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The Destiny’s Child star wins big during the fourth night of the 52nd annual NAACP Image Awards, dominating the music categories with a total of four prizes.

Mar 27, 2021

AceShowbiz –
Beyonce was a four-time winner during the fourth night of the 2021 NAACP Image Awards.

The “Lemonade” singer picked up the Outstanding Female Artist honour for “Black Parade” and Outstanding Music Video/Visual Album for “Brown Skin Girl”, which recently scored her a Grammy for Best Video. She was also feted for her work with Megan Thee Stallion, whose track “Savage Remix” landed the Outstanding Hip Hop/Rap Song prize.

Beyonce’s proteges Chloe x Halle were double winners, claiming awards for Outstanding Soul/R&B Song for “Do It”, as well as Outstanding Duo, Group or Collaboration (Traditional) for “Wonder What She Thinks of Me”.

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And Jamie Foxx’s “Soul” doubled its overall haul by landing two more trophies on Thursday (25Mar21) – Jon Batiste’s “Music From and Inspired by Soul” scored the Outstanding Jazz Album – Instrumental, while the “Soul Original Motion Picture Soundtrack” won Outstanding Soundtrack/Compilation Album.

The week-long NAACP Image Awards will culminate on 27 March (21).

Thursday’s list of winners is:

Outstanding New Artist: Doja Cat – “Say So”
Outstanding Male Artist: Drake – “Laugh Now, Cry Later”
Outstanding Female Artist: Beyonce Knowles – “Black Parade”
Outstanding Soul/R&B Song: “Do It” – Chloe x Halle
Outstanding Hip Hop/Rap Song: “Savage Remix” – Megan Thee Stallion feat. Beyonce Knowles
Outstanding Duo, Group or Collaboration (Traditional): Chloe x Halle – “Wonder What She Thinks Of Me”
Outstanding Duo, Group or Collaboration (Contemporary): Megan Thee Stallion feat. Beyonce Knowles – “Savage Remix”
Outstanding Album: “Chilombo” – Jhene Aiko
Outstanding Producer of the Year: Hit-Boy
Outstanding Music Video/Visual Album: “Brown Skin Girl” – Beyonce Knowles feat. WizKid, SAINt JHN, Blue Ivy Carter
Outstanding Jazz Album – Instrumental: “Music From and Inspired by Soul” – Jon Batiste
Outstanding Jazz Album – Vocal: “Holy Room – Live at Alte Oper” – Somi
Outstanding International Song: “Lockdown” – Original Koffee
Outstanding Soundtrack/Compilation Album: “Soul Original Motion Picture Soundtrack” – Trent Reznor, Atticus Ross, Jon Batiste, and Tom MacDougall
Outstanding Gospel/Christian Song: “Touch From you” – Tamela Mann
Outstanding Gospel/Christian Album: “The Return” – The Clark Sisters

