Aurelia Butler

More stories

  • 150 Shares48 Views

    in Music

    Marcia Resnick, Whose Camera Captured New York’s ‘Bad Boys’, Dies at 74

    Marcia Resnick, a fine arts photographer who in the late 1970s pivoted from conceptual work to capture her febrile milieu, New York City’s downtown demimonde, in a series of intimate portraits, mostly of men, including the last studio photos taken of John Belushi, died on Wednesday in Manhattan. She was 74.The cause of death, at a hospice facility, was lung cancer, her sister, Janice Hahn, said.New York City was lurching out of its fiscal crisis as Ms. Resnick began careening through Manhattan’s after-hours spots, notably Max’s Kansas City, CBGB and the Mudd Club. She was living the life, to be sure, but also scouting for subjects.Despite her madcap persona and punk-Lolita uniform — pleated schoolgirl skirts, thigh-high stockings and combat boots, beribboned pigtails and kohl-smudged eyes — she was deadly serious about her craft and her mission. Ms. Resnick was a skilled, CalArts-trained photographer determined to capture the scene that was swirling around her.Ms. Resnick’s 1979 photograph of Chris Stein and Debbie Harry, sprawled on a bed in their Manhattan apartment.Marcia Resnick/Getty ImagesShe photographed Debbie Harry and Chris Stein of the band Blondie sprawled on their bed in their 58th Street penthouse, looking like children at a sleepover.She found the infamous lawyer Roy Cohn and Steve Rubell, the Studio 54 impresario, slumped on a sofa at the Mudd Club after sharing a quaalude; in her photo, Mr. Cohn radiates malevolence, while Mr. Rubell, his head resting on the other man’s shoulder, looks joyful and beatific.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

  • 175 Shares36 Views

    in Music

    Sean ‘Diddy’ Combs Thanks the Judge at His Federal Trial as His Defense Rests

    After 28 days of testimony in the federal sex-trafficking and racketeering trial, both sides rested. The music mogul did not take the stand.Federal prosecutors and defense lawyers rested their cases at Sean Combs’s sex-trafficking and racketeering conspiracy trial on Tuesday, and the music mogul announced that he would not be testifying in his own defense.After six weeks of letting his lawyers speak for him, Mr. Combs stood up at the defense table and addressed the court, out of the presence of jurors.Asked by the judge, Arun Subramanian, how he was doing, Mr. Combs said, “I’m doing great, how are you, your honor?” and quickly added, “I wanted to tell you, thank you, you’re doing an excellent job.”Mr. Combs, wearing a brown sweater and a white collared shirt, told the judge he had discussed the issue “thoroughly” with his lawyers, and then confirmed that he had decided not to testify.“That is solely my decision,” Mr. Combs said, leaning in to speak into the microphone with his hands resting on the defense table. He clarified that the decision was made “with my lawyers.”Prosecutors have argued that Mr. Combs coerced two women into participating in drug-fueled sex marathons with male escorts that he directed, masturbated during and sometimes filmed. Over 28 days of testimony at Federal District Court in Lower Manhattan, government attorneys sought to establish a pattern of criminal activity by Mr. Combs and an inner circle of employees, walking the jury through allegations of kidnapping, arson, drug violations and forced labor.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

  • 100 Shares28 Views

    in Music

    8 Rising Pop Girls You Should Hear Now

    Reneé Rapp, Ethel Cain, Suzy Clue and more from prospects experimenting with undeniably modern modes while recognizing their place in the Pop Girl lineage.Reneé RappMario Anzuoni/ReutersDear listeners,This is Joe from The Times’s music team, once again filling in for Lindsay, a.k.a. taking any opportunity to foist my taste onto all of you.I’ve been thinking, as I often do, about the nature of stardom and whether its essential ingredients are becoming more scarce, or have long since dried up. Despite coalescing conventional wisdom, I’m invested, personally and professionally, in the idea that they have not, and that many of our most promising young musicians still possess an ineffable magnetism and some amazing hooks, even if they may never reach the heights of their monoculture forebears.Online, where music fandom gets messy but also meaty, the idea of the Pop Girls (and especially the Main Pop Girls) looms large. This constantly regenerating hierarchy includes — arguably; all of this is arguable and should be argued — the mostly emeritus legends (Madonna, Mariah, Britney), the modern imperialists (Beyoncé, Taylor, Ariana) and the lame duck in-betweeners (Katy, Gaga, Rihanna). Endless debates can be had about who fits where, and what that means for Billie, Cardi, Dua, Charli and anyone else who can get by with a single name.In the last few years especially, the field has blown open: Even the niches have niches and one person’s pop queen can be another’s “who?” (Justice for Rosalía, etc.) Even as Sabrina Carpenter and Chappell Roan have solidified their footing, not just on the internet but also the radio, streaming and IRL in concert, there are infinite iterating tiers of singers who are alternately reverent, irreverent, brash, manufactured, original and otherwise.These eight new songs are my summer picks from the current class of hot prospects, all of whom are doing something I see as undeniably modern, while also recognizing their place in the Pop Girl lineage, defined most broadly.Your money’s not coming with you to heaven,JoeWe 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

