Music

Subterms

    Latest story

    150 Shares24 Views

    Marty Callner, Director of Comedy Specials and Music Videos, Dies at 78

    by

    At HBO in the late 1970s, he established the template for presenting stand-up on the small screen. He then became a mainstay of MTV in its early days.Marty Callner, a pioneering director of comedy specials who set the template for the genre at HBO in the 1970s before going on to make music videos infused with humor during the early heyday of MTV, died on March 17 at his home in Malibu, Calif. He was 78.His son Jazz Callner said the cause was not yet known.Over a half-century, Mr. Callner worked with some of the biggest names in popular culture, including Jerry Seinfeld, Madonna, Robin Williams, George Carlin, the Rolling Stones and Chris Rock.Mr. Callner, who preferred to stay in the background but was far from shy, “might be the most successful director you have never heard of,” Jason Zinoman of The New York Times wrote in 2022.One day in the early 1980s, Mr. Callner had an epiphany. While watching television at his home in Beverly Hills, he found himself enraptured by a music video. It was Kim Carnes’s “Bette Davis Eyes” — and he couldn’t take his eyes off it.“I said, ‘This is unbelievable,’” he recalled on the “HawkeTalk” podcast in 2021. He called it “the most artistic and entertaining thing I’ve ever seen” and recalled thinking, “I’ve got to go do this.”Marty Callner in his home office in 2022 with a Sports Emmy Award that he won for the football reality series “Hard Knocks.”Peter Fisher for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    More stories

    • 125 Shares23 Views

      in Music

      Brian James, Pioneer of Punk Rock, Is Dead at 70

      by

      As the guitarist and main songwriter for the Damned, he helped spark an explosion on the British music scene in the 1970s.Brian James, who helped spark the punk-rock revolution in Britain in the 1970s as the lead guitarist and chief songwriter of the British band the Damned, bringing a rare degree of musicality to a genre known for its chain-saw attack, died on March 6. He was 70.His death was announced on his Facebook page. The announcement did not cite a cause or say where he died.Mr. James formed the Damned in London in 1976 with Dave Vanian, a former gravedigger, on lead vocals; Captain Sensible on bass, and Rat Scabies on drums. The band was part of Britain’s original punk vanguard.The Damned never shook British society, or the rock world at large, like the Sex Pistols, who sneered at the queen, hurled obscenities on television talk shows and had pundits mulling the collapse of Western values. Nor did they play the part of political revolutionaries like the Clash, who were billed as “the only band that matters.”Nevertheless, the Damned made history. They were the first British punk band to release a single: “New Rose,” written by Mr. James, in October 1976 (the Sex Pistols’ anthemic “Anarchy in the U.K.,” soon followed); the first to release an album, “Damned Damned Damned,” in 1977; and the first to tour the United States.The Damned in 1977, from left: Captain Sensible, Mr. James, Dave Vanian and Rat Scabies.Jorgen Angel/Redferns, via Getty ImagesWe 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 Shares22 Views

      in Music

      Mayhem Has the Wildest Story in Black Metal. Somehow, It’s Turning 40.

      by

      A few weeks before the pioneering Norwegian black metal band Mayhem set off for a North American tour celebrating its 40th anniversary, the frontman Attila Csihar sounded contemplative.“The band has, of course, a long history, and lots of things happened,” he said in a video chat from his home in Budapest last October, wearing a necklace of skulls from a Kali temple in India.As if to prove the point, Csihar, 53, soon underwent emergency surgery, and the tour was canceled. (“Death is the ultimate glorious crown of life, now he understands it even more,” he wrote in a Facebook post.)Now Mayhem is back on the road (with a New York stop on Monday) to finally deliver its anniversary blowout, this time as the headliner of the Decibel Magazine Tour.Still, this was all a mere hiccup compared to the group’s extraordinary travails. For fans of extreme music, Mayhem released black metal’s defining album, “De Mysteriis Dom Sathanas,” in 1994. Everybody else might just vaguely remember lurid early ’90s tabloid headlines.The band, created by a bunch of teenagers in 1984, was starting to make wavelets in its tiny musical niche when its first singer, Per Ohlin (nom de metal: Dead), died by suicide in 1991, at age 22. The first person to turn up at the scene was the guitarist Oystein Aarseth, a.k.a. Euronymous, who posed Dead’s body to snap more dramatic photos. Two years later, Euronymous was murdered by a one-time bandmate, Varg Vikernes. He was 25.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 Shares47 Views

