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      Phil Wiggins, Virtuoso of the Blues Harmonica, Dies at 69

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      First as half of the duo Cephas and Wiggins and later on his own, he was one of the best-known musicians playing the style known as the Piedmont blues.Phil Wiggins, a harmonica player of such range that he could make his instrument sound like a clarinet one minute, an accordion the next and then an entire percussion section — all in the service of the complex melodies and steady rhythms of the style known as the Piedmont blues — died on May 7 at his home in Takoma Park, Md. He was 69.His daughter Martha Wiggins said the cause was cancer.For much of his career, Mr. Wiggins was best known as half of the duo Cephas and Wiggins, in which he performed and recorded with the guitarist and singer John Cephas. The two were considered one of the country’s top Piedmont blues acts, and they toured regularly at home and abroad for over 30 years, until Mr. Cephas’s death in 2009.The Piedmont blues is distinct from its Delta and Chicago cousins in its relaxed yet complicated melodies and its insistent rhythms. Its influences include gospel, Appalachian folk and early country music.Mr. Cephas played his instrument with the sophisticated fingerpicking typical of Piedmont blues. Mr. Wiggins would wrap all manner of counterpoints around it, then burst out in a solo that could be aggressive or restrained, tight or relaxed.“The harmonica works the same way as your voice,” he told Blues Blast magazine in 2021. “You have an idea in your mind that you want to express, and it just comes out, the same way speaking happens. In a lot of ways, it still feels that intuitive to me, except that, for me, the harmonica works better than my voice!”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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      The Man Who Made Roulette Into New York’s Music Lab

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      Jim Staley has led the experimental venue since it began as a concert in his TriBeCa loft. After 45 years, he’s stepping down and looking back.Saturated in sunlight on a recent afternoon, the spacious TriBeCa loft that once housed Roulette somehow feels smaller than it looms in memory. For nearly 25 years, a stellar array of established and emerging composers, improvisers, electronic producers and choreographers held court in the long, tall main room. Visitors had to pass through a kitchen: a reminder that the loft was also the home of Jim Staley, the trombonist and composer who was a founder of Roulette.Unlike many similar experimental arts venues now lost to time, Roulette has thrived and grown, now occupying a 14,000-square-foot space in Downtown Brooklyn. But Staley, 73, who still lives in the TriBeCa loft, has decided that after 45 years of leading Roulette, the time has come to step away. When this season ends in June, he will give up his role as artistic director.It’s another evolution for a vital institution that has seen many. Roulette was established in Chicago in 1978 as a way for five recent University of Illinois Urbana-Champaign graduates, including Staley, to produce their own work. But the collaborative changed course after Staley, a well-traveled Army veteran, moved to New York.Joined by two other Roulette founders, the graphic artist Laurie Szujewska and the composer David Weinstein, Staley hosted a modest five-concert series at his loft in 1980. After that, “We got a lot of proposals,” Staley said. “And we just decided, let’s do ’em all. We ended up doing about 30 concerts in the fall.”Pursuing an aesthetic guided as much by John Coltrane as by John Cage, Roulette became a crucial laboratory for the downtown-music scene, providing artists like John Zorn, Shelley Hirsch, George Lewis, Ikue Mori and many more with space, resources and recorded documentation of their work. Those artists still perform at Roulette, forming an enduring community with newer generations whose development they helped to nurture.Zeena Parkins, the estimable harpist and composer, recalled starting there as a fledgling sound engineer in 1986, soaking up all the sounds on offer.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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      How Big Is Taylor Swift?

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      You might have heard: Taylor Swift cannot be stopped. Her new album, “The Tortured Poets Department,” sold 2.6 million copies in its opening week last month, earning Swift her eighth Billboard No. 1 album since 2020. At the Grammy Awards in February, she became the first artist to win album of the year for a […] More

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      Video Shows Sean Combs Assaulting Cassie in a Hotel in 2016

