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    St. Vincent’s Synth-Funk ‘Pain,’ and 9 More New Songs

    AdvertisementContinue reading the main storySupported byContinue reading the main storyThe PlaylistSt. Vincent’s Synth-Funk ‘Pain,’ and 9 More New SongsHear tracks by Drake featuring Rick Ross, Bruno Mars and Anderson .Paak, Bebe Rexha and others.St. Vincent previews a new album called “Daddy’s Home” with the squelchy “Pay Your Way in Pain.”Credit…Zackery MichaelJon Pareles, Jon Caramanica and March 5, 2021Updated 4:08 p.m. ETEvery 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 theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.St. Vincent, ‘Pay Your Way in Pain’[embedded content]St. Vincent (Annie Clark) piles artifice on artifice on the way to a digitized primal scream in “Pay Your Way in Pain,” from a new album, “Daddy’s Home,” due in May. A throwaway music-hall piano introduction cuts to fat, squelchy 1980s synthesizer tones as she sings, archly but with mounting desperation, about rejection on every front, surrounded by multiples of her own voice processed into gasping, tittering onlookers; they join her to harmonize on the words “pain” and “shame” like decades-later echoes of David Bowie singing “Fame.” It’s droll until it isn’t; at the end, she proclaims, “I want to be loved,” and that last word stretches for a rasping, breathless 17 seconds. JON PARELESNo Rome featuring Charli XCX and the 1975, ‘Spinning’Pros recognize pros. It’s telling that Charli XCX (the Id Girl of hyperpop) and Matty Healy of the 1975 (the most self-conscious yet ambitious arena-rock deconstructionist) both chose to collaborate with No Rome, a Filipino songwriter and producer who melds introversion, melody and electronics. The song ends up on Charli XCX’s turf: teasing, danceable and unstable, flaunting its pitch-shifting and digital edits. But it’s also thoroughly danceable and flirtatious: full of mindless motion. PARELESBruno Mars, Anderson .Paak, Silk Sonic, ‘Leave the Door Open’Both Anderson .Paak and Bruno Mars are diligent students of R&B history, especially devoted to its most opulent, funky and idealistic moments in the pre-disco 1970s. So it’s no surprise that their collaboration — Silk Sonic, though they also keep their own search-optimizing names in the billing — harks back, in “Leave the Door Open,” to the close-harmony seductions of groups like the Spinners, the Manhattans and the Stylistics; yes, kids, that’s an analog tape deck rolling as the video begins. The descending guitar glissando, the glockenspiel, the showy key changes, the contrast of grainy lead and perfectionist backup vocals, the detailed erotic invitation of the lyrics — “Come on over, I’ll adore you” — are all good things to revive. PARELESDrake featuring Rick Ross, ‘Lemon Pepper Freestyle’What’s a palate cleanse for Drake is, for most rappers, out of the reach of their ambition and skill. In between albums, he tosses off songs that focus on his tougher side, leaning in to wordy verses largely bereft of melody. “Lemon Pepper Freestyle” — from his new “Scary Hours 2” EP — is a relaxed classic of the form, full of sly rhymes delivered so offhandedly it almost obscures the technical audacity within. The song features frequent mischief buddy Rick Ross, but promptly dispenses with him so that Drake can embark upon a four-plus minute verse touching on his notary public, some wild times in Vegas, smooth co-parenting (“I send her the child support/She send me the heart emoji”), the deadening effects of too much fame, the overpriced accouterments of too much fame and the usual confession/braggadocio nexus that even after more than a decade still stings: “To be real, man, I never did one crime/But none of my brothers can caption that line.” JON CARAMANICABebe Rexha, ‘Sacrifice’New year, nü-disco. Bebe Rexha turns whispering diva on “Sacrifice” — “Wanna be the air every time you breathe/running through your veins, and the spaces in between” — on an elegant track that includes the faintest nod to Real McCoy’s mid-90s ultra-bouncey “Another Night.” CARAMANICATank, ‘Can’t Let It Show’Tank pours out his regrets and begs for reconciliation on “Can’t Let It Show”: “I should’ve been everything I promised,” he croons in an aching tenor, going on to confess, “I’ve been stupid, heartless/I’ve been useless, thoughtless.” Then, in falsetto, he answers with what’s supposed to be her side of the dialogue: a repurposed Kate Bush chorus — “I should be crying but I just can’t let it show” — that makes him think he still stands a chance because she cares. Or is it all just his wishful thinking? PARELESMaroon 5 featuring Megan Thee Stallion, ‘Beautiful Mistakes’An awkward night out in a thankless marriage between a partner barely trying to save face and a partner trying very hard to do just enough so that observers might not notice how poorly suited the pair are to each other. CARAMANICAAshe and Finneas, ‘Til Forever Falls Apart’Perhaps Finneas is a little frustrated — though well-compensated — while he keeps things quiet (but deeply ominous) when he collaborates with his sister, Billie Eilish, whose vocals tend to be melodic whispers. He goes full-scale, orchestral Wall of Sound, appropriately, to share big crescendos with Ashe on “Til Forever Falls Apart,” which starts as a vow of fidelity but turns into visions of California apocalypse. PARELESOmar Sosa, ‘Shibinda’When the prolific Cuban pianist and composer Omar Sosa toured East Africa with his trio in 2009, he brought along a small recording setup, and captured himself playing with leading musicians in every country he visited. Afterward, he overdubbed additional layers of percussion and piano atop the original recordings; now he has finally released these recordings as an album, “An East African Journey.” In Zambia, Sosa met Abel Ntalasha, a multi-instrumentalist and dancer, whose song “Shibinda” tells of a young man growing into adulthood and preparing to marry. Ntalasha plays the kalumbu, a single-stringed instrument, and sings the song’s central incantation. Sosa gets involved gradually, contributing vocals and percussion and rhythmic spritzes high up on the piano. GIOVANNI RUSSONELLOHafez Modirzadeh, ‘Facet Sorey’[embedded content]To make his new album, “Facets,” the saxophonist Hafez Modirzadeh brought three leading jazz pianists into the studio. But before they arrived, he retuned many of the piano’s strings to reflect an old Persian technique of finding notes in the spaces between the tempered scale. On “Facet Sorey,” Modirzadeh doesn’t play a lick of sax; instead, the multi-instrumentalist Tyshawn Sorey handles the piece alone, conjuring up conflicted clouds of harmony, letting the piano’s slightly sour tuning create a feeling of rich uncertainty. RUSSONELLOAdvertisementContinue reading the main story More