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Hear tracks by Taylor Swift, Rod Wave, Dr. Lonnie Smith and Iggy Pop and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at [email protected] and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Lil Nas X, ‘Montero (Call Me by Your Name)’Lil Nas X was born Montero Lamar Hill, and with “Montero (Call Me by Your Name),” he cheerfully rejoices in lust as a gay man. “Romantic talkin’? You don’t even have to try,” he sings, over syncopated guitar and handclaps by way of flamenco. “Call me when you want, call me when you need.” The video — an elaborate CGI production, costume drama and visit to hell — makes clear that his identity has high stakes. (He also posted a note to his 14-year-old self on Twitter.) “In life, we hide the parts of ourselves we don’t want the world to see,” Lil Nas X says in the spoken introduction to the video clip. “But here, we don’t.” JON PARELESTaylor Swift featuring Maren Morris, ‘You All Over Me’The teenage Taylor Swift who wrote “You All Over Me” for her second album, the 2008 “Fearless,” largely styled herself as a country singer. The original track was left as an outtake, still unreleased. But Swift probably wouldn’t have opened it with the metronomic, Minimalistic blips that start her newly recorded version, which is part of her reclamation of the early catalog she lost to music-business machinations. “You All Over Me” was a precursor of Swift’s many post-breakup songs. With what would become her trademark amalgam of everyday details, emotional declarations and terse, neat phrases, she laments that it’s impossible to escape memories of how she “had you/got burned/held out/and held on/God knows/too long.” Blips and all — she worked with Aaron Dessner, one of the producers of her 2020 albums “Folklore” and “Evermore” — the track stays largely in the realm of country-pop, with mandolin, harmonica and piano, while Maren Morris’s harmony vocals provide understated sisterly support. It’s hardly a throwaway song, and more than a decade later, its regrets can extend to her contracts as well as her romances. PARELESJulia Michaels, ‘All Your Exes’Tuneful and resentful, Julia Michaels’s latest strikes a blow against kumbaya, trading feel-good pith for the much rawer wounds within. Her enemy? Her lover’s past: “I wanna live in a world where all your exes are dead/I wanna kill all the memories that you save in your head/Be the only girl that’s ever been in your bed.” It’s harsh, funny, sad and relatably petty. JON CARAMANICAAngelique Kidjo and Yemi Alade, ‘Dignity’“Respect is reciprocal” goes the unlikely chorus of “Dignity”; so is collaboration. A year ago, Angelique Kidjo was a guest on “Shekere,” a major hit for the Nigerian singer Yemi Alade; now Alade joins Kidjo on “Dignity,” a song in sympathy with the widespread protests in Nigeria against the brutality of the notorious police Special Anti-Robbery Squad. It mourns people killed by police; it calls for equality, respect and “radical beauty” while also insisting, “No retreat, no surrender.” The track has a crisp Afrobeats core under pinging and wriggling guitars, as both women’s voices — separately and harmonizing — argue for strength and survival. PARELESDr. Lonnie Smith featuring Iggy Pop, ‘Why Can’t We Live Together’Timmy Thomas’s “Why Can’t We Live Together” was an old soul tune with an Afro-Latin undercurrent that became the foundation for Drake’s “Hotline Bling.” In this cover, the organist Dr. Lonnie Smith stays mostly faithful to the original, though his solo subtly doubles the funk factor and the band finds its way into a swaggering shuffle. Where Thomas sang the song as an earnest, enervated plea for social harmony, Smith’s guest vocalist, Iggy Pop, does it in an eerie croon, somewhere between a lounge singer and Lambchop’s Kurt Wagner. GIOVANNI RUSSONELLOInternet Money featuring Lil Mosey and Lil Tecca, ‘Jetski’Not enough has been said about the strain of sweetness running through one sector of contemporary hip-hop. Listen to Lil Mosey or Lil Tecca — not just the pitch of the voices, but the breathable anti-density of the cadences, and also how the subject matter rarely rises past mild irritation. It’s cuddles all around. CARAMANICABrockhampton featuring Danny Brown, ‘Buzzcut’The return of Brockhampton after a quiet 2020 is top-notch chaos — a frenetic, nerve-racking stomper (featuring an elastic verse by Danny Brown) that nods to N.W.A., the Beastie Boys, the Pharcyde and beyond. CARAMANICARod Wave, ‘Tombstone’In a weary but resolute moan, over a plucked acoustic guitar and subterranean bass tones, Rod Wave sings about how he’ll be compulsively hustling “to keep the family fed” until he dies. Halfway through the song, he does. Death turns out to be the ultimate release: “Finally, I’ll be resting in peace,” he sings, his voice rising to falsetto and growing serene, with a gospel choir materializing to commemorate and uplift him. The video adds another story: of a deaf boy shot dead by police and laid to rest, as Wave sings, echoing the Bible and Sam Cooke, “by the river.” PARELESSara Watkins, ‘Night Singing’“Under the Pepper Tree” is the latest album by Sara Watkins, from the lapidary acoustic bands Nickel Creek and I’m With Her, and it’s a collection of children’s songs, mostly from her own childhood. “Night Singing” is her own new song, two minutes of pure benevolent lullaby as she urges, “Rest your eyes, lay down your head,” while the music unfolds from cozy acoustic guitar picking to halos of ascending, reverberating lead guitar. PARELESChristopher Hoffman, ‘Discretionary’The cellist Christopher Hoffman’s unruly, unorthodox quartet — featuring the vibraphonist Bryan Carrott, the bassist Rashaan Carter and the drummer Craig Weinrib — moves around with its limbs loose, but its body held together. On “Discretionary,” the odd-metered opening track from his new album, “Asp Nimbus,” a backbeat is implied but always overridden or undermined; Henry Threadgill’s Zooid, an avant-garde chamber ensemble in which Hoffman plays, might flutter to mind. Carrott’s vibes make a web of harmony that Hoffman’s bowed cello sometimes supports, and elsewhere cuts right through. RUSSONELLO More