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      The footage published by CNN shows Mr. Combs striking and kicking the singer when she was his girlfriend. They settled a lawsuit last year after she accused him of abuse.Hotel surveillance footage published by CNN on Friday showed Sean Combs physically assaulting and kicking Casandra Ventura, his former girlfriend, in a manner consistent with allegations she made against him in a lawsuit that she filed and settled last year.The video shows Mr. Combs, a hip-hop mogul known as Puff Daddy and Diddy, wearing a towel and confronting Ms. Ventura while she waits for an elevator. It shows him grabbing her and throwing her to the ground, kicking her twice, grabbing some of her possessions, and beginning to drag her down the hallway by her sweatshirt.Mr. Combs is also seen grabbing an object off a table and throwing it.A lawyer representing Ms. Ventura, Douglas H. Wigdor, confirmed that the woman being assaulted in the video is his client.“The gut-wrenching video has only further confirmed the disturbing and predatory behavior of Mr. Combs,” he said in a statement. “Words cannot express the courage and fortitude that Ms. Ventura has shown in coming forward to bring this to light.”A representative for Mr. Combs, who has not been criminally charged, did not immediately respond to a request for comment. In Ms. Ventura’s lawsuit, she described an incident from 2016 at an InterContinental Hotel in Los Angeles in which Mr. Combs became “extremely intoxicated and punched Ms. Ventura in the face, giving her a black eye.” The lawsuit said that after Mr. Combs fell asleep, Ms. Ventura tried to leave the hotel room, but Mr. Combs woke up and followed her into the hallway.“He grabbed at her, and then took glass vases in the hallway and threw them at her, causing glass to crash around them as she ran to the elevator to escape,” the lawsuit said.Mr. Wigdor confirmed that the video footage corresponds to those allegations.Mr. Combs settled the suit with Ms. Ventura — an R&B singer known as Cassie, who had been signed to Mr. Combs’s record label — in one day in November, and denied any wrongdoing. Three suits by other women, each alleging rape, followed in quick succession, and in February a male music producer filed suit accusing Mr. Combs of unwanted sexual contact.Mr. Combs is facing a federal investigation, which officials said was at least in part a human trafficking inquiry. In March, federal agents raided his homes in Los Angeles and Miami Beach, Fla., and stopped him at a Miami-area airport, confiscating his electronic devices. Mr. Combs has vehemently denied the accusations in the civil suits, calling them “sickening allegations” from people looking for “a quick payday.” His lawyers have sharply criticized how the raids — which involved agents from Homeland Security Investigations brandishing guns — were carried out, calling them a “gross overuse of military-level force.” More

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      The Ragged Glory of Neil Young and Crazy Horse Live

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      Hear 11 songs from an electrifying New York set this week.Neil Young, seen here onstage in 2019, brought Crazy Horse to Forest Hills Stadium in Queens this week.Amy Harris/Invision, via Associated PressDear listeners,On Tuesday night, at Forest Hills Stadium in Queens, I checked a major box on my musical bucket list: I got to see Neil Young live for the first time. And not just Young, but also Crazy Horse, his longtime, magnificently shambolic backing band who more or less helped invent both grunge and the modern jam band. Young’s first New York concert in over a decade was a magical, rain-dappled night, and I have tried to preserve the memory by creating a playlist of highlights from the set.There has always been something outside-of-time about the ironically named Young, a man who has in some sense sung and written like an old man since he was a teenager. (I mean that in the most affectionate way possible.) Perhaps for that reason, it is less jarring to see him onstage at age 78 than it is some other rock legends, and it helps that he has preserved that distinct, one-of-a-kind vocal tone along with his dexterity as a guitarist. The crowd was noticeably intergenerational, like the band onstage: Replacing Crazy Horse’s now-retired rhythm guitarist Poncho Sampedro was Willie Nelson’s 33-year-old son, Micah, who beautifully and steadily supported Young’s incandescent soloing.Fitting for a band that embraces improvisational spontaneity, Tuesday night’s stop on the Love Earth tour was actually more memorable for its technical difficulties and the way Young handled them. The trouble began at the end of a three-song stretch where Young played solo, accompanied by just his acoustic guitar and harmonica. During a rousing rendition of the 1978 ballad “Human Highway,” a P.A. seemed to blow out, cutting off Young’s amplification entirely. His vocal mic was still wonky when a tech handed him an electric guitar, so he proceeded to do one of the most badass things I’ve ever seen a 78-year-old do at a rock concert: raise his guitar to his mouth and communicate with the crowd through its pickup. “We’d like to thank everyone for being here tonight,” he said in a muffled warble. Rock ’n’ roll can never die, indeed.Relive Tuesday night’s show along with me — and celebrate Young’s recent return to Spotify — by listening to this playlist, culled entirely from songs played that night. I’ve mixed in some live tracks along with album versions, to better capture the ragged glory of Neil and the Horse. Come down from the misty mountain and press play.Shelter me from the powder and the finger,LindsayListen along while you read.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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      Esperanza Spalding’s Latest Surprise, and 10 More New Songs