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    Bruno Mars and Anderson .Paak Debut Silk Sonic's First Single

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    The pair have launched ‘Leave the Door Open’, their first single as a duo, as they are gearing up for the release of their upcoming debut studio album titled ‘An Evening With Silk Sonic’.

    Mar 6, 2021
    AceShowbiz – Bruno Mars and Anderson .Paak have released Silk Sonic’s first single, “Leave the Door Open”.
    The pair have teamed up to record an album called “An Evening With Silk Sonic”, and the first tune from the record – which also features “special guest host” Bootsy Collins – is out now with a music video, which sees them dripping in pieces from Bruno’s Lacoste x Ricky Regal Collection.
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    The “Finesse” singer has just teamed up with Lacoste to launch his new lifestyle brand, Ricky Regal.
    “Inspired by a lust for life and an entrepreneurial Midas touch, the collection bridges Bruno’s enigmatic personality and distinct style with Lacoste’s iconic blend of sport and luxury,” the company said in a statement.

      See also…

    Teasing the new single and record from his new outfit, Bruno previously tweeted, “We locked in and made an album. The band’s called Silk Sonic. First song drops next Friday 3/5. (sic)”
    Rapper Anderson tweeted, “WE MADE AN ALBUM!! YALL GET THE FIRST SONG NEXT FRIDAY 3/5!! ROCKET EMOJIS AND ALL THAT!!! (sic)”
    The pair are no strangers to working together, after they toured with each other on the 35-year-old singer’s “24K Magic World Tour” in 2017.
    Bruno hasn’t dropped an album since 2016’s “24K Magic”.
    Details of their upcoming collaborative album are still sketchy, but there was speculation that the pair had worked on new material with Chic guitarist Nile Rodgers and a member of Disclosure after a video emerged on social media of the quartet at the famous Abbey Road Studios in London.

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    Drake Releases Three New Songs From 'Scary Hours 2'

    WENN

    The ‘Scorpion’ star has delighted his loyal devotees as he releases three tracks from a follow-up to his 2018 mini album ‘Scary Hours’ to tide fans over his next studio installment.