Neta Elkayam, an Israeli singer, plumbs the rich culture of the Moroccan Jews she descended from, and introduces it to new audiences in both countries.Neta Elkayam did not really understand the depth of her dual identity until, in her late 20s, she and a friend took a trip from their home country, Israel, to that of their parents, Morocco.“It was like drugs,” Ms. Elkayam said. “We both felt like we were walking on air. This is how our place needs to feel. I felt home. I felt filled with happiness. I felt like a complete stranger at the same time. A lot of people on the streets looked like me or like people I knew from my childhood.”Now 41, Ms. Elkayam, a singer and visual artist, has since earned a following with recordings of the music of Morocco’s Jews, most of whom left that country decades ago. Ms. Elkayam has joined the ranks of artists from scattered people around the world whose longing for a lost homeland has helped preserve once-thriving cultures.Her connection to her Moroccan heritage led to her latest and most emotional project, with roots in a sprawling transit camp on the outskirts of Marseille, France, that once housed displaced Jews. Many of them were from North Africa, trying to make their way to Israel. Few artifacts remain of life in the camp, called Grand Arenas, which operated from 1945 to 1966, but among them are recordings of Jewish women from the Atlas Mountains in Morocco singing.Ms. Elkayam said she wept the first time she heard the aching, mesmerizing voices of those long-ago Amazighs — often called Berbers, a term some consider derogatory.The Amazighs are an ethnic group largely from North and West Africa who are nowadays mostly Muslim, though there was a significant Jewish Berber minority in Morocco in the past. In present-day Morocco, there is occasional animosity between Arabs and Amazigh, who often say that they feel their culture is neglected by the Arab-majority state.In the recordings, the Jewish women from Morocco sang of displacement and the meaning of home as they headed into a new life in a faraway country, leaving behind all that was familiar.“This is history that you don’t find in books, and you don’t learn at school,” she said in a video interview from her music studio in Jerusalem. “I was crying while listening to the voices of these women. I felt that I needed to make something with it and make it super relevant.”She and her husband, Amit Hai Cohen, a musician, are recording an album, incorporating those old recordings and updating them with electronic beats and elements of jazz.In a way, it is a work she was born into.Ms. Elkayam is recording an album incorporating archival recordings of the singing of Jewish women from the Atlas Mountains in Morocco.Amit Elkayam for The New York TimesMs. Elkayam’s grandparents left Morocco for Israel, more than 2,000 miles away, in the 1950s and 1960s, never to return. They joined an exodus of hundreds of thousands of Jews, most of them drawn to the new state of Israel, that left only a few thousand still in Morocco.She grew up in Netivot, a relatively poor town of Sephardic Jews in southern Israel. Their language, music and food survived in such places — until her parents sent her to boarding school when she was 14, Ms. Elkayam said, she did not know any Ashkenazi Jews — but have faded with time.Ms. Elkayam was very close to her father’s mother, who left Tinghir, an Amazigh village in the Atlas Mountains, in 1956. Sephardic immigrants struggled for years in Israel, and Ms. Elkayam said her grandmother lived inside her memories of home, never fully learning Hebrew or adapting to her new setting. She kept the rhythms of her pastoral life in Morocco, waking at 5 a.m., making bread every day and socializing with other Moroccan exiles.“If it weren’t for the faith and religion and the memories, she wouldn’t have survived,” Ms. Elkayam said. “She lived like she was still in Tinghir. She had a neighbor she spoke Amazigh with. My grandmother wasn’t a happy person, but she was always singing.”Ms. Elkayam’s parents, teachers who were born in Morocco but left when they were young, made their first trip back in 1996. She joked that they brought back nothing but pictures of the cemeteries Jewish tourists visit to trace their family histories.