  • 138 Shares51 Views

    in Music

    On Smaller Opera Stages, Daring Art Has More Room to Breathe

    Unlike most countries, Germany has a network of minor but generously subsidized theaters whose vitality is remarkable, and unmatched.Near the end of Judith Weir’s opera “Miss Fortune,” there is an uncanny duet between the main character, Tina, and her fate. Tina is sung by a soprano, and Fate by a countertenor. Although their music is similar, the difference in their vocal timbres creates an unsettling clash.At a recent production of “Miss Fortune” that I attended at the Theater für Niedersachsen in Hildesheim, a small city in northern Germany, that scene had a memorable charge. Its strange lyricism was undercut by the humor of Tina telling her destiny to butt out as one might set boundaries with a problematic ex.It was a great operatic moment, and it played to a sparse audience in a city of just over 100,000 people.During the past season, Germany’s leading opera houses — in Berlin and Munich, in Stuttgart and Hamburg — offered largely familiar though well-rendered pleasures, along with a handful of new works by marquee artists in contemporary music. But, unlike almost any other country in the world, Germany also has a large network of smaller professional opera houses that step up, offering modernist masterpieces, overlooked rarities and work from this century. (According to the German Music Information Center, the country has 83 institutions presenting opera and music theater.)In addition to the Theater für Niedersachsen, I traveled to opera houses in Darmstadt, Dessau-Rosslau, Lübeck, Magdeburg, Bielefeld and Kassel throughout the season. Although the performances were often at a lower technical level than in the country’s opera capitals — the orchestral playing less polished, the singing rougher, the stagings and acting more beholden to clichés — they also showed a scene whose vitality remains unmatched, thanks to generous but increasingly precarious government funding.Germany’s smaller opera houses allow up-and-coming artists to hone their craft, giving onstage experience to generations of performers. Sonja Isabel Reuter, who gave an assured interpretation of Tina in “Miss Fortune,” is Theater für Niedersachsen’s only ensemble soprano. Last season, she sang four completely different vocal roles in the space of a week: Mimi from “La Bohème,” two different operetta characters and the solo soprano part in Dvorak’s cantata “The Specter’s Bride.” Her three seasons at the house, she said in a phone interview, “were like a crash course in how to be an opera singer.”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

  • 150 Shares33 Views

    in Music

    Pusha T and Malice Reunite as Clipse, With Vengeance on Their Minds

    For over two decades, Pusha T and Malice — the Virginia brothers who make up the rap duo Clipse — have tended to a very specific corner of hip-hop. As a unit and apart, they have been the purists, the moralists, the keepers of a traditionalist flame that lies perilously close to nostalgia, but somehow remains alive with possibility. While the genre has iterated countless times around and beside them, the pair remained faithful to a subject (drug dealing) and a style (ice pick-sharp minimalism) that might not have made them superstars, but has cemented them as a connoisseur’s pick, immune to trends.“Let God Sort Em Out,” out July 11, is the fourth Clipse studio album and first since 2009. Produced in full by Pharrell Williams, a longtime collaborator and benefactor, it is like a familiar cold plunge: harsh, reassuring, invigorating. The LP is a clear continuation of the work they did in the 2000s that made them favorites of street-rap realists and internet-fueled curio seekers.But the duo has also focused its single-minded pugnaciousness, turning it into a refined marketing savvy. For years, Clipse’s commitment to form and code has put them at odds with key figures in the genre. The most recent is Travis Scott, rap’s big-tent carnival barker, whom Pusha T calls on the carpet on a new single, “So Be It.”Once cordial acquaintances in the Kanye West universe, the two diverged following an incident in Paris, when Scott premiered new music for Clipse and Pharrell while withholding that he was collaborating with Drake, a known foe. “That was corny,” Pusha T said recently in an interview for Popcast, The New York Times’s music podcast. “He’s shameless.”Pusha T’s long-running feud with Drake — it was he who announced to the world, in “The Story of Adidon,” from 2018, that Drake had a son — has hovered over much of the music Pusha T has released in the last few years.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