    Mar 6, 2021
    AceShowbiz – Drake has released three news songs on “Scary Hours 2”.
    After teasing a follow-up to his 2018 EP “Scary Hours”, the hip-hop superstar has delivered three new tracks on the sequel: “What’s Next”, “Wants and Needs” featuring Lil Baby, and “Lemon Pepper Freestyle” with Rick Ross.
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    Fans are currently awaiting a release date for the rapper’s upcoming album, “Certified Lover Boy”, which he delayed to focus on his recovery from knee surgery.
    The LP was set to arrive in January (21), but he decided to push back the release because all of his “energy” went into healing from the operation he had last year.
    [embedded content]

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    In a statement to fans on his Instagram Story, Drake wrote, “I was planning to release my album this month but between surgery and rehab my energy has been dedicated to recovery.”
    “I’m blessed to be back on my feet feeling great and focused on the album, but CLB won’t be dropping in January. I’m looking forward to sharing it with you all in 2021. (sic)”
    [embedded content]
    So far, the Grammy-winner has released the lead single, “Laugh Now Cry Later”, featuring Lil Durk.
    Drake previously admitted he expects some people to “hate on” his new record like they did 2016’s “Views”.
    Responding to a fan who said “Views” “be hittin’ different” four years later, Drake replied, “They hated on Views just like they will CLB (Certified Lover Boy) but it’s music to evolve to.”
    Drake’s last studio album was 2018’s “Scorpion”.

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    A Composer’s Notes Echo After His Death

    AdvertisementContinue reading the main storySupported byContinue reading the main storyA Composer’s Notes Echo After His DeathThe violinist Hilary Hahn has released the premiere recording of two serenades by Einojuhani Rautavaara, who died in 2016.“The audience was so quiet throughout the whole premiere,” the violinist Hilary Hahn said of the new Rautavaara works. “We all felt that these notes will never be new again.”Credit…Daniel Dorsa for The New York TimesMarch 5, 2021When the Finnish composer Einojuhani Rautavaara died in 2016, at 87, a voice of rare lyricism in contemporary music fell silent. His death severed a link to the past: Rautavaara had been a protégé of Sibelius, Finland’s master composer, and one of the pallbearers at his funeral in 1957. Rautavaara’s music, too, conjured the past. Though he entertained some modernist techniques, at core his style was seductively, if idiosyncratically, Romantic.This week, he has delivered an unexpected posthumous greeting. A new album, “Paris,” by the star violinist Hilary Hahn and the Orchestre Philharmonique de Radio France, features two gleaming serenades — one addressed to love, the other to life — that were the last pieces he wrote. Hahn said in an interview that when she heard of their existence, it felt like receiving “a letter from the beyond.”“We thought there wasn’t anything else,” she added. “And he left us this gift.”The gift was intended for Hahn. In 2014 she had performed Rautavaara’s soaring Violin Concerto, written in the 1970s, with the Radio France orchestra. She was so taken by the piece that she told the ensemble’s Finnish music director, Mikko Franck, that she wanted to commission another concerto from him.Franck agreed to broach the subject, though he knew Rautavaara’s health had been fragile since he suffered a ruptured aorta in 2004. When they spoke, Rautavaara said he did not want to write another concerto, but that he was drawn to the idea of a suite of serenades. The conversation ended inconclusively, and Franck and Hahn came to believe the project had fallen victim to Rautavaara’s weakened condition. Another work for violin and orchestra, “Fantasia,” written for Anne Akiko Meyers and completed in 2015, appeared to be his final composition.Hahn wanted to commission a new work by Rautavaara, but the project seemed to have fallen victim to his weakened condition in his final years.Credit…John McConnico for The New York TimesAfter Rautavaara’s funeral, his widow, Sinikka, took Franck aside and showed him the manuscript of two serenades for violin and orchestra. “Serenade to My Love” was complete; for “Serenade to Life,” the solo violin part had been finished, but the sketches for the orchestra cut off near the end, as if in midsentence. Franck noted that the titles for the pieces were in both Finnish and French; they were clearly intended for Hahn and Franck’s Paris-based orchestra.The composer Kalevi Aho, a student of Rautavaara’s, completed the orchestration, and in February 2019 Hahn and Franck performed the serenades in Paris. “The audience was so quiet throughout the whole premiere,” Hahn said. “We all felt that these notes will never be new again.”In fact, there are few truly new notes in these un-self-consciously rhapsodic pieces. Rather, they sublimate themes from earlier Rautavaara vocal works, weaving a web of memory and longing. One source he drew on was a set of serenades for male a cappella choir from the 1970s — one of them addressed to beer. The melody of “Serenade to My Wife,” on a text by Stefan George about the fading glow of late summer, is the blueprint for the searching, self-absorbed solo line in “Serenade to My Love.”“It’s lush despite itself,” Hahn said of the music. On the new album, which also features works by Chausson and Prokofiev, she plays it with luminous tone and sustained intensity, her part soaring above a string orchestra that swells and falters.“Serenade to Life” quotes from Rautavaara’s 1991 opera “The House of the Sun,” a tragicomedy about two Russian aristocrats who die in exile, clinging to dreams of past grandeur. This serenade begins with a slinky and fluid line for the solo violin, complemented by playful woodwinds that give the music an expansive and sociable feel. In the final moments, a frantic, percussive energy takes over and drives the piece to an abrupt ending.Sinikka Rautavaara said in an email that in this final serenade, “the feeling remains that life was too short after all.”Hahn said that in performing a composer’s last works she felt the weight of responsibility, “knowing that we were finishing the things that he had started to say.” The premiere, she added, “was the end of something, but it also felt like a beginning.”“Now the piece is out in the world; it’s almost like a birth,” she said. “The entire catalog is there, and it can become this living legacy.”That first performance is the one captured on the new album. “Everyone onstage felt the significance,” Hahn said. “You are completing a composer’s catalog. There will be no more new notes after this.”AdvertisementContinue reading the main story More