“I never stopped hearing about Morocco,” she said. “We talked about Morocco all the time. Jewish immigrants from Morocco had a lot of troubles and difficulties. That’s why Morocco was always present in their memories.”That longing and sense of displacement, which Ms. Elkayam inherited, is a constant theme in her work, as is a search for her own identity. She said that she barely heard the Amazigh language when she was growing up — other than her grandmother’s occasional chats with the neighbor — and that her mother only spoke Arabic. But she has been working hard on improving the Moroccan Arabic she sings in, and her music videos alternate images of Morocco and Israel.About a million of Israel’s population of nine million are from Morocco or of Moroccan descent, one of the largest demographic groups in the country, and Ms. Elkayam has introduced many of them to the music of their forebears, including artists like the singer Zohra al-Fassiya. Ms. al-Fassiya was a huge star in the Maghreb in the mid-20th century, even performing for Morocco’s royal family. But she moved in 1962 to Israel, where she faded from view, dying in relative obscurity in 1994.It is that work of bridging gaps, across time and nations — and in particular drawing attention to women artists — that makes Ms. Elkayam important, said Christopher Silver, a historian at McGill University in Montreal and an expert on North African Jewish history.“Neta has done incredible work to amplify the voice of singers like Zohra al-Fassiya for a new generation,” he said. “She took some of her most iconic music and quickened the tempo, added new instrumentation, sort of paying homage to the original.”Ms. Elkayam working in her studio. Her grandparents left Morocco for Israel in the 1950s and 1960s, never to return.Amit Elkayam for The New York TimesStarting in the 1960s, Morocco, more than other Arab-majority countries, had cordial unofficial dealings with Israel, though there were no formal relations between them. They even worked together secretly on security issues. Jews who had left began to return as tourists, visiting religious sites, cemeteries and families, and Morocco remains a powerful draw for their descendants.In December, Morocco joined a handful of other Arab states in normalizing diplomatic relations with Israel. The government of King Mohammed VI of Morocco has spurred renewed interest in the country’s Jewish history and culture, hoping to ease discontent over the rapprochement with Israel, viewed by many as a betrayal of the Palestinian cause.A documentary recently broadcast on Moroccan state television, “In Your Eyes, I See My Country,” which has been shown at festivals in Marrakesh and elsewhere, follows Ms. Elkayam and Mr. Cohen, her husband, on a trip to Morocco, including visits to their grandparents’ hometowns. It shows Moroccans embracing her, clutching her hand, even telling her that they remember the names of her grandparents.Being an Arabic-speaking Jew, in both Israel and Morocco, means living with a complex, sometimes conflicting set of expectations, said Aomar Boum, an anthropologist at the University of California Los Angeles, who specializes in Jewish-Muslim relations. In the film, it is clear that Ms. Elkayam is “carrying a heavy weight,” he said. “It’s only the music that connects the dots.”The film, which is scheduled to be shown next month at the Miami Jewish Film Festival, shows her and Mr. Cohen performing concerts for largely Muslim audiences, and it ends with him spending days in his family’s former village, where he dresses in traditional Moroccan clothes and country boys welcome him like a brother.Kamal Hachkar, the film’s Moroccan director, said, “What touched me the most about Neta is that I quickly understood that she sang to repair the wounds of exile.” The documentary, he added, “is a way of defying the fatality of the large history which separated our parents and grandparents and that our generation can recreate links through music, which is a real common territory and melting pot for Jews and Muslims.”The political context is inescapable.“Singing in Arabic is a political statement,” Ms. Elkayam said. “We want to be part of this area, we want to use the language to connect with our neighbors. It isn’t only to remember the past.” More

