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      Eurovision Disqualifies Joost Klein Hours Before Final

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      Just hours before this year’s Eurovision Song Contest final was scheduled to begin in Malmo, Sweden, on Saturday, the glitzy singing competition was thrown into crisis after organizers banned the Netherlands’ entry from taking part.On Friday, the Dutch musician, Joost Klein, whose songs mix pop with hyperfast beats, did not appear for a scheduled rehearsal to perform his song “Europapa,” a song about a transcontinental European odyssey that had been among the favorites to win.Shortly afterward, the European Broadcasting Union, which organizes the contest, said in a statement that it was “investigating an incident” involving the Dutch artist. On Saturday morning, a Swedish police spokeswoman said in an email that officers were investigating a man “suspected of unlawful threats” toward a Eurovision employee and had passed a file to prosecutors to consider charges.Eurovision organizers said in a new statement that it was Klein under investigation, and that “it would not be appropriate” for the musician to compete in Saturday’s final while a legal process was underway.The decision caused an immediate uproar among Eurovision fans on social media, many of whom were backing Klein to win.AVROTROS, the Dutch public broadcaster that picked Klein to represent the Netherlands at Eurovision, also objected to his disqualification. In an emailed statement, a spokesperson for the broadcaster said that the organizers’ decision was “very heavy and disproportionate.” The spokesperson said that, on Thursday, Klein made “a threatening movement” toward a camera operator who was trying to film him after his semifinal performance. The camera operator had continued recording Klein even though he had “repeatedly indicated that he did not want to be,” the spokesperson added.Klein’s Eurovision journey, the spokesperson said, “shouldn’t have ended this way.” More

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      Before the Eurovision Final, a Pro-Palestinian March

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      Just hours before this year’s Eurovision Song Contest final was set to begin on Saturday in Malmo, Sweden, around 5,000 pro-Palestinian demonstrators marched through the city center to protest Israel’s participation in the competition.Waving huge Palestinian flags and accompanied by drummers, the protesters shouted slogans including, “Eurovision, you can’t hide, you’re supporting genocide,” and “Free, free Palestine.”The demonstration, two days after a similar march in Malmo that the Swedish police said involved around 12,000 people, was the latest sign of some Eurovision fans’ discontent with Israel’s involvement in the high-profile contest because of the war in Gaza.At Eurovision, singers representing their countries compete for votes from music-industry juries and a television audience. Although not part of Europe, Israel has competed since 1973 and won four times.For months, pro-Palestinian groups have called on Eurovision’s organizer, the European Broadcasting Union, to ban Israel from the competition. Thousands of musicians, including pop stars and former Eurovision entrants, signed petitions that said there was a precedent for throwing Israel out of the event: In 2022, Eurovision banned Russia following its full-scale invasion of Ukraine.The European Broadcasting Union has repeatedly dismissed the comparison and said Eurovision is an apolitical contest that aims to unite music fans, not divide them.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 Power and Beauty of African Guitar Greats

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      Hear songs by Mdou Moctar, Bombino, Orchestra Baobab and more.Mdou Moctar onstage at Coachella in April.Frazer Harrison/Getty Images for CoachellaDear listeners,For today’s Amplifier, your proprietor Lindsay Zoladz graciously lent me the keys for a little tour of Africa to celebrate some of the continent’s guitar greats. It was prompted by my recent profile of Mdou Moctar, the axeman from Niger who has built up a following with a tight band and stunning solos that can sound somewhere between vintage psychedelia and the so-called desert blues — a modern update of the African rhythmic and harmonic traditions that underlie so much popular music in the West, including the blues (and rock, and jazz, and R&B …).But honestly, any excuse is a good one to delve into this music and explore some of the characters behind it. There’s Ali Farka Touré, the Malian poet of the guitar, who learned from exposure to American bluesmen like John Lee Hooker but bristled at the idea that he was anything but an African purist. There’s Orchestra Baobab, whose songs are evidence of how musical styles pingpong around the world and can continue to evolve after returning home. And Oliver Mtukudzi, a force for justice and human rights who put music in service of his message.When I interviewed Moctar, much of our conversation was about politics. His latest album, “Funeral for Justice,” is a take-no-prisoners assault on the legacy of colonialism in Africa, which includes the struggles of the Tuareg, a historically nomadic ethnic group in the Sahara region that are divided by national borders. Political statements are scarce in American pop music these days, but they are a vital part of many of the tracks here, in ways that can be direct or oblique.This playlist is an assortment of some of my favorites, but is by no means meant as an exhaustive list, musically or geographically. If you’re new to this, I hope it can help you get started on a lifetime of exploration.Thanks for listening,BenListen 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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      Review: Robert Ashley’s ‘Foreign Experiences’ Returns

