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    Oscars Gets Higher Ratings Than Last Year’s Academy Awards

    The Academy Awards on Sunday night drew a larger audience than last year, when viewership plunged to an all-time low, but interest remained depressed amid disruptions to television- and movie-watching habits.The 94th edition of the awards show attracted 15.4 million viewers on ABC and a 3.2 rating among adults between 18 and 49 years old, according to a preliminary report from Nielsen released to ABC on Monday. The early results showed a 56 percent improvement on the 9.85 million people who watched last year’s event, according to ABC, though the show was still the second-least-watched Oscars ever on record.Initial viewership figures evolve in the days after the show to factor in West Coast audiences as well as out-of-home and livestream viewing.The telecast took a bizarre turn more than two hours in, when Will Smith strode onstage and slapped Chris Rock in the face for telling a joke about his wife. Mr. Smith then returned to his seat, and less than an hour later, he won the best actor prize.The early data did not indicate whether there was a surge in viewership after the slap, which immediately ricocheted around the internet.Organizers have been desperate to reverse a yearslong ratings slide for the Oscars, which saw viewership last year plummet 58 percent. To perk up interest, they hired the comics Regina Hall, Amy Schumer and Wanda Sykes to host a show that had been hostless since 2019; relegated some awards to a pretaped segment to hurry along what still clocked in at more than 3.5 hours; and invited fans to vote on Twitter for their favorite film (Zack Snyder’s “Army of the Dead”).The broadcast hit its peak in 1998, when 55.2 million viewers tuned in to watch “Titanic” sweep the awards, and has struggled to retain its cultural relevance since. Awards shows took an additional hit during the pandemic but had already been facing criticism for being too white, too long, too politicized and too boring. Viewership for the Grammy Awards, which will be held this weekend, slumped 53 percent to a new low last year; NBCUniversal declined to even broadcast this year’s Golden Globes.Mr. Smith’s attack happened after Mr. Rock, who was handing out the award for best documentary, joked about Mr. Smith’s wife, Jada Pinkett Smith, and her closely cropped hair.“Jada, I love you — ‘G.I. Jane 2,’ can’t wait to see it, all right?,” he said, referencing the 1997 film ‘G.I. Jane,’ which featured Demi Moore sporting a buzz cut.The joke prompted an eye roll from Ms. Pinkett Smith, who has been vocal about her struggles with alopecia, a condition that leads to hair loss. Mr. Smith then marched onto the stage, slapped Mr. Rock, turned around and returned to his front-row seat. Then, using an obscenity, he yelled at the comedian to stop speaking about Ms. Pinkett Smith.The slap appeared onscreen, but many viewers in the United States did not hear Mr. Smith shout at Mr. Rock because ABC cut the sound. That left many viewers initially wondering if the attack was real or a skit. Uncensored clips soon shot around the internet, leaving no doubt that it was real.Mr. Smith won best actor for his role in “King Richard.”Ruth Fremson/The New York TimesForty minutes later, Mr. Smith won the best actor trophy for his role in “King Richard.”He returned to the stage to receive the award — his first — and delivered an emotional speech apologizing to the Academy of Motion Picture Arts and Sciences and to his fellow nominees, but not to Mr. Rock.“I hope the academy invites me back,” he said at the end of his speech.The outburst divided Hollywood. The academy said it “condemns the actions of Mr. Smith” and that it was starting an inquiry. The actor Mark Hamill called it the ugliest Oscars moment, while the comedian Kathy Griffin said it was “very bad practice.”Tiffany Haddish, a comedian who co-starred with Ms. Pinkett Smith in the film “Girls Trip,” described Mr. Smith’s protective display as “the most beautiful thing I’ve ever seen.” Piers Morgan, the British television host, wrote that he felt “moved to defend” Mr. Smith.Ariana DeBose, Troy Kotsur and Jessica Chastain with their Oscar statues on Sunday night.Noel West for The New York TimesThe confrontation jolted a broadcast whose most exciting moments earlier had included historic acting wins by Ariana DeBose of “West Side Story” and Troy Kotsur of “CODA” and a surprise appearance by the rapper Megan Thee Stallion in a performance “We Don’t Talk About Bruno,” the hit from “Encanto,” which won best animated feature.Despite being aired on a broadcast network, the night underscored the upheaval to theatergoing and traditional television caused by streaming services and online platforms.“CODA,” which featured Mr. Kotsur as a deaf fisherman trying to relate to his hearing daughter and was snapped up by Apple TV+ for $25 million after debuting at the Sundance Film Festival last year, was the first film from a streaming service to win a best picture Oscar. Jane Campion, the director of Netflix’s “Power of the Dog,” beat out Steven Spielberg, who directed “West Side Story,” to claim the directing trophy.But the Oscars telecast continued to draw advertising attention. ABC sold out of spots for commercials the week before the show, which featured ads from Crypto.com, Pfizer, Rolex, Verizon and more. Many companies also tried to take advantage of the altercation between Mr. Smith and Mr. Rock by posting memes of the slap, to which marketing experts reacted with dismay. More

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    Molly Tuttle Is a Top Bluegrass Guitarist. She’s Also a Lot More.

    After two albums of roots pop, the musician returns to her own roots for “Crooked Tree,” an album that takes inspiration from her lifelong journey living with alopecia areata.The singer, songwriter and guitarist Molly Tuttle’s fingers move so quickly, she could pick your pocket without breaking stride. Though she’s only been releasing albums for three years, the sharpest ears in Americana music have taken notice.“I’ve never heard Molly Tuttle strike a single note that wasn’t completely self-assured,” said the roots music guitar master David