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The talk about the Miami star and the Brooklyn raptress appearing on the song battle show starts after it is brought up during Trina’s interview in a recent episode of 103.5 ‘The Beat’.

Mar 26, 2021

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As soon as Trina talked about being down for doing “Verzuz” battle against Lil’ Kim, hip-hop fans and even fellow hip-hop stars couldn’t help but weigh in on the possible epic battle. Among those who were excited with the idea was Yung Miami who took to her Twitter account to share her opinion on the matter.

In the tweet, the one-half of City Girls revealed who she thought will win should Trina and Kim go head-to-head on the song battle show. In response to a fan’s tweet that read, “I need this Lil Kim vs. Trina Verzuz,” Yung said, “Me tooooo I love Kim to death but I gotta go with Trina.”

The talk about Trina and Kim appearing on “Verzuz” started after it was brought up during Trina’s interview in a recent episode of 103.5 “The Beat”. During her appearance, the “Love & Hip Hop: Miami” star revealed that she’d be down to go hit-to-hit in a popular song battle show against her former rival. The host name-dropped the Queen Bee and Trina immediately approved the idea.

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“Kim is that b***h. Let’s be very clear,” so she said of the Brooklyn star. “When I came into the industry, this is who I looked at, looked up to. This is the lyrics that I recited, this is what made me know that it’s okay to talk that lethal s**t.”

Further gushing over her former rival, Trina continued, “Therefore, I would feel like that’s equivalent because Kim is legendary, and she got mad records.”

“I won’t even feel like a competition because it’s a family thing,” she explained. “I’m probably gonna be so much more engaged in her records than anything cuz it’ll go back to when I first heard her, so I’ll be in my vibe, like fanned out…That’s just what I would say. That’s just my little opinion, but nobody reached out.”

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A scholar dared to complete violin sonata fragments left by the great composer. They’re featured on a new album.For a musician, there could hardly be a more perilous task than completing works left unfinished by Mozart.“It was bloody cheek of me to even try,” Timothy Jones said in a recent interview.What began as a musicological lark for Jones, a Mozart expert who teaches at the Royal Academy of Music in London, has now been captured on disc. His completions of several fragments for violin and keyboard were released on Friday on the Channel Classics label, played by the violinist Rachel Podger and, on fortepiano, Christopher Glynn.Posthumous completions are not unheard-of in the classical world. Mozart’s Requiem as it’s generally presented contains much material by Franz Xaver Süssmayr. Deryck Cooke’s realizations of Mahler’s 10th Symphony — of which only a single movement was substantially finished at its composer’s death — are widely performed, if still controversial in certain circles. Opera houses usually put on the standard completions of Puccini’s “Turandot” and Berg’s “Lulu.”The new Mozart-Jones recording is unusual, though, in its choose-your-own-adventure approach. Jones, testing different aspects of Mozartian style, made multiple completions of each fragment, and the album includes some of that variety, giving a heady sense of how open-ended creative production is — how differently symphonies (or paintings or novels) we know and love might have ended up.“The one big thing that came out of it for me,” Jones said, “is that it sort of dramatizes the openness of even the finished scores.”The new album features Christopher Glynn, left, on fortepiano and the violinist Rachel Podger.Andrew WilkinsonJones got into the completions game while researching a book about Mozart’s late career. Looking into the master’s sketches — over 100 instrumental fragments survive from his final decade — and how they fit in with the canonical works, Jones became fascinated. But he wanted to deal with them in what was, for a musicologist at least, an unconventional way.“There were things I wanted to say about these fragments which might be more easily said by dots on the page rather than prose,” he said.He experimented with completing some chamber pieces, then a violin concerto from 1788. “It took on a life of its own,” he said, “and it’s preoccupied me for the best part of seven years now.”The fragments were not new discoveries; they have been known since the 19th century. But more recent research, including by the scholars Alan Tyson and Ulrich Konrad, helped date them more precisely, allowing Jones to be focused in exploring the circumstances in which Mozart created them.Jones, a Mozart expert at the Royal Academy of Music in London, has spent years working on completions of fragments.PIAS“Having a precise sense of the context for these fragments is what let me ask detailed hypothetical questions about what his compositional strategy might have been,” Jones said. “What was he working on, listening to, his compositional interests? That was key, because his style is still evolving really quite fast up until he died, in 1791.”Tyson’s research, which involved close study of the manuscript paper Mozart used, suggested that one of the fragments, 34 dusky bars in the key of A, was from 1784. But the composer also used that type of paper in 1787. So Jones offers completions that might have emerged from either option, including one (more extroverted) in the style of other pieces Mozart wrote in 1784, and another (more intimate) à la 1787.What is believed to be the latest of the violin-keyboard sonata fragments — 31 exuberant yet aching bars of an Allegro, in G — was dated by Tyson to Mozart’s final two years, well after his last completed violin sonata. One of Jones’s completions is intended to be reminiscent of the relatively straightforward lyricism of that finished sonata (K. 547, in the standard chronological catalog). Another completion, though, sees the fragment as part of a new beginning circa 1790, with more complex harmonies borrowed from the K. 590 String Quartet and the K. 595 Piano Concerto.“Which of those paths does one bend this movement toward?” Jones said. To my taste, while the harmonically thornier, more overtly dramatic option is intriguing, the plainer pleasures of the other completion feel more properly, well, Mozartian.But it really — obviously — could go either way, particularly since Podger and Glynn play both alternatives with a relish that draws on broad experience in this repertory. The new recording is an appendix of sorts to Podger’s eight-disc cycle of Mozart’s violin sonatas, a collaboration with the keyboardist Gary Cooper that was completed in 2009.“When Chris and I played them through before lockdown,” she said of Jones’s pieces, “I remember thinking, Gosh, do I believe this, do I believe that? I was constantly questioning myself, because Tim hadn’t written in where the fragment finished and where the new invention began. And we did stop at one stage, and one of us said, ‘Surely that must be Tim,’ and we checked, and it was Mozart.”In scholarly circles, the response to Jones’s work has been positive — more or less. “Some think these are useless parlor games; some are a bit more used to them,” he said. “Some people are so polite they won’t tell you to your face. There are Mozart scholars who know what I’ve been up to, and on the whole they’ve been interested. Yes, there are anxieties about doing counterfactual history. But I think of these as just pieces of criticism; they’re no different than improvising a cadenza.”Emphasizing that he never set out to be a completions completist, Jones said he was almost done with his project posing as Mozart’s co-composer. “There are a few still interesting to me I haven’t tackled,” he said. “But I want to move on and finish the book I interrupted to do all this.”“Putting the hubris aside,” he added, “I’d much rather Mozart had finished these pieces than I.” More