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      Robert Ashley’s 1994 opera “Foreign Experiences,” a portrait of a paranoid mind in free fall, is part of a wave of revivals following his death.The makings of opera are quite simple. Strip away the clichés of an opulent art form populated by Viking helmets and powdered wigs (and more than 400 years of history), and you end up with DNA shared by Claudio Monteverdi, Richard Wagner and Meredith Monk across centuries: an artificial, elevated form of speech that reaches for the sublime.Few composers have tested the fundamental qualities of opera as much as Robert Ashley, who died a decade ago at 83. He stretched language and banality to operatic extremes, exalting discarded bits of life as if they were cosmic, in stylized declamation that is every bit as musical as Mozart.Hardly mainstream, Ashley’s works were often performed as he wrote them, then talked about more than staged. Since his death, though, there has been a wave of fresh recordings and revivals, the latest of which is “Foreign Experiences” (1994), now running at Roulette in Brooklyn. A portrait of a mind in free fall, red-pilled before we were talking about red-pilling, it is essential viewing for those interested in the possibilities of opera.Picture an opera made entirely of a mad scene, and you have “Foreign Experiences,” an installment in “Now Eleanor’s Idea,” Ashley’s tetralogy whose construction recalls another four-work saga, Wagner’s “Ring.” In “Experiences,” the protagonist, Don Jr., spirals in isolation after a move to California, and from his apartment he imagines paranoid adventures in esoterica, in search of truths about power and wealth. He comes to conclusions like, “‘If you have to ask, you can’t afford one,’ I always thought we ought to have that carved into that stupid mountain with the four guys’ heads.”Don Jr.’s thoughts come quickly; “Foreign Experiences,” alone in “Now Eleanor’s Idea,” is set to 90 beats per minute instead of Ashley’s usual 72. And those beats matter to each line of the opera’s 50-page libretto. This is a work of extreme mathematical precision that, in performance, shows no signs of being precise at all, with manic speech unfurling over ambient synth chords that reflect both the mood and sound world of “The X-Files.”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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      Bill Holman, Whose Arrangements Shaped West Coast Jazz, Dies at 96

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      His economical, linear writing helped define the sound of Stan Kenton’s band. He also led his own 16-piece ensemble for many decades.Bill Holman, an arranger and composer whose work with Stan Kenton, Gerry Mulligan and other jazz greats established him as a transformative figure in the cool jazz sound associated with 1950s California, died on Monday at his home in the Hollywood Hills section of Los Angeles. He was 96.Kathryn King, his stepdaughter, announced the death.Mr. Holman’s longtime collaboration with Mr. Kenton, first as a saxophonist in his band and later as an arranger, provided the foundation of his reputation, but he also went on to arrange for Maynard Ferguson, Count Basie, Peggy Lee, Tony Bennett, Michael Bublé and many others, and to lead his own 16-piece ensemble.He won three Grammy Awards — for his arrangements of “Take the A Train” (1988) for Doc Severinsen’s band and “Straight, No Chaser” (1998) for his own, and for his original composition “A View From the Side” (1996) — and contributed compositions and arrangements to seven other Grammy-winning records, including Natalie Cole’s “Unforgettable” (1991). He received a total of 16 Grammy nominations.Mr. Holman was known for his economical, linear arrangements, which used elegant counterpoint and dissonance to enliven both old standards and his own works. Reared on the big bands of the 1930s and ’40s, he helped Mr. Kenton and others from that era make the transition to a more energetic sound in the postwar years.He was already an innovative arranger when he was in his 20s, creating new avenues that jazz would pursue over the following decades. And yet, while he was often imitated, his unique style remained easily recognizable, even on pieces that he ghostwrote for other arrangers.Mr. Holman in 1999. He won three Grammy Awards, two for arrangements and one for his original composition “A View From The Side.”Lawrence K. Ho/Los Angeles 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

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      Who Are the Favorites to Win Eurovision?