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    Justin Bieber Robs a Bank for Love in 'Hold On' Music Video

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    ‘The song is just a hopeful record of just holding on,’ the ‘Love Yourself’ hitmaker explains the song, which will be included in his upcoming sixth album ‘Justice’.

    Mar 5, 2021
    AceShowbiz – Justin Bieber has finally released the music video for his latest single “Hold On”. Unveiled on Thursday, March 4, the visuals sees the Canadian heartthrob being on the run after robbing a bank to save the love of his life.
    The video, which is directed by Collin Tilley, opens with Justin trying to escape from police as he rides a motorbike. Later, the scene cuts to him suffering a gunshot wound.
    In the flashback scene, it is revealed Justin’s girlfriend is having a deadly disease. Struggling with the medical bills, Justin is forced to commit a crime by robbing a bank. However, his plan doesn’t work out because authorities arrive before he can flee the scene.

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    “I need you to hold on/ Heaven is a place not too far away/ We all know I should be the one to say we all make mistakes/ (We all make mistakes),” Justin sings in the chorus. “Take my hand and hold on/ Tell me everything that you need to say/ Cause I know how it feels to be someone/ Feels to be someone who loses their way.”
    “The song is just a hopeful record of just holding on, because a lot of us want to give up at times,” Justin explains the song, which will be included in his upcoming sixth album “Justice”. “There’s a lot to look forward to. There’s a lot we can’t control sometimes, but there’s always hope.”
    Elaborating the new direction that his music will take with his next album, the husband of Hailey Baldwin shares, “In a time when there’s so much wrong with this broken planet we all crave healing and justice for humanity. In creating this album my goal is to make music that will provide comfort, to make songs that people can relate to and connect to so they feel less alone.”

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    Tory Lanez's New Album 'Playboy' Comes 'From a Place of Hurt and Vulnerability'

    Dubbed an RnB capsule, the newly-released project, which features a Chris Brown-assisted track, captures the Canadian artist’s ’emotions caused by a breakup that left him vulnerable.’