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      Hear the jazz musician’s team-up with the Brazilian songwriter Milton Nascimento, plus tracks from Saweetie, Omar Apollo and others.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.Milton Nascimento and Esperanza Spalding, ‘Outubro’The ever-surprising bassist and singer Esperanza Spalding persuaded the mystical and ingeniously tuneful Brazilian songwriter Milton Nascimento, 81, to collaborate on a full album that was recorded in 2023 and is due in August. Its preview single is “Outubro” (“October”), a song that Nascimento originally wrote and recorded in the 1960s. Its asymmetrical melody carries lyrics that reflect on solitude, mortality and the possibility of joy. Nascimento no longer has the pure, otherworldly vocal tone of his youth, but Spalding bolsters him, singing in Portuguese alongside him and probing the harmonies with springy bass lines. Near the end, she comes up with a leaping, scat-singing line that he eventually joins, still enjoying what his composition can inspire. JON PARELESCassandra Jenkins, ‘Delphinium Blue’The Brooklyn singer-songwriter Cassandra Jenkins delivers “Delphinium Blue,” the second single from her upcoming third album, “My Light, My Destroyer,” with a slow, cleareyed poise. Among glacially paced synthesizers and gentle percussion, she describes the sensory overload of working in a flower shop, and daydreaming about someone special when business is light. “I see your eyes in the delphinium, too,” she sings, as beauty blooms all around her. “I’ve become a servant to their blue.” LINDSAY ZOLADZOmar Apollo, ‘Dispose of Me’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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      Avril Lavigne Is Back. If You Believe That.

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      The Canadian singer, with a new album and a tour, this week addressed a bizarre conspiracy theory that she has been replaced with a doppelgänger.Goodbye, online conspiracy theory. Welcome back, Avril Lavigne.Lavigne — the Canadian singer whose hits like “Sk8er Boi” and “Complicated” made her a mainstay of the early 2000s — appeared on the “Call Her Daddy” podcast this week to promote a greatest hits album out next month, a new tour and a performance at Glastonbury, Britain’s biggest music festival.She also used the appearance to tell fans that she is alive and herself.And that she was most definitely not replaced by a body double named Melissa Vandella after dying more than 20 years ago.The power of the internetThe bizarre conspiracy theory has popped up occasionally, yet consistently, around the internet for much of Lavigne’s career, and the publicity around her new tour has ignited another round of attention.Many online explainers have traced its origin to Brazil, and a 2011 blog post that uses Lavigne’s lyrics and photos of her to make an argument that “Melissa” took Lavigne’s place after the success of her debut album “Let Go.”After a BuzzFeed News report drew attention to the theory, it appeared in mainstream press roundups of conspiracy theories, from the Guardian, to Rolling Stone, to the BBC. It also has its own Wikipedia entry.For the record: There is no proof for this conspiracy theory.‘So. Your name is Avril Lavigne.’On “Call Her Daddy,” hosted by Alex Cooper — herself an icon of the 2020s who said she grew up listening to Lavigne’s music — the singer said she didn’t think the conspiracy theory was that bad in the grand scheme of things.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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      Billie Eilish Dares to Write (Twisted) Love Songs on ‘Hit Me Hard and Soft’

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      “Hit Me Hard and Soft,” her third album, is both concise and far-reaching.“Twenty-one took a lifetime,” Billie Eilish, 22, sings in “Skinny,” the song that opens her third album, “Hit Me Hard and Soft.”Any woman her age could say that; it’s just math. But even before she was old enough to vote, Eilish had packed a lifetime of accomplishments into a career that she began in 2015 as a teenager uploading songs to SoundCloud. Since then, Eilish has racked up billions of streams, an armload of Grammy Awards, two Oscars and a full-length documentary. On “Hit Me Hard and Soft,” she deliberately tamps down some pop expectations while she warily embraces others.Eilish has both the time-honored musicianship that awards shows admire and the metanarrative savvy of her digital-era generation. Countless imitators have learned from — and been emboldened by — her blend of raw revelations, graceful melodies and wily productions, abetted by her brother and songwriting partner, Finneas.Their historically grounded pop recombines musical theater, parlor songs, punk, folk, electronica, soundtracks, bossa nova, industrial rock and more. Eilish brings to all of them the poise of a vintage crooner: the capacity to float above beats and jolts, to treat a microphone as a confidant. Her voice can be breathy and intimate or eye-rolling and sardonic; at very strategic moments, she reveals her power to belt.Eilish’s 2019 debut album, “When We All Fall Asleep, Where Do We Go?,” mapped gothic nightmares, adolescent obsessions and lingering traumas along with an occasional giggle. Her second, “Happier Than Ever” in 2021, reacted directly to the attention, shock, exploitation, stalking, exhaustion and newfound power that success brought her.“Skinny” is a hushed update on Eilish’s superstardom. “Am I acting my age now?/Am I already on the way out?,” she sings, along with thoughts on her body shape, finding nontoxic love, her sense of isolation and a resigned reaction to social media: “The internet is hungry for the meanest kind of funny/and somebody’s gotta feed it.”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