The first song to be shared from the Grammy-winning artist’s ‘From the Vault’ series is produced by Aaron Dessner and will be included on ‘Fearless (Taylor’s Version)’.

Mar 26, 2021

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Taylor Swift has treated her fans to yet another never-before-heard track. The 31-year-old premiered her previously-unreleased song titled “You All Over Me” on midnight Friday, March 26 along with its lyric video.

“You All Over Me” features backing vocals by Maren Morris and is produced by the National’s Aaron Dessner, who who collaborated with Taylor on her Grammy winning 2020 “Folklore” album and the follow-up “Evermore”. It’s co-written by Scooter Carusoe.

The song is the first to be released from her “From the Vault” series that will be included on “Fearless (Taylor Version)”, the revamp of her second studio album. The track was recorded for the 2008 project, but it didn’t make the cut.

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Taylor announced the song on Wednesday. Making use of Twitter, the “Love Story” hitmaker shared snaps of herself and Maren. Along with the photos, she wrote, “HI. I wanted to let you know that the first ‘From the Vault’ song I’m releasing from Fearless (Taylor’s Version) comes out tomorrow at midnight eastern. It’s called ‘You All Over Me’ (‘From The Vault’).”

“One thing I’ve been loving about these ‘From the Vault’ songs is that they’ve never been heard, so I can experiment, play, and even include some of my favorite artists,” she went on sharing. “I’m really excited to have @MarenMorris singing background vocals on this song!!” She then ended with, “Can’t wait for you to hear it [love]”

“Fearless (Taylor Version)” is due out on April 9. She previously released a re-recorded version of “Love Story”, the lead single off the album, which she released last month. She also released the “Elvira Remix” of the song.

Taylor has opted to re-record a number of tracks from her back catalogue in an attempt to regain control of her work after Scooter Braun bought and later re-sold master recordings of her first six studio albums.

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The surviving members of the ‘God Save the Queen’ band are reportedly no longer on speaking terms as they launched lawsuits against each other over royalties.

Mar 26, 2021

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The Sex Pistols are reportedly locked in a fresh lawsuit over royalties.

Steve Jones and Paul Cook have filed papers suing their ex-bandmates John Lydon (Johnny Rotten) and Glen Matlock for breach of contract, as they believe they are owed money from the pair, court documents have revealed.

It’s also been claimed that the band members are no longer on speaking terms and only communicate through their lawyers, with an insider declaring the “Anarchy in the U.K.” rockers “over once and for all.”