    Mar 5, 2021
    AceShowbiz – Tory Lanez shows his vulnerable side in his new album “Playboy”. Dubbed an R&B capsule, the seventh studio album from the Canadian artist just dropped on midnight Friday, March 5 and he describes the creative process behind the project in a press release.
    “Emotionally, I was able to flow creatively. Some of my best creations come out when I’m vulnerable,” he explains. “This is me being as honest as I can be on a record. For the first time in a long time, I was writing R&B from a place of hurt and vulnerability, Unlike a lot of my other R&B which is based on the pure vibe and catchy melodies.”
    Lanez additionally reveals his objective with the album, “I want my listeners to walk away with an understanding of how my emotions are and I want them to understand that this is an honest depiction of how I feel about relationships and people that are close to me.”
    Off the twelve tracks in the album, “Deceiving Eve” is perhaps the best to convey Lanez’s emotions as it is the song he felt the most vulnerable of the project. The album also also features “Feels” as the lead track. Featuring R&B crooner Chris Brown, the song is described as a seductive ballad that showcases the two singers rhapsodizing over bedroom antics.
    Breezy also appears in the music video directed by Christian Breslauer, which was released on February 20. On working with Brown, Lanez says, “Me and my Bro are not playing. This song is kicking off my new capsule ‘PLAYBOY’. This is one of my favorite bangers to date. It’s R&B season.”

      See also…

    [embedded content]
    Ahead of the “Playboy” release, Lanez debuted three unreleased tracks as non-fungible tokens (NFTs) through a collaboration with leading blockchain company Bondly.Finance. This unorthodox approach pairs rare digital art with music where fan’s and NFT collectors are able to prove ownership of these items through the blockchain.
    By taking this approach, Lanez becomes the highest streamed, independent artist to release full songs as NFT’s prior to the album’s release on other digital platforms. “This album is one of the biggest releases of my career, so I had to make the release strategy bigger than ever,” says Lanez. “This meant getting the tracks to my superfans early before the album hits on Friday. So I’m dropping my first NFT, allowing 450 fans to get 3 unreleased tracks from my discography and a chance to meet and hang out with me digitally.”
    The three songs include two from his upcoming album “Playboy” and one from his yet to be announced 80’s themed album.
    “Playboy” is available for stream and download here.

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    Henry Goldrich, Gear Guru to Rock Stars, Is Dead at 88

