), they decide to pretend they don’t know each other — which becomes increasingly complicated as the Christmas togetherness rolls on, day after day.‘Senna’Starts streaming: Nov. 29This flashy Brazilian mini-series dramatizes the too-brief career of the Formula 1 champion Ayrton Senna. Gabriel Leone plays Senna, who took the F1 circuit by storm in the late 1980s and early ’90s before dying at 34 from injuries sustained during a race. “Senna” is packed with fast-paced racing scenes, but the show’s creator, Vicente Amorim, is just as interested in the backroom politicking that sprung up once Senna’s more aggressive racing style put him in the winner’s circle ahead of the more established (and more conservative) European stars. While getting into Senna’s family and personal life, the series also documents how one of Brazil’s national heroes argued that the sport’s financiers and governing bodies too often kept the drivers from competing at their best.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More