  • 175 Shares56 Views

    in Music

    As Sean ‘Diddy’ Combs Took a Victory Lap, He Planned Sex Nights, Prosecutors Say

    Questioning its final witness, the government laid out flight plans, escort prices, hotel reservations and a web of payments for sexual encounters in 2023.It was September 2023, and Sean Combs was on top of the world.On the 12th day of that month, he accepted the global icon award at the MTV Video Music Awards, celebrating his decades of success as a trailblazing record producer and media mogul.Three days later, he released “The Love Album: Off the Grid,” his first solo studio LP in 17 years, and Mayor Eric Adams of New York gave him the key to the city, recognizing Mr. Combs as “the embodiment of the New York City attitude.”That month, Mr. Combs was also busy planning sexual encounters involving his girlfriend “Jane” and hired male escorts, at hotels in New York and Miami Beach, Fla. These encounters, which the government has described as elaborate, drug-fueled sex marathons that Mr. Combs coerced two women to participate in, are central to the prosecution’s case; he is charged with sex trafficking and racketeering conspiracy.The arrangements for those encounters — flight plans, hotel reservations, negotiations over escort rates and a web of payments — were laid out in detail at Mr. Combs’s trial on Monday. Maurene Comey, the lead prosecutor, asked a special agent with Homeland Security Investigations to read from text messages, American Express bills and other records as the 34th and final witness for the government before it rests its case.Mr. Combs has pleaded not guilty and denied the accusations against him. His lawyers have argued consistently throughout the seven-week trial that Mr. Combs’s sexual arrangements were all consensual, and that no criminal conspiracy exists.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

  • 113 Shares49 Views

    in Music

    On Haim’s ‘I Quit,’ a Breakup Is an Inspiration

    “I Quit,” the band’s fourth album, leans into heartache and moving on.Experience has a way of undermining certainties — especially ones about people. Simple hero-villain narratives develop gray areas, motives are reassessed. Blame gets reapportioned, ambivalences creep in.On “I Quit,” Haim’s fourth album, the sisters Danielle, Alana and Este Haim apply the same generation-spanning pop expertise and ambition that they’ve previously brought to simpler scenarios. It’s a breakup album, but one that navigates all sorts of mixed emotions: recriminations and apologies, righteousness and doubts, longing and renunciation.The songs on “I Quit” move through regrets and second-guessing to find relief, even liberation, in being single. “Now I’m gone, now I’m free / Born to run, nothing I need,” Danielle Haim sings in “Gone,” the album’s agenda-setting opening track. Lest anyone miss the point, the song samples the gospelly chorus of George Michaels’s “Freedom! ’90.”Haim’s 2013 debut album, “Days Are Gone,” introduced a band with classic-rock skills and 21st-century resources. Singing quick-tongued, fine-tuned harmonies, Haim reconfigured decades of physical and computerized California sounds: Fleetwood Mac above all, with its vocal harmonies and panoply of guitar tones, but also Sheryl Crow, Michael Jackson, Tom Petty, Beck and more.Haim used that vocabulary, much of it from before the sisters were born, to sing about matters of the heart with an implicit family solidarity. Their early videos often showed them striding together down Los Angeles streets.Onstage, Haim performs straightforwardly in real time, with the sisters switching among instruments. Meanwhile, in the studio, Haim slips all sorts of clever details and sly electronic textures into natural-sounding tracks.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

  • 138 Shares66 Views

    in Movies

    ‘Jaws’ Is a Masterpiece, but ‘Jaws 2’ Deserves a Legacy, Too

    The sequel had a tough act to follow, but it still delivered a terrifying monster movie with grand sequences, a sweeping score and an indelible tagline.As a child, I collected so many shark jaws that my mom disappeared them all one day while I was at school because my room allegedly smelled “fishy.” I suspect it was my general fixation on the beasts that didn’t pass the sniff test.When I first saw “Jaws” at age 8 — more than a decade after its 1975 release — it exploded my already shark-obsessed young mind. I should have been more scared, but instead I was captivated. When I saw “Jaws 2,” not long after, it spawned another great love of mine: monster movies, with all of their suspense, horror, surrealism and spectacle.The original, which was directed by Steven Spielberg, is of course a monster movie, too — probably the best monster movie ever made — but it was also a masterpiece that changed cinema. But “Jaws 2,” released in 1978, was not trying to be anything but a monster movie. On that score, it’s a horrifying success and a feat in its own right — a sequel that delivers more of everything I want (which explains why I rewatch it every summer): more shark, more shark attacks, more screaming teens.Roy Scheider reprised his role from the original.Universal PicturesThe film takes us back to Amity Island four years after the events of the first movie, with some of the same cast members returning. Roy Scheider is Martin Brody, the beleaguered police chief who once again is fighting to protect the seaside town from another killer great white. Scheider plays him with full-tilt, man-on-a-mission madness. Lorraine Gary is Martin’s wife, Ellen, and is more present in the sequel, offering crucial balance to her frenetic, spiraling husband. And Murray Hamilton is Mayor Larry Vaughn. How the mayor kept his job perhaps requires more suspension of disbelief than the fact that another shark is terrorizing the same community.Unlike the first film, which is known for perfectly executing the slow-burn buildup to its monster reveal, the sequel gives us the creature immediately after the opening credits, when it swoops in on two scuba divers photographing a shipwreck.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