      in Music

      Japanese Breakfast’s Shimmering Sadness, and 8 More New Songs

      by

      Hear tracks by Marianne Faithfull, the Waterboys featuring Fiona Apple, Debby Friday and more.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Japanese Breakfast, ‘Here Is Someone’Plucked string tones from all directions create a magical, shimmering cascade around Michelle Zauner’s voice in “Here Is Someone” from the new album by Japanese Breakfast, “For Melancholy Brunettes (& Sad Women).” The lyrics hint at tensions and anxieties, but the track radiates anticipation: “Life is sad, but here is someone,” Zauner concludes. Jon ParelesMarianne Faithfull, ‘Burning Moonlight’Marianne Faithfull, who died in January at 78, kept recording almost to the end. She brought every bit of her scratchy, ravaged, tenacious voice to “Burning Moonlight,” a song she co-wrote that holds one of her last manifestoes: “Burning moonlight to survive / Walking in fire is my life.” Acoustic guitars and tambourine connect the music to the 1960s, when she got her start; her singing holds all the decades of experience that followed. Jon ParelesThe Waterboys featuring Fiona Apple, ‘Letter From an Unknown Girlfriend’“Letter From an Unknown Girlfriend” is from the Waterboys album due April 4, “Life, Death and Dennis Hopper,” and was written by Mike Scott. But it is sung and played by Fiona Apple, alone at the piano, delivering a remembrance of an abusive boyfriend: “I used to say no man would ever strike me,” it begins, “And no man ever did ’til I met you.” She admits to the charm of the “satyr running wild in you,” but her voice rises to a bitter, primal rasp as she recalls the worst. It’s a stark, harrowing performance.Jon ParelesTamino featuring Mitski, ‘Sanctuary’Diffidence turns into resolve in the course of “Sanctuary,” a waltzing duet from “Every Dawn’s a Mountain,” the new album by the Belgian songwriter Tamino-Amir Moharam Fouad. In separate verses, Tamino and Mitski sound fragile, contemplating uncertainty and loss; “I reside in the ruins of the sanctuary,” Mitski sings. But when they connect — asking “Is it late where you are?” — and harmonize, an orchestra rises behind them to offer hope. Jon ParelesMorgan Wallen, ‘I’m a Little Crazy’“I’m a little crazy, but the world’s insane,” the disturbed narrator of Morgan Wallen’s new single contends. His character is a drug dealer who keeps a loaded gun nearby. He’s sustaining himself “on antidepressants and lukewarm beers” and yelling at his TV, “but the news don’t change.” Over steadfast acoustic guitar picking and lightly brushed drums, Wallen sings with chilling, sociopathic calm. Jon ParelesWe 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

    • 88 Shares35 Views

      in Music

      The Power of ‘Two’: An Anniversary Playlist

      by

      Celebrate two years of this newsletter with songs by Dolly Parton, Stacey Q, Mitski and more.Dolly PartonCharlie Riedel/Associated PressDear listeners,Surprise: There’s a birthday party in your inbox! Today we’re celebrating two years of The Amplifier, with — what else? — a themed playlist.On March 21, 2023, I sent out the first installment of this newsletter, introducing myself with 11 songs that explain my musical perspective and asking readers to submit some of their own favorite tracks. In the time since, I’ve sent out nearly 200 playlists, shared thousands of songs and received countless submissions when I’ve asked Amplifier readers to generate their own soundtracks. The community we’ve created together is vibrant and reciprocal: I may have discovered as much new music through your recommendations as you have through mine.Today’s playlist honors the Amplifier’s second birthday with eight tracks that feature the word “two” in the title. In keeping with The New York Times style guide, I stuck with songs that spell out the word “two,” so my apologies to Sinead O’Connor’s “Nothing Compares 2 U” and Beyoncé’s “II Hands II Heaven,” among plenty of other greats that didn’t make the cut. But you will hear classics from the Beatles, Dolly Parton and Bruce Springsteen, as well as more recent and lesser-known tracks from indie singer-songwriters like Mitski and Flock of Dimes.This anniversary is also ushering in a new chapter for this newsletter. Starting next week, I’ll be taking a few months off to finish the manuscript of a book I’ve been working on. I’ll miss making these playlist and corresponding with you all, but I’m incredibly excited to get one step closer to a lifelong goal of publishing my first book. Once I’m back, I’ll update you on my progress — and probably share my writing playlist with you, too.While I’m out, I have a wonderful lineup of guest writers who will be sending out their own newsletters and playlists each Tuesday, and I’m thrilled for you to see (and hear) what they have in store.Thanks to each and every one of you who has read this newsletter, sampled our playlists and reached out to give us feedback. As always, happy listening.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 Shares28 Views

