Music

Subterms

    More stories

    • 113 Shares91 Views

      in Music

      Trump Seeks More Sway in Picking Kennedy Center Honorees

      by

      When President Trump was criticized by some of the artists who were recognized at the annual Kennedy Center Honors program during his first term, he responded by boycotting the show, breaking with decades of precedent.Now, as he leads a sweeping takeover of the Kennedy Center in his second term, Mr. Trump is seeking changes that will allow him greater sway in the selection of honorees, according to two people briefed on the matter who were granted anonymity to describe confidential discussions.Mr. Trump, who is now the chairman of the Kennedy Center, is scheduled to speak at a meeting of its board on Monday afternoon, when proposed changes to the honors advisory committee will be on the agenda, according to the individuals and a copy of the agenda that was obtained by The New York Times.Since 1978, the Kennedy Center has named honorees to be recognized each year at a star-studded televised gala without interference from the White House. The center has honored a broad spectrum of artists and performers, including Lucille Ball, Dolly Parton, Clint Eastwood, Fred Astaire and the Grateful Dead.But Mr. Trump is seeking a more direct role. He replaced all the Biden appointees on the center’s once-bipartisan board, was elected chairman and installed a loyalist, Richard Grenell, as its president. The board is scheduled to meet Monday to consider a resolution, which has not been previously reported, that would give Mr. Trump more control over the selection of honorees.The resolution states that members of the committee responsible for selecting honorees “shall be appointed by the chairman of the board, and shall serve at the pleasure of the chairman,” according to a copy obtained by The Times. That would give Mr. Trump broad power to hire and fire those who help decide who will receive the honor, which recognizes people and institutions for lifetime artistic achievement. The committee will recommend a slate of honorees to the Kennedy Center’s president for approval, the resolution says.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 Shares99 Views

      in Music

      Lady Gaga Sells ‘Mayhem’ Hard. But Does It Work?

      by

      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicLady Gaga’s sixth solo pop album, “Mayhem,” was released last week, and its retro palette immediately connected with many of the singer’s most devoted longtime fans.Produced by Gaga, the rock revivalist Andrew Watt and the pop fixture Cirkut — with what Gaga has described as substantial input from her fiancé, Michael Polansky — the LP gestures pointedly back at the sounds of the pop star’s ascent in the late aughts and early 2010s. In a surprising amount of promotional interviews for a modern star of her caliber, Gaga has also cited a lofty list of influences for the album’s rock and funk touches: Prince, David Bowie, Nine Inch Nails, Radiohead, Earth, Wind & Fire and more.But does “Mayhem” transcend homage and fan service, successfully shifting or adding to the current conversation in pop? Reviewing the album for The New York Times, the critic Lindsay Zoladz called it “a refreshing anomaly” and “a little behind the times” — which may be its strength.To discuss “Mayhem” on this week’s Popcast, Zoladz was joined by Caryn Ganz, The Times’ pop music editor, and Joe Coscarelli, a pop music reporter, who traced Gaga’s unorthodox career path through the Top 40, jazz standards and Hollywood, while considering the potential limits of a “return to form” album for the 38-year-old singer.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 Shares159 Views