    AdvertisementContinue reading the main storySupported byContinue reading the main storyHenry Goldrich, Gear Guru to Rock Stars, Is Dead at 88The owner of Manny’s Music in Manhattan, he brought wah-wah to Hendrix and Clapton and connected musicians with equipment that helped define their styles.Henry Goldrich in an undated photo in front of his store, Manny’s Music, which until it closed in 2009 was the largest and best-known of the cluster of music shops on West 48th Street in Manhattan.Credit…via Ian GoldrichMarch 4, 2021, 6:29 p.m. ETWhen asked about his musical ability, Henry Goldrich would often demur, “I play cash register.”His stage was Manny’s Music in Manhattan, where Mr. Goldrich, the longtime owner, supplied equipment to a generation of rock stars. But even though he sold instead of strummed, Mr. Goldrich secured an important role in rock by connecting famous musicians with cutting-edge equipment.“To these guys, Henry was the superstar,” his son Judd said. “He was the first guy to get gear they had never seen before.”Mr. Goldrich died on Feb. 16 at his home in Boca Raton, Fla. He was 88.His death was confirmed by his other son, Ian, who said he had been in frail but stable health.Manny’s, which closed in 2009 after 74 years in business, was long the largest and best-known of the cluster of music shops on the West 48th Street block known as Music Row.It was opened in 1935 by Mr. Goldrich’s father, Manny, and it was a second home for Henry since his infancy, when the shop’s clientele of swing stars doted on him. Ella Fitzgerald would babysit for him in the shop when his parents went out for lunch, Ian Goldrich said.By 1968, when his father died at 62, Henry Goldrich had largely taken over operations and had turned the shop into an equipment mecca and hangout for world-renowned artists.He did this by expanding its inventory of the latest gear and by solidifying connections with suppliers that helped him consistently stock high-level instruments and new products.Mr. Goldrich sold guitars to Jimi Hendrix, Eric Clapton, Pete Townshend and many others. He was not happy about Mr. Townshend’s penchant for smashing them.Credit…Chester Higgins Jr./The New York TimesAt a time before rock stars were lavished with the latest equipment straight from the manufacturers, Manny’s was favored by top musicians searching for new gear and testing out new equipment.These included two guitar gods of the 1960s, Jimi Hendrix and Eric Clapton — to whom, Ian Goldrich said, his father recommended the wah-wah pedal, an electronic device that immediately became a staple of both musicians’ approaches. He added that Hendrix would buy scores of guitars on credit and have Mr. Goldrich fine-tune them to the guitarist’s demanding preferences.Many rock and pop classics were either played or written on instruments sold by Mr. Goldrich.John Sebastian, founder of the Lovin’ Spoonful, recalled in an interview how Mr. Goldrich in the mid-1960s helped him select the Gibson J-45 he used on early Spoonful recordings like “Do You Believe in Magic?”Mr. Goldrich similarly matched James Taylor with a quality Martin acoustic guitar early in his career, his son Ian said. And Sting used the Fender Stratocaster Mr. Goldrich sold him to compose “Message in a Bottle” and many other hits for the Police before donating it to the Smithsonian Institution.The photos on the Manny’s Wall of Fame constituted a Who’s Who of popular music. Credit…Chester Higgins Jr./The New York TimesIn 1970, he sold the Pink Floyd guitarist David Gilmour the 1969 black Stratocaster he played on many of the band’s seminal recordings. It sold at auction in 2019 for a record $3,975,000.Pete Townshend of the Who would order expensive electric guitars by the dozens from Mr. Goldrich, who was not happy when he heard about the guitarist’s penchant for destroying his instrument onstage for theatrical effect.“It was good business,” Ian Goldrich said, “but my father was annoyed that Pete was breaking all the guitars he was selling him.”Unlike many of his flamboyant rock-star customers, Mr. Goodrich always dressed conventionally in a sport coat and kept a blunt demeanor that put his customers at ease.