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      Some of the buzziest acts taking part in Saturday’s final hail from Croatia, Israel and the Netherlands.On Saturday, acts representing 26 countries will compete at the Eurovision Song Contest, the high-camp competition that is also world’s most watched cultural event. The winner is chosen by a combination of votes from music industry juries in participating countries and viewers watching at home. Sometimes, they reflect the strength of individual performances; other times, politics comes into play.Who is most likely to triumph at this year’s event in Malmo, Sweden? Here are the five acts who may have the best chance, based on European bookmakers’ odds and online chatter.The NetherlandsJoost KleinJoost Klein, representing the Netherlands with “Europapa,” has emerged as one of this year’s most-talked about acts.Klein is a star in his home country who mixes pop with hyperfast beats. In “Europapa,” he raps about a transcontinental journey that is also tribute to his parents, who both died when Klein was young.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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      Post Malone Goes Country With Morgan Wallen, and 8 More New Songs

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      Hear tracks by Raveena, Willow, John Cale 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.Post Malone featuring Morgan Wallen, ‘I Had Some Help’The ever-adaptable Post Malone moves into country with this duet with Morgan Wallen. It’s jovial on the surface, with cheerful steel-guitar hooks. But it’s deeply surly at heart, as Malone and Wallen take turns lashing out at an ex who blames them after a relationship crumbles. “It ain’t like I can make this kind of mess all by myself,” they insist. “Don’t act like you ain’t helped me pull that bottle off the shelf.” Personal responsibility? Nah.Willow, ‘Big Feelings’Willow embraces her outsize emotions in the full-tilt finale of her new album, “Empathogen,” which veers from her old pop-punk into jazz and prog-rock. Her voice sails over choppy piano chords as she announces her “big feelings,” and when she sings, “Yes, I have problems, problems,” she turns “problems” into a six-syllable arpeggio. In the bridge she tells herself, “Acceptance is the key,” and eventually it sounds like she’ll make peace with those problems, or even flaunt them.Raveena, ‘Pluto’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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      On Andra Day’s ‘Cassandra (Cherith),’ a Soaring Voice Reaches Inward

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      After playing Billie Holiday onscreen, the singer brings jazz virtuosity to songs of her own.The tart, bluesy quaver in Andra Day’s voice has a long heritage. It bends the well-tempered notes of the European scale into idiosyncratic microtones and mocks any inflexible rhythm. It reaches back through Jazmine Sullivan, Amy Winehouse, Erykah Badu, Esther Phillips, Dinah Washington, Ella Fitzgerald, Bessie Smith and of course Billie Holiday. Day won a Golden Globe portraying Holiday in the 2021 film “The United States vs. Billie Holiday,” and recorded a full album of Holiday’s repertoire. She also learned deeply from her bittersweet amalgam of vulnerability and flintiness.Throughout the history of American music, blues, jazz and soul singers have used the jazzy quaver for the subtlest nuances of emotion: for tension, playfulness, defiance, flirtatiousness, ache or just blithe ornamentation. Day deploys it all those ways, and more, on “Cassandra (Cherith),” her second album of her own songs.Her first, “Cheers to the Fall,” was released back in 2015. It displayed her agility and power in dramatic, retro-flavored tracks, and it featured a resolute ballad, “Rise Up,” that became an anthem of Black Lives Matter protests in 2020.Day followed “Cheers to the Fall” with a Christmas EP in 2016 that included a duet with Stevie Wonder. Since then, she has released soundtrack songs and singles and recorded some guest appearances. But “Cassandra (Cherith)” makes clear that Day has been stockpiling material; she is a writer and producer, alongside many collaborators, on all of its 16 songs.Day’s 2015 debut album had a reverberant, widescreen, retro sound. By contrast, “Cassandra (Cherith)” favors focused close-ups; it heightens details, making Day’s voice more exposed and even more daring. Throughout the album, her delivery feels questing and improvisatory. She’s so sure of her melodies that she can embellish them at any moment, stretching or rushing or wriggling them as the impulse strikes.She breezes across styles and eras. From a base in neo-soul, with hip-hop beats underpinning sinuous R&B melodies, Day also touches on jazz, Motown, jazz, bossa nova, piano rock and vintage-sounding orchestral pop. But the most important sound on Day’s album is her voice. It’s precise but uninhibited, sometimes carefree and sometimes fiercely intimate.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