      in Music

      Sean Combs’s Lawyers Say Video of Hallway Assault Was Altered

      by

      The video, a critical piece of the prosecution’s case, shows the music mogul beating and kicking his girlfriend at a hotel in 2016.Lawyers for Sean Combs argued at a court hearing on Friday that a leaked security video showing Mr. Combs assaulting his former girlfriend was “deceptive,” and said they would request that it not be allowed as evidence at his upcoming trial on charges of sex trafficking and racketeering conspiracy.That video, recorded at a Los Angeles hotel in 2016, was broadcast by CNN last year, months before Mr. Combs’s arrest. It showed him beating, kicking and dragging Casandra Ventura, his former girlfriend and an artist once signed to his record label under her stage name, Cassie.Marc Agnifilo, a lawyer for Mr. Combs, said that a forensic analysis of the security footage aired by CNN showed that the video had been sped up from its original source, that events were depicted out of sequence and that time stamps on the original tape had been covered up.“It’s a deceptive piece of evidence,” Mr. Agnifilo argued. Mr. Combs’s lawyers, however, did not define how a change in sequencing would have affected a viewer’s understanding of what occurred.Mr. Combs’s legal team also accused CNN of destroying the original footage, and said they planned to file a motion to exclude the video from evidence at Mr. Combs’s criminal trial, which is set to begin in May.CNN, in a statement from a spokeswoman, denied the allegations. “CNN never altered the video and did not destroy the original copy of the footage, which was retained by the source,” the statement said.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 Shares127 Views

      in Music

      An ‘In Like a Lion, Out Like a Lamb’ Playlist

      by

      Prepare for spring with songs from the Yeah Yeah Yeahs, Lion Babe, Buddy Guy and others.Karen O of the Yeah Yeah YeahsJack Plunkett/Invision, via Associated PressDear listeners,Early March is such a tease, occasionally giving us a fleeting preview of desperately desired springtime — only to snatch it away with yet another dreary, blustery, 30-something-degree day. You know the saying: “In like a lion, out like a lamb.” Since we’ve finally almost reached that fabled calendrical turning point in the middle of the month, I thought I’d put together a playlist that goes in like a lion and out like a lamb.Given their potent and evocative symbolism, there is no shortage of music that references lions or lambs. Lions connote strength, fire and even potential danger; lambs, in keeping with their biblical association, often represent purity, gentleness and self-sacrifice. In today’s selections, you’ll hear these themes explored by artists like Genesis, Neko Case and the Yeah Yeah Yeahs, among others.May these songs bring warmer afternoons, longer days and much lighter jackets.Momentum for the sake of momentum,LindsayListen along while you read.1. The Tokens: “The Lion Sleeps Tonight (Wimoweh)”Let’s begin with the most famous version of this oft-covered classic about a lion in peaceful repose. Most elements of what would eventually become “The Lion Sleeps Tonight” were written by the South African musician Solomon Linda, whose 1939 version of the song was titled “Mbube,” the Zulu word for “lion.” Pete Seeger’s folk group the Weavers released an influential version in 1951 (as Seeger, Edward Norton plays it onstage in “A Complete Unknown”), but the doo-wop group the Tokens took the song to new heights of popularity in 1961, with this rendition that featured English-language lyrics by the songwriter George David Weiss.▶ Listen on Spotify, Apple Music or YouTubeWe 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 Shares95 Views