“He had a gruff personality; he treated them all the same,” Ian Goldrich said. “He’d tell Bob Dylan, ‘Sit in the back and I’ll be with you in a minute.’”There was the day in 1985 — it was Black Friday, and the store was packed — that Mick Jagger and David Bowie stopped by together, creating a commotion that halted sales. An annoyed Mr. Goldrich quickly sold them their items and rushed them out.“My father was like, ‘What are you guys doing here today?’” Ian recalled. “He didn’t throw them out, but he was not happy.”When the band Guns N’ Roses asked to shoot part of the video for their 1989 hit “Paradise City” in the store, Ian Goldrich recalled, his father agreed only reluctantly, saying, “OK, but we’re not shutting down for them.”Ever opinionated, Mr. Goldrich told Harry Chapin in 1972 that his new song “Taxi,” at nearly seven minutes, was too lengthy to be a hit. (It reached the Top 40 and is now considered a classic.) And he told Paul Simon, who as a boy had bought his first guitar at Manny’s, that he thought Simon and Garfunkel was a “lousy name” for a group.But he also advised new stars in a fatherly way not to squander their newfound wealth.“He’d take them aside and say, ‘You’re making money now — how are you going to take care of it?’” Ian Goldrich said.From left, the singer Richie Havens, the singer and radio host Oscar Brand and Mr. Goldrich at a celebration of Manny’s Music’s 50th anniversary at the Rainbow Grill in 1985.Credit…Marilyn K. Yee/The New York TimesHenry Jerome Goldrich was born on May 15, 1932, to Manny and Julia Goldrich, and grew up in Brooklyn and in Hewlett on Long Island. After graduating from Adelphi College, he served in the Army in Korea in the mid-1950s and then went to work full time at Manny’s.His father opened the store on West 48th Street, a location he chose because it was close to the Broadway theaters and the 52nd Street jazz clubs, as well as numerous recording studios and the Brill Building, a hub for music publishers. In 1999, Mr. Goldrich sold Manny’s to Sam Ash Music, a rival store, which largely retained the staff until Manny’s closed in 2009.In addition to his sons, Mr. Goldrich is survived by his wife, Judi; his daughter, Holly Goldrich; seven grandchildren; and a great-granddaughter.Mr. Goldrich often used his celebrity clientele to market the store. “He recognized value of these people being in the store and it made the business, certainly,” his son Judd said.When a young Eric Clapton, then with the group Cream, was stuck in New York without the money to fly home to England, he offered his amplifiers to Mr. Goldrich to raise funds.“He said, ‘I’ll buy them from you as long as you stencil them with the Cream logo,” Ian said.Then there was the store’s Wall of Fame, thousands of autographed publicity photos of famous customers that constituted a Who’s Who of popular music. Mr. Goldrich helped cultivate the photos, many of which were inscribed to him, and often kept his staff from stacking merchandise in front of them.Mr. Taylor, in a video interview, described being mesmerized by the photos as a teenager and being proud when his own was added. “It was sort of an inside thing, not as celebrated as a Grammy or a gold record or a position on the charts,” he said. “But definitely you had arrived if you were included on that wall.”Mr. Goldrich became close friends with many musicians, including the Who’s bassist, John Entwistle, who attended Judd’s bar mitzvah in New Jersey and hosted the Goldrich family at his Gothic mansion in England. Ian remembered the band’s drummer, Keith Moon, sitting on his father’s lap while drinking cognac at a screening of the film “Tommy.”In a video interview, Mr. Goldrich described selling the violinist Itzhak Perlman an electric violin. When Mr. Perlman tried bargaining, Mr. Goldrich parried by asking if he ever reduced his performance fee.“He said, ‘It’s different, I’m a talent,’” Mr. Goldrich recalled. “I said, ‘I’m a talent in my own way, too.’”That talent was palpable to Mr. Sebastian when he asked Mr. Goldrich to allow him to test out his stock of Gibson acoustic guitars in a merchandise room.“Henry’s famously prickly demeanor receded slightly,” Mr. Sebastian recalled, and he agreed to open early the next morning to allow him in.“He knew exactly what I wanted,” he said. “And I’ll be damned if I didn’t catch Henry smiling as he made out the bill.”AdvertisementContinue reading the main story More