      in Music

      Hiroshi Yoshimura’s Environmental Music Is Enchanting a New Generation

      by

      The Japanese musician, who wasn’t widely known before his death in 2003, has become a beacon for listeners on YouTube and beyond.When listeners discover the Japanese musician and visual artist Hiroshi Yoshimura for the first time, the experience is often a revelation. “I noticed how it activated everything,” said Dustin Wong, the experimental guitarist. “It was extremely generous.”Patrick Shiroishi, the inventive Los Angeles-based instrumentalist, called Yoshimura a “god-level composer and musician who sits with Ryuichi Sakamoto and Christian Vander and John Coltrane and Bela Bartok for me. They are so themselves.”Yoshimura released most of his gentle and reflective albums of kankyō ongaku, or environmental music, during the 1980s and ’90s. A descendant of Erik Satie’s furniture music and a cousin to Brian Eno’s ambient explorations, Yoshimura’s work put more of an emphasis on melody and warmth than its Western contemporaries. His compositions are often grounded by a soothing, vibrating hum underscoring largely electronic notes that fall like a pleasant weekend rainstorm. The spaces he created in his minimal, synthesizer-laden compositions allowed sounds from the outside world to exist harmoniously within the pieces. It’s music that doesn’t demand too much of your attention, but rewards close listening.During his lifetime, Yoshimura remained a relatively obscure figure to those outside Japan. In recent years, his global audience has grown significantly, thanks in part to a series of reissues that have brought his music to streaming platforms for the first time. The latest, “Flora,” arrived on Thursday, the first day of spring, in a fitting tribute to how devotion to Yoshimura’s music and philosophy continues to bloom.As contemporary listeners seek relaxing or meditative sounds, YouTube’s algorithm has turned unofficial uploads of Yoshimura albums like “Wet Land” and “Green” into favorites.Nuvola Yoko YoshimuraMany of Yoshimura’s recordings were created to be played at specific sites, like the Hara Museum of Contemporary Art in Tokyo, or inside a range of prefabricated homes. “Flora” is a bit of mystery within his catalog. It was released only on CD in 2006, three years after his death at 63, from skin cancer. The scant information Yoshimura left behind about it included only its title, the song names and that it was from 1987 — the year after he released two of his most beloved collections, “Surround” and “Green.”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

    • 125 Shares33 Views

      in Music

      Is Playboi Carti Rap’s Next — or Last — Superstar?

      by

      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeIn the almost five years since the release of “Whole Lotta Red,” Playboi Carti’s second studio album, the Atlanta rapper graduated from a potentially influential internet curio to a full-blown, era-defining headliner.Still, even while closing festivals with his brand of mosh pit mayhem and helping to lead songs like “Fein” by Travis Scott and “Carnival” by Ye (formerly Kanye West) into the Billboard Top 5, Carti has maintained the edge and mystique of an underground cult hero. That is, in part, thanks to absence: canceled concerts, blown appearances and repeated, yearslong delays for his increasingly hyped follow-up to “Whole Lotta Red,” with a growing legion of obsessive fans sating themselves instead by chasing every Carti-flavored online morsel, official and unofficial.Then, last week, it finally arrived: “Music,” a 30-song album lasting more than 75 minutes, with appearances by a who’s who of modern rap stars, including Kendrick Lamar, Future and Travis Scott. A streaming blockbuster already, “Music” has confounded and satisfied in equal measure, likely raising more questions than it answers: Is this what mainstream hip-hop sounds like now? Could anything Carti put out have lived up to the anticipation? And what role do toxic masculinity and obscure internet rabble-rousers play in this fandom?To discuss these Playboi Carti conundrums and many more on Popcast, the hosts Jon Caramanica and Joe Coscarelli of The New York Times were joined by Kieran Press-Reynolds, a columnist for Pitchfork and a contributor to The Times and other publications.Connect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More