A source told The Sun newspaper’s Bizarre column of the suit, “The guys have always had a pretty fiery relationship, but sadly things are at an all-time low now.”

“None of them are speaking – only through lawyers – and each reckons the other is to blame for various things over the decades.”

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“As with most rows, money is the major factor here- Steve and Paul believe they have been denied royalties dating back years, whereas Glen and John think, if anything, they’re owed more money. They could counter-sue if needs be.”

“There were chats about a reunion a while ago – but this is now off the table. The Sex Pistols are over once and for all.”

The band has had several historic fallings out over money.

In 1986, the surviving band members received a $1.3 million (£1 million) pay-out in a High Court battle with their former manager Malcolm McLaren.

The Sex Pistols – which also briefly featured bass player and backing vocalist Sid Vicious, before his death from a heroin overdose in 1979 – released just one album, 1977’s “Never Mind the B****** Here’s The Sex Pistols”.

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Even as the birthday parties and weddings grew scarce during the pandemic, the musicians were increasingly hired to play at funerals, including those of band members.Listen to This ArticleFacing the stone archway of St. Joseph’s Salesian Youth Retreat Center outside Los Angeles, the dark wooden coffin holding the body of Juan Jiménez was wheeled next to a band of masked mariachis. The group readied themselves to play, simultaneously lifting bows to violins, hands to a golden harp and fingers to pluck at guitarróns, their bass guitars.When the priest’s prayer ended, Jesus Guzmán led the band, Mariachi Los Camperos, through almost an hour of music: songs that express grief and goodbyes, like “Las Golondrinas” (“The Swallows”).The calendars of mariachi bands nationwide used to be full of dates for weddings, quinceañeras and serenades where the vigorous music of Mexican culture helped enliven some of life’s most joyous moments. With the onset of the pandemic, those opportunities disappeared, leaving behind only the funerals, the mounting number of funerals, that have kept some mariachis from financial ruin.Mariachi Los Camperos playing a concert before the pandemic. In February, they performed at the funeral of their nationally acclaimed guitarron player, Juan Jiménez (back row, second from right) who died in the pandemic.Jesus GuzmanAt this funeral, in February, the playing was particularly passionate and the musicians, sombreros off, bowed their heads as the body passed. Jiménez was one of their own, a revered guitarrón player who had succumbed at 58 to the coronavirus.“His friends were all there with him, playing for him, thanking him, continuing his legacy,” said Guzmán, a friend of Jiménez since childhood and the music director of the mariachi band they both called their own.To witness the number of sad events that have kept some mariachi bands financially alive is to confront the virus’s harrowing toll on the people who once sang to their music. Latino and Black residents caught in this winter’s fierce coronavirus surge through Los Angeles County died at two or three times the rate of the white population there.Members of Mariachi Los Galleros de San Antonio say the pandemic caused the cancellation of dozens of events that they had been scheduled to perform. Christopher Lee for The New York TimesThe story is similar in other locations with large Latino populations, and studies show Latinos are more vulnerable to becoming ill and dying from the virus. Their communities and households tend to be more crowded and to rely on mass transit, their access to health care is limited and their jobs are likely to involve contact with the public.So as the caskets go into the ground, many mariachi bands in California, Texas, Illinois and elsewhere have turned to playing songs of pain and sorrow to ease the passing. Even for the bands used to playing at funerals before the pandemic, the sweep of death has been overwhelming. Many have lost family and friends, band members and music teachers.For decades, family-run mariachi bands and self-employed musicians in Los Angeles have descended on Mariachi Plaza east of Downtown to vie for new bookings. This is where Christian Chavez, the secretary for the Organization of Independent Mariachis of California, has handed out boxes of food to struggling musicians since the pandemic first upended business.Tuning up in the parking lot.Christopher Lee for The New York TimesRehearsing in the final minutes before an event.Christopher Lee for The New York TimesMariachi Los Galleros de San Antonio rehearsing at a member’s home before an event.Christopher Lee for The New York TimesMiguel Guzman, a member of Mariachi Los Galleros de San Antonio, said he almost died when the coronavirus landed him in the hospital for a month in November.Christopher Lee for The New York TimesLike many musicians he met on the plaza, Chavez was not immune