      in Music

      Chappell Roan’s Bro-Country Tweak and 9 More New Songs

      by

      Hear tracks by Playboi Carti, Haim, Bon Iver, Willie Nelson 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.Chappell Roan, ‘The Giver’Chappell Roan provocatively but persuasively dons country-queen drag on “The Giver,” her first single in nearly a year, which she previewed on a November episode of “Saturday Night Live.” Driven by a boot-stomping beat and heavily embroidered with fiddles and banjos, the track is a vividly rendered throwback to country’s ’90s pop crossover moment — think Shania Twain and the Chicks — though its cheeky lyrics (full of queer innuendo) frame 21st-century bro-country in its cross hairs. “Ain’t no country boy quitter,” Roan winks at a love interest on a rollicking, shout-along chorus that centers female pleasure. “I get the job done.” “The Giver” feels like the beginning of the self-assured second chapter of Roan’s stardom, since her previous smashes were all sleeper hits that crawled up the charts long after their initial release. But here she’s stepping confidently into an expectant spotlight, unbowed by the pressure and ready to fulfill the song’s promise: “Baby, I deliver.” LINDSAY ZOLADZHaim, ‘Relationships’The Haim sisters, who haven’t released an album since 2020, juggle cynicism and connection in a new single, “Relationships.” The backup is steady-chugging midtempo R&B, with cushy piano chords and a firm backbeat; the lyrics pile on the ambivalence. The sisters ask, “Don’t they end up all the same? When there’s no one left to blame?” Seconds later they admit, “I think I’m in love but I can’t stand [expletive] relationships.” Consider it an update of Samuel Johnson’s line about a second marriage: “a triumph of hope over experience.” JON PARELESPlayboy Carti featuring Kendrick Lamar, ‘Good Credit’Playboi Carti has optimized hip-hop for the splintered-attention era of streaming and TikTok. He releases a barrage of one-off singles and features, slinging high-impact sounds and percussive, seconds-long phrases in unpredictable voices. Meanwhile, he’s been working on “I Am Music,” his first full-length album — a 30-track marathon — since “Whole Lotta Red” in 2020. Among the guests is Kendrick Lamar, who shows up on “Good Credit” to anoint “Carti my evil twin.” Lamar raps about his own un-gimmicky integrity and success: “The numbers is nothing, the money is nothing / I really been him, I promise.” Carti’s boasts are more scattershot — women, dangerous associates, drugs — and one is undeniable: “I got too many flows.” PARELESBon Iver featuring Danielle Haim, ‘If Only I Could Wait’Doubts and yearning — and electronics and distortion — threaten to overcome Justin Vernon, who performs as Bon Iver, in “If Only I Could Wait” from his coming album, “Sable, Fable.” He wonders, “Can I incur the weight? / Am I really this afraid now?” in one of his majestically hymn-like melodies — a melody that’s set atop edgy electronic drums and interrupted by stray guitar lines. Danielle Haim arrives with companionship and sympathy: “I know that it’s hard to keep holding, keep holding strong.” But their verses and vocal lines collide. By the time they find harmony, they conclude they’re “best alone,” more bereft than before. PARELESWillie Nelson featuring Rodney Crowell, ‘Oh What a Beautiful World’Willie Nelson’s next album, due April 25, is filled with songs from the catalog of Rodney Crowell, who joins him for a duet on the title track: “Oh What a Beautiful World.” It’s an easygoing, well-traveled reflection on life’s ups and downs — “It’s a walk in the park, or a shot in the dark” — delivered with Nelson’s grizzled, kindly mixture of acceptance and tenacity. 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

    • 163 Shares119 Views

      in Music

      Dudamel Leads a Premiere by a Youthful Ravel. Not Bad for a Kid.

      by

      The New York Philharmonic and its next music director gave “Sémiramis” its first public hearing, alongside other Ravel pieces and works by Varèse and Gershwin.It’s not every day that a critic gets to review a premiere by Ravel.He died almost a century ago, after all. And while some previously unknown works have come to light over the years, it happens considerably less than once in a blue moon.So my pen was out and alert on Thursday at the New York Philharmonic’s delightful concert at David Geffen Hall, practically vibrating with the opportunity to be among the first to weigh in on a piece by the creator of some of music’s most enduring and gorgeous classics.The work that the Philharmonic and Gustavo Dudamel, its incoming music director, were playing, part of a program celebrating Ravel’s 150th birthday, was long assumed to be lost. Written around 1900, when Ravel was still a conservatory student stormily at odds with the musical establishment, the score for selections from a cantata called “Sémiramis” turned up at an auction in 2000, when it entered the collection of the Bibliothèque Nationale de France.An entry in the diary of one of the composer’s friends, the pianist Ricardo Viñes, indicates that it was played, probably as a class exercise, in 1902. (“It is very beautiful,” Viñes wrote.) There’s no record of it being performed in public between then and Thursday.Grave and gloomy, bronzed by the low luster of a gong, the first section rises to the dramatic punch of an opera overture. The music then accelerates into a gaudy Orientalist dance that looks back to the Bacchanale from Saint-Saëns’s “Samson et Dalila” and the “Polovtsian Dances” of Borodin, one of the Russian masters Ravel adored.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 Shares79 Views