    • 125 Shares28 Views

      in Music

      J.B. Moore, Producer of Seminal Hip-Hop Records, Dies at 81

      by

      He was a magazine ad salesman when he and a colleague, Robert Ford, teamed with Kurtis Blow and helped break rap music into the mainstream.J.B. Moore, an advertising man from suburban Long Island who wrote the lyrics to one of rap’s first hits — Kurtis Blow’s 1979 novelty song, “Christmas Rappin’” — and with a partner, Robert Ford, produced that rapper’s albums as he became a breakout star in the early 1980s, died on March 13 in Manhattan. He was 81.His friend Seth Glassman said the cause of his death, in a nursing home, was pancreatic cancer.Mr. Moore and Mr. Ford, known as Rocky, were unlikely music impresarios. They met at Billboard magazine in the 1970s, where Mr. Moore was an advertising salesman who wrote occasional jazz reviews, and where Mr. Ford was a reporter and critic and one of the first journalists at a mainstream publication to expose the musical fusion created by DJs and MCs that was then emerging from New York City block parties and Black discos.Mr. Ford “was a Black guy from the middle of Hollis, Queens,” Mr. Moore recalled in a 2001 oral history for the Museum of Pop Culture in Seattle. “I was a white guy from the North Shore of Long Island.” Still, he said, “our record collections were virtually identical.”The two friends’ careers took a turn in the late summer of 1979, when Mr. Ford, who had a child on the way, told Mr. Moore of his idea to try to scrape up money with a Christmas song. He was inspired by a Billboard colleague who had written a holiday tune for Perry Como decades earlier and was still getting paid for it.Mr. Moore and Mr. Ford came up with the idea for “Christmas Rappin’” in 1979, inspired by a colleague who had written a holiday tune for Perry Como decades earlier and was still getting paid for it.Mercury RecordsMr. Moore liked the idea. “Christmas records are perennials, and therefore you get royalties ad infinitum on them,” he said in the oral history.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares54 Views

      in Music

      For Cleveland Orchestra, It’s Beethoven (and Freedom) to the Rescue

      by

      When the star singer Asmik Grigorian dropped out of the orchestra’s performance at Carnegie Hall, Beethoven’s Fifth and his “Leonore” Overture No. 3 subbed in.The Cleveland Orchestra showed up at Carnegie Hall this week without a star. When the music director Franz Welser-Möst planned the ensemble’s two-night visit to New York, the opening concert, on Tuesday, was to be headlined by the soprano Asmik Grigorian. A volcanic presence on European stages who rarely makes it to the United States, Grigorian would have been a major box-office draw. Then came news that she was pulling out for unspecified personal reasons.Time to break out the emergency rations of Beethoven.The remaining rump of the Clevelanders’ program for Tuesday, the Suite from Janacek’s “From the House of the Dead,” based on Dostoyevsky’s account of life in a Russian prison colony, was joined by Beethoven’s Fifth Symphony and, for good measure, his “Leonore” Overture No. 3.A crowd-pleasing solution to a marketing headache? A repertory staple musicians can shine in without too much rehearsal? Not at all. The new program was “a chance to say something important about our world today,” Welser-Möst wrote in a program statement that referred, smartly but vaguely, to people’s “fight for freedom everywhere.”Without naming specifics, Welser-Möst explained that the Janacek was a testament to “human dignity” in “desolate circumstances.” Beethoven’s Symphony No. 5 traced a progression “from darkness to light,” he added, while the overture, written for Beethoven’s political prison break opera “Fidelio,” represented the “greatest music about freedom ever written.” Far from being a stop gap, the new program created what Welser-Möst called “a profound statement” that was sure to “resonate deeply” with New Yorkers. (No similar claims were made for Wednesday’s program, which consisted of Stravinsky’s “Pétrouchka” and Tchaikovsky’s Symphony No. 5.)The resulting concert on Tuesday was invigorating and full of ravishing playing, as was the performance the next night. But if there was any profound truth to be gleaned from the double helping of Beethoven served alongside Janacek’s dazzling suite, it was only that the Fifth and the “Leonore” overture provide ready-made templates for struggle narratives ending in triumph. Just whose struggle and what is being overcome — I’m guessing that Gaza, Ukraine and the state of American democracy are among them — remain open to interpretation.In fairness, the Cleveland Orchestra has never relied on provocative or politically minded programming to earn its devoted fan base and superlative-studded reviews. In his 23 years at the helm, Welser-Möst has fine-tuned this storied ensemble into an elegant, cohesive and keenly responsive engine. Other American orchestras have struggled to define their role in society as they fret over accusations that their branch of the arts is reactionary and socially irrelevant. The Cleveland Orchestra’s image may be conservative — a guardian of a particular European tradition — but it’s a well-defined luxury brand that delivers outstanding value.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