to the pandemic’s financial hardships. The band his grandfather first founded in Mexico, Mariachi Tierra Mexicana, struggled. The pandemic wiped out his savings in seven months. The coronavirus forced Chavez and other mariachis to make grueling decisions just to make ends meet. That led many to continue working at events where people were nonchalant about masks and social distancing.But, for many, funerals and burials became the mainstay, easing the financial pain but exacting another kind of harm, even for those used to playing such ceremonies intermittently between other events. The weeping. The people grasping for coffins as they were lowered. Chavez said that, at times, these moments were so devastating he had to turn away and just focus on his trumpet.Of the 400 active members of the California mariachi organization, about 80 died of the virus, possibly having picked it up performing at events like parties and at restaurants, Chavez said. That tally includes his godfather, Dagoberto Martinez, who played the vihuela in his family band for 15 years.“Every time I go to work, I pray that I’m one of the lucky ones to return home,” Chavez, who is working events and playing at dozens of funerals, said in a video interview. He and his family got dangerously sick with the virus in October, too.All performing arts workers have struggled during the pandemic as unemployment had an undue influence on that sector. What is unique about the mariachi band members, many of them said in interviews, is how much their music became part of the ritual of passing for a population particularly affected by the pandemic.As more people get vaccinated, Mariachi Los Galleros de San Antonio is seeing a slight uptick in events while still playing at many funerals.Christopher Lee for The New York TimesIn Pilsen, a neighborhood of Chicago with a sizable Latino community, Enrique and Karen Leon’s circle of mariachis has waned in the past year, in part because of deaths attributed to the coronavirus.“Every mariachi represents a musical instrument, an instrument you hear in a group,” Karen Leon, the manager of the band Mariachi Mexico Vivo, said, describing what the loss of musicians means to the close community of mariachis. “Lots of people think, well, there are plenty of mariachis in Chicago, but it’s really difficult to replace someone when they have their talent. You can’t just replace someone’s life for another.”In the past four months, Enrique Leon and six members of the band played at 15 funerals, half of those for coronavirus-related deaths. Though the funerals are essential, and help pay the bills, they do not match the emotional boost of performing at an event where one can see the music lift people’s spirit like a buoy.“I want to play my guitar, compose songs, be in public singing,” Enrique Leon said. “That ambience fills me up. I’m working, and making money, but it’s not the same. It’s not the same without seeing smiles and laughter, the emotion from the crowd when they see the mariachi.”Members of Mariachi Mexico Vivo playing at a 50th birthday party in March.Samantha Cabrera Friend for The New York TimesThe party was a return to normalcy for a band whose performances at happy occasions had been disrupted by the pandemic.Samantha Cabrera Friend for The New York TimesThe guest of honor, Josefina Gonzales, center, who herself survived the virus, was surprised, and moved, by the appearance of the band.Samantha Cabrera Friend for The New York TimesMembers of Mariachi Mexico Vivo, smiling here at the birthday party, have played at 15 funerals in recent months.Samantha Cabrera Friend for The New York TimesIn Texas, back in November, Miguel Guzman of Mariachi Los Galleros de San Antonio had to put his violin and music aside when he tested positive for the coronavirus. Just days before, he was masked and inside the home of a friend who was a reliable instrument dealer, buying a violin for a student. The friend later died of the virus.Guzman fell very ill, too, and spent a month in the hospital. The virus winded him. He needed a constant stream of oxygen to breathe with his damaged lungs; he dropped 40 pounds and lost all his muscle; he needed physical therapy just to walk again.At home, his fingers were numb when he repeatedly tried picking up his violin, but it was the promise of playing in the band with his sons again and writing a composition for his wife that kept him motivated to recover.This past month, Guzman finally returned to the band and played at another round of funerals and burials. His first day back was at the funeral of a friend’s father-in-law. The week after, it was a funeral for one of his longtime clients, a tire-shop owner who had died of coronavirus-related complications.Close to the coffin at that funeral, he stood with the band playing “Te Vas Ángel Mío” or “You’re Leaving, Angel of Mine.” He could hear the crying, yes, but he also could hear his violin, carrying life forward for those who grieved, and for him.“Music is the medicine, because when I’m playing, I forget about not being able to breathe,” Guzman said. More