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      Gylan Kain, a Founder of the Last Poets and a Progenitor of Rap, Dies at 81

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      He spun gripping portraits of the Black experience starting in the 1960s with the seminal Harlem spoken-word collective, laying a foundation for what was to come.Gylan Kain, a Harlem-born poet and performance artist who was a founder of the Last Poets, the spoken-word collective that laid a foundation for rap music starting in the late 1960s by delivering fiery poetic salvos about racism and oppression over pulsing drum beats, died on Feb. 7 in Lelystad, the Netherlands. He was 81.He died in a nursing home from complications of heart disease, his son Rufus Kain said. His death was not widely reported at the time.The Last Poets, which originally consisted of Mr. Kain, David Nelson and Abiodun Oyewole, were aligned with the Black Arts Movement — the cultural corollary to the broader Black Power movement of the 1960s and ’70s — of which the activist poet and playwright Amiri Baraka was a central figure.The Original Last Poets, as they were billed, in the 1970 film “Right On!” From left, Mr. Kain, Felipe Luciano and David Nelson. Herbert Danska, via Museum of Modern ArtWith their staccato wordplay and sinewy rhythms, the Last Poets were pioneers of performance poetry, spinning out portraits of Black street life that often bristled with the guerrilla spirit of revolution.They made their public debut on May 19, 1968, in Mount Morris Park, now Marcus Garvey Park, in Harlem, at a celebration of the slain civil rights leader Malcolm X. Less than two months after the assassination of the Rev. Dr. Martin Luther King Jr. in Memphis, it was a fraught period in Black America, but also a time percolating with calls for dramatic change.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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      What to Know About Beyonce’s Country Album, ‘Cowboy Carter’

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      The singer and her collaborators have been dropping hints about “Cowboy Carter,” her upcoming album and first full-length foray into country music.It started with a western-style Grammys outfit, complete with a cream-colored cowboy hat, studded string tie and matching Louis Vuitton jacket and skirt.After a year and a half of Beyoncé’s “Renaissance,” the lauded dance music spectacular that included a world tour and a concert film, the awards show outfit signaled to fans that a new era was beginning. From the start, Beyoncé had described “Renaissance” as the first part of a three-act project, and fans wondered if the second act was on its way.One week later, the pop star made herself abundantly clear, this time in a Verizon ad that aired during the Super Bowl.“Drop the new music,” she said at the end of the intricately produced commercial, which featured the comic actor Tony Hale, a robot Beyoncé and the real version, who showed off 10 outfit changes.She had our attention.At her command, her team released a minute-long teaser video that culminated with a small crowd staring at a roadside billboard displaying another cowboy hat-wearing Beyoncé. Then came two new singles, “Texas Hold ’Em” and “16 Carriages,” filled with the kind of Southern twang and country instrumentation seldom heard in her catalog.Confirmation of the new album, Beyoncé’s eighth solo release, came via an Instagram post last week. “Cowboy Carter,” due on March 29, is her first full-length foray into country music. It is expected to tap into her Houston upbringing and reclaim the Black origins of the genre while challenging the largely white country music establishment.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 American Tenor Jonathan Tetelman, a Puccini Specialist, Arrives at the Met

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      Jonathan Tetelman will sing in “La Rondine” and “Madama Butterfly” in New York. He trained as a baritone and worked as a D.J. before finding his “authentic voice” as a tenor.In the middle of last summer’s production of Verdi’s “Macbeth” at the Salzburg Festival, the American tenor Jonathan Tetelman brought down the house. As Macduff, Tetelman gave a searing rendition of “Ah, la paterna mano,” the heartbreaking aria after his character learns that the bloodthirsty monarch has slaughtered his wife and children.Tetelman’s performance in Krzysztof Warlikowski’s monumentally gloomy production was one of the festival’s highlights. Later this month, the 35-year-old tenor will make his Metropolitan Opera debut in Puccini’s “La Rondine.” He’ll also be heard at the Met as Pinkerton in a revival of the composer’s better-known “Madama Butterfly” that reunites him with his “Macbeth” co-star, the soprano Asmik Grigorian, in April and May. (There are planned Met Live in HD broadcasts of both productions.)In an email, the Met’s general manager, Peter Gelb, wrote that Tetelman had a “beautiful and big voice that is perfectly suited to the generous size of the Met’s auditorium, which is much larger than most European opera houses, and to these soaring Puccini roles.”Tetelman has swiftly risen to become one of his generation’s most in-demand lyric tenors and is particularly sought after for his Puccini. After singing Rodolfo in “La Bohème” for the first time in 2017 in Fujian, China, he reprised the role a year later at Tanglewood (replacing the Polish star tenor Piotr Beczala) and then on opening night of Barrie Kosky’s production at the Komische Oper Berlin in January 2019.Tetelman played Macduff in a performance of “Macbeth” at the 2023 Salzburg Festival.Bernd Uhlig/SFBut Tetelman’s path to the Met’s stage was anything but typical. Born in Chile, Tetelman was adopted by an American couple when he was 6 months old and grew up in Princeton, N.J. As an undergraduate at the Manhattan School of Music, he trained as a baritone but felt frustrated.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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      Shakira on the Pain Behind Her New Album, ‘Las Mujeres Ya No Lloran’