      in Music

      JD Vance Is Booed at a Kennedy Center Concert After Trump’s Takeover

      by

      It was supposed to be a moment of celebration: Vice President JD Vance was attending a concert at the John F. Kennedy Center for the Performing Arts in Washington on Thursday evening for the first time since President Trump’s stunning takeover of the institution.Instead, as Mr. Vance took his seat in the box tier with the second lady, Usha Vance, loud boos broke out in the auditorium, lasting roughly 30 seconds, according to audience members and a video posted on social media. Mr. Vance was shown in the video waving to the audience as he settled into his seat.The incident put on display the outcry over Mr. Trump’s decision last month to purge the Kennedy Center’s once-bipartisan board of its Biden appointees and have himself elected its chairman. (The president, who broke with tradition during his first term by not attending the Kennedy Center Honors after some of the artists being celebrated criticized him, complained that the center had become too “wokey.”)Mr. Vance attended Thursday’s performance by the National Symphony Orchestra, one of the Kennedy Center’s flagship groups. The ensemble, under the baton of its music director, Gianandrea Noseda, performed Shostakovich’s Violin Concerto No. 2, with Leonidas Kavakos as the soloist. After an intermission, the orchestra played Stravinsky’s “Petrushka.”The Vances stayed for the entire concert, audience members said. Ms. Vance was recently appointed by Mr. Trump to serve as a board member at the Kennedy Center, alongside other Trump allies like Susie Wiles, the White House chief of staff; and Laura Ingraham, the Fox News host.The concert started about 20 minutes late because of added security measures, audience members said.Roma Daravi, a spokeswoman for the Kennedy Center, said she had no comment on the episode.A White House spokesman did not immediately return a request for comment.In February, President Trump ousted the Kennedy Center’s longtime chairman, the financier David M. Rubenstein, the center’s largest donor. His new board of loyalists elected him chairman and fired Deborah F. Rutter, the center’s president for more than a decade. At least three other top staff members were also dismissed.Performers, including the actress Issa Rae and the musician Rhiannon Giddens, have dropped out in protest amid fears that Mr. Trump’s calls to rid the center of “woke” influences, drag shows and “anti-American propaganda” would result in a reshaping of programming. The musical “Hamilton” recently scrapped a planned tour there next year.While Mr. Trump has not yet articulated his vision for the center, his appointees have provided some hints. Richard Grenell, whom Mr. Trump named as the center’s new president, recently said that the center planned “a big, huge celebration of the birth of Christ at Christmas.” More

    • 188 Shares140 Views

      in Music

      Dawn Robinson, En Vogue Alum, Says She’s Been Living in Her Car for 3 Years

      by

      Robinson’s mother said in an interview that the revelation about her estranged daughter had been hard to take but if she could see her now “I would grab her, I would hug her.”Dawn Robinson, a founding member of the ’90s R&B group En Vogue, said this week that she had been living in her car for roughly three years after several living arrangements fell through.In a nearly 20-minute video that was posted to her official YouTube channel on Tuesday, Robinson said that she did not want anyone’s pity and that she was comfortable with the decision she had made. Although she said she would rather have her own apartment, she put somewhat of a positive spin on her circumstances.“I’m glad that I made this choice because I needed to go through this fire,” Robinson said in the video, adding that she was in the middle of a spiritual journey involving a period of isolation from family and friends. “I’m in the trenches of this right now and I’m like, ‘I wouldn’t trade my experiences and what I’ve gone through for the world.’”A representative for En Vogue, which is still active without Robinson, declined to comment beyond saying that the group had not been in contact with her in more than five years. Robinson could not immediately be reached for comment and did not say in her video where her vehicle is.From left, Cindy Herron, Dawn Robinson, Terry Ellis and Maxine Jones in June 1991, when En Vogue performed at the Pantages Theater in Hollywood.Mike Guastella/Getty ImagesBarbara Alexander, Robinson’s mother, said by phone from her home in Las Vegas on Thursday afternoon that she was first alerted to the video on Wednesday.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