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    Roger Englander, Producer of ‘Young People’s Concerts,’ Dies at 94

    AdvertisementContinue reading the main storySupported byContinue reading the main storyRoger Englander, Producer of ‘Young People’s Concerts,’ Dies at 94He collaborated with the charismatic conductor Leonard Bernstein and the New York Philharmonic for 14 years of programs aimed at educating children about the joys of music.Roger Englander, foreground, in 1955. He was the production force behind Leonard Bernstein’s televised Young People’s Concerts beginning in 1958. Credit…University of Chicago Library, Special Collections Research CenterMarch 4, 2021, 5:56 p.m. ETRoger Englander, the Emmy Award-winning producer and director of the acclaimed Young People’s Concerts, which featured the magnetic Leonard Bernstein leading the New York Philharmonic, died on Feb. 8 at a hospital in Newport, R.I. He was 94.The cause appeared to be pneumonia, said Michael Dupré, his companion and only survivor.Mr. Englander was a staff director at CBS in 1958 when he and Mr. Bernstein began collaborating on the Young People’s Concerts, embracing the mission to educate children about the joys of music. Mr. Englander had years earlier helped stage operas by Gian Carlo Menotti.“Lenny totally trusted Roger,” said the Pulitzer Prize-winning composer John Corigliano, who was an assistant to Mr. Englander for the Young People’s Concerts. “If he weren’t comfortable with the director, it would have been impossible. But he didn’t have to worry.”He added, “Lenny adored him.”The concerts, initially mounted at Carnegie Hall and later at Philharmonic Hall at Lincoln Center, have become a classic of educational programming and a powerful presence in the lives of many musicians, and musically minded people, even today.Mr. Bernstein was their undisputed star. He wrote his own scripts; talked to guest musicians like the pianist Andre Watts; played the piano to illustrate his commentary; and led the Philharmonic in classical, folk, jazz and pop music.But he left the TV production to Mr. Englander, who regarded the scores selected by Mr. Bernstein as his directing guide.“The choice of pictures — wide views, close-ups, tracking shots, rapid-fire montages or slow, languorous dissolves from one shot to another — is determined by the music itself,” he wrote in an essay for “Leonard Bernstein: The Television Years,” a 1985 exhibition at the Museum of Broadcasting in New York (now the Paley Center for Media). “The orchestra score becomes the shooting script, and the music holds all the answers for the director’s task of translating sound into picture.”Using shots from as many as eight cameras — two of them on the stage and one trained, from behind the orchestra, on the emotive Mr. Bernstein — Mr. Englander directed all 53 hourlong episodes of the concerts, which were staged and broadcast intermittently over the years through 1972.A reviewer for The New York Times wrote in 1964 that Mr. Englander had “again demonstrated that although confined to the limits of the concert stage, he is extremely adept at mobile camerawork, which always keeps the viewer interested.”His work on the concerts brought him an Emmy in 1965.Mr. Englander, left, with the conductor Andre Kostelanetz at Avery Fisher Hall, which was formerly Philharmonic Hall and is now David Geffen Hall, at Lincoln Center. Credit…Dan J. Coy/New York Philharmonic Leon Levy Digital ArchivesRoger Leslie Englander was born on Nov. 23, 1926, in Cleveland. His father, William, owned a men’s clothing store, where his mother, Frieda (Osteryoung) Englander, also worked.At Cleveland Heights High School, Roger studied piano, French horn and trumpet and achieved an early ambition — to be a conductor — by leading the school’s band and orchestra. He studied drama, composition and theory at the University of Chicago and graduated in 1945.He quickly became associated with opera. In 1946, he was the stage manager for the debut of Mr. Bernstein’s production of Benjamin Britten’s “Peter Grimes” at the Tanglewood Music Festival in Lenox, Mass. He also worked briefly at the Chicago Opera Company for its conductor, Fausto Cleva.Over the next few years, he staged several of Mr. Menotti’s operas, including two, “The Telephone” and “The Medium,” in 1948, on WPTZ-TV in Philadelphia, an NBC affiliate. He distilled his knowledge of opera into a book, “Opera: What’s All the Screaming About?” (1983).Mr. Englander started at CBS in the early 1950s, working on news, sports and public affairs programs. He also directed episodes of the cultural program “Omnibus” about the violinist Yehudi Menuhin, the Vienna Boys Choir and the French horn.In 1957, he had an idea for a musical series for children and pitched it to a CBS executive, but the interview did not seem to go well. A few days later, he learned that the executive “had actually been interviewing me for a totally different music series that his boss, William S. Paley, had cooked up with Leonard Bernstein,” Mr. Englander wrote in his essay for the 1985 Bernstein exhibition, referring to the chairman of CBS.Leonard Bernstein conducting a Young People’s Concert in 1958 with the New York Philharmonic. One of the eight cameras involved in the productions was always trained on him.Credit…CBS Photo Archive/Getty ImagesThe Young People’s Concerts debuted in January 1958 with a program called “What Does Music Mean?,” and the reviews were favorable. Without a commercial sponsor, though, Mr. Englander worried that the series would not last long.But when Newton N. Minow, the chairman of the Federal Communications Commission, famously excoriated television as a “vast wasteland,” CBS saw an opening to demonstrate that not all its programming was drivel. It moved the concerts from Saturday afternoons to Sundays at 7:30 p.m. More people tuned in, and Shell Oil signed on as the first sponsor.During and after his tenure on the Young People’s Concerts, Mr. Englander worked on musical segments for NBC’s “Bell Telephone Hour” — which earned him a Peabody Award in 1959 — and the Emmy-nominated “Vladimir Horowitz: A Television Concert at Carnegie Hall” (1968), which CBS carried. He recalled how that virtuoso pianist had to be persuaded to give his first recital on television.“I think what finally broke down Horowitz’s resistance,” he told The Evening Sentinel of Carlisle, Pa., “was the question: ‘Don’t you wish there had been film in Franz Liszt’s time so you could see him play the piano?’”After his CBS years, Mr. Englander staged Stravinsky’s “L’Histoire du Soldat” (“The Soldier’s Tale”), a theater piece conducted by Leon Fleisher, narrated by John Houseman and mimed by Bil Baird’s marionettes at the 92nd Street Y in Manhattan; wrote an interactive CD-ROM musical guide to Mozart’s “The Magic Flute”; and produced a series of videotapes for Music Theatre International in which writers and composers of Broadway musicals described their production techniques.But Mr. Englander understood that the concert series with Mr. Bernstein was the acme of his career. He called them “53 of the best hours that music on television had ever seen — to this day.”Mr. Englander in 1990. He directed all 53 of the Young People’s Concerts and remained active in music productions in later years.Credit…Michael DupreOne of the young people who paid rapt attention to him was Jamie Bernstein, one of Mr. Bernstein’s three children. When she was 12, she recalled in a phone interview, she would observe Mr. Englander in the production truck outside Philharmonic Hall (now David Geffen Hall).“He was like a wizard, with the score marked up in front of him, calling the shots,” she said. “He’d say, ‘Ready, Camera 3’— the one on the French horn — and he’d snap his fingers and Camera 3 came up on the central monitor. It was exciting to watch.”AdvertisementContinue reading the main story More