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      With “Las Mujeres Ya No Lloran,” her first album in seven years, the Colombian superstar said she “transformed pain into productivity.”For Shakira, 2022 was a year of heartbreak. Decades of hit singles and groundbreaking Latin-pop crossovers couldn’t insulate the Colombian pop star from personal upheavals. In the glare of celebrity coupledom, she broke up with the soccer player Gerard Piqué, her partner for 11 years and the father of her two sons, Milan and Sasha. Her father was hospitalized twice for a fall that caused head trauma; he went on to require further brain surgery in 2023.Shakira was also facing charges of tax evasion in a long-running case disputing whether she had lived primarily in Spain from 2012 to 2014; she declared residency there in 2015. Last November, she settled for a fine of 7.5 million euros (about $8.2 million), citing “the best interest of my kids.” Just days earlier, Shakira had collected the Latin Grammy for song of the year for “Shakira: Bzrp Music Sessions, Vol. 53,” a collaboration with the Argentine producer Bizarrap with wordplay clearly aimed at Piqué and his girlfriend.The song was one of a string of singles Shakira released that referred directly to the breakup: the sarcastic “Te Felicito” (“I Congratulate You”); the regretful “Monotonía” (“Monotony”); the Bizarrap session, “Acróstico,” a ballad promising her children that she’d stay strong; and “TQG” (“Te Quedó Grande,” roughly translated as “I’m Too Good for You”), a taunting reggaeton duet with the Colombian star Karol G, who had been through her own public breakup. “TQG” has racked up more than a billion streams.Those songs reappear on Shakira’s first album since 2017, “Las Mujeres Ya No Lloran” (“Women No Longer Cry”), due Friday. All but one of its tracks deal with romantic ups and (mostly) downs, honed into crisp, tuneful pop structures. The LP continues Shakira’s career-long penchant for pulling together music and collaborators from across the Americas, dipping into rock, electro-pop, trap, Dominican bachata, Nigerian-style Afrobeats and regional Mexican cumbia and polka. Her guests include Cardi B, Ozuna and Rauw Alejandro. Not one of them upstages Shakira, who’s playful or raw as each moment demands.Shakira spoke about the album from her white-walled kitchen at her home in Miami, where an air fryer sat on the counter behind her; a pet bunny in a pen was at her side. Unlike Barcelona, Miami is a hub of Latin pop where, she said, “I have the feeling I’ll be making a lot more music now.” Wearing a black tank top, with her hair in long blond waves, Shakira spoke happily and volubly about an album that, for her, was “alchemical.” These are edited excerpts from the conversation.Shakira faced charges of tax evasion in a long-running case disputing whether she had lived primarily in Spain from 2012 to 2014. Last November, she settled for a fine of 7.5 million euros (about $8.2 million).Josep Lago/Agence France-Presse — 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

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      Review: ‘The Shell Trial’ Seeks a Guilty Party in Climate Change

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      Ellen Reid and Roxie Perkins’s new opera, about events still in progress, finds fault and complicity in every player of a global blame game.The climate activist was tired. Protests at the house of Shell’s chief executive had led to little more than free cookies and the police being called to break things up. The same thing had happened the week before. And the week before that. And the week before that.“I don’t wanna be perfect,” they screamed into a loudspeaker in Ellen Reid and Roxie Perkins’s “The Shell Trial.” “I just don’t wanna die,” the activist added, with an expletive for emphasis.It was a moment of one person speaking for many, and for “The Shell Trial” itself, which premiered at the Dutch National Opera on Saturday. (Among the commissioners is Opera Philadelphia, where it will travel in a future season.) A Brechtian cri de coeur about climate change and complicity, this is an ambitious, passionate show that seems more interested in being heard — in truly reaching its audience — than in being an impeccably crafted work of art.Finding new ways to make old points, and powerfully laying out a vision for a future in which the world changes but we do not, “The Shell Trial” has much to admire. Remarkable, too, is the effort of the Dutch National Opera, which has taken a major step toward operating as a carbon-neutral house with this staging and its Green Deal, an initiative to weave sustainability into its productions, limit travel and calculate ways to offset its carbon footprint.Opera in the past century has become globalized in a way that, unsurprisingly, has made it a target of activists. The Dutch National Opera, like the creators of “The Shell Trial,” views climate change as an ethical issue as well as a political one. And as the company does its part to help, the wider industry should take note.The chorus of children was made up of performers from local schools and community programs.Marco Borggreve/Dutch National OperaWe 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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      Ariana Grande’s ‘Eternal Sunshine’ Is the Biggest Album of 2024 Yet

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      The pop singer’s sixth No. 1 album opens at the top with the equivalent of 227,000 sales in the United States.Ariana Grande’s long-awaited new album, “Eternal Sunshine,” opens at the top of the latest Billboard chart with the biggest debut of the year so far, kicking off a season of expected blockbusters from Beyoncé, Taylor Swift and Dua Lipa.“Eternal Sunshine,” Grande’s seventh studio album and her first in almost four years, starts at No. 1 with the equivalent of 227,000 sales in the United States, including 195 million streams and 77,000 copies sold as a complete package, according to the tracking service Luminate. After a first single, “Yes, And?,” went to No. 1 in January, the full album arrived with Grande performing on “Saturday Night Live” and then — along with Cynthia Erivo, her co-star in the upcoming two-part “Wicked” film — appearing as a presenter at the Oscars.“Eternal Sunshine” is Grande’s sixth No. 1 album. All of her studio LPs have gone to the top except “Dangerous Woman” in 2016, which was held at No. 2 by that year’s juggernaut, Drake’s “Views.”Since her last album, “Positions” (2020), Grande has been shooting an adaptation of the Broadway musical “Wicked,” in which she will play Glinda the Good. Production on the film was delayed first by the coronavirus and then by last year’s SAG-AFTRA strike; the first “Wicked” film is now set to be released in November.Grande’s first-week numbers are the best for any new album this year by a decent margin, topping Ye and Ty Dolla Sign’s “Vultures 1” (148,000). More big figures are on the horizon for Beyoncé’s country pivot, “Cowboy Carter,” due at the end of this month; Swift’s “The Tortured Poets Department,” in April; and then Lipa’s “Radical Optimism,” in May.Also this week, Morgan Wallen’s “One Thing at a Time,” which hit No. 1 for the 19th time last week, falls to No. 2. Noah Kahan’s “Stick Season” is No. 3, “Vultures 1” is No. 4 and SZA’s “SOS” is No. 5. More

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      Gossip Dance Back Into Action After a 12-Year Pause

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      The trio fronted by Beth Ditto wasn’t sure it would return after scattering in different directions. But music united them for a new LP, “Real Power.”It’s possible that there are better people to dig you out of an ice storm than the frontwoman of a dance-punk act, but few would do it as resourcefully or cheerfully as Beth Ditto. Since her band Gossip started 25 years ago, its scrappy, D.I.Y. roots have always run strong.Early this year, when Portland, Ore., Ditto’s adopted home of two decades, was overtaken by a deep freeze, my windshield was a sheet of ice, and there was no scraper in sight (do better, Portland rental car agencies). Over my protestations, Ditto fished out her old ID, hopped out of the slowly warming sedan in her black beret and Chuck Taylors, and shaved the ice off herself. She has never been fazed, she said, by the unexpected.Though Gossip has been a major label act since 2009, when it made the leap from the storied indie Kill Rock Stars to Columbia Records and the megaproducer Rick Rubin, the trio has carved out a very unconventional path.“We’re renegades,” said Ditto, who founded the group with her childhood friend Nathan Howdeshell on guitar and bass, chatting with her bandmates in the drummer Hannah Blilie’s minimalist, midcentury living room, cozy against the wintry mix outside. They had gathered to talk about “Real Power,” their first album together in 12 years. Due Friday, its arrival was not preordained, or even serendipitous — it was more instinctual, a product of punk energy, somehow sustained across time, space and adulthood.“We don’t plan,” said Howdeshell, who grew up with Ditto in small-town Arkansas. “Me and Beth just sit down and made up stuff.” They don’t talk about it, either. That might ruin it, make it feel contrived, Ditto said.“That’s the magic of our band, I think,” Blilie added. “It just kind of falls into place.”That is, until it didn’t.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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      Byron Janis, Pianist of Romantic Passion, Dies at 95

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      He had a brilliant career before arthritis in his hands forced him from the stage, but he overcame the condition and returned to performing.Byron Janis, an American pianist renowned for his commanding performances of the Romantic repertory and for his discovery of manuscript copies of two Chopin waltzes, died on Thursday in Manhattan. He was 95. His death, at a hospital, was confirmed by his wife, Maria Cooper Janis. He remained active, writing about his career and managing recordings of his music, until recent days, she said. On the concert stage, Mr. Janis could seem like a tightly wound spring, full of tension that, when combined with the sheer physical energy he brought to his performances, yielded interpretations that could be overpowering and seductive, by turns. At the height of his career, in the 1950s and 1960s, he was known for the tremendous sound and colorful sonorities he drew from the piano, and for a freewheeling interpretive approach that sometimes led him to bypass composers’ expressive markings when they were at odds with his conception.“Mr. Janis has a quirky physical style compounded of nervous hovering, sudden jabs, bounces, brittle taps and tentative caresses,” the critic Will Crutchfield wrote in The New York Times, reviewing a recital at the 92nd Street Y in 1985. “The music emerges a little like that too; occasionally it’s disconcerting, but at least he has a style, and more often it is engaging.”What audiences did not know was that by the early 1970s, Mr. Janis was experiencing pain and stiffness during his performances, the result of psoriatic arthritis in both hands and wrists. After he was diagnosed, in 1973, he maintained his concert schedule, and his five-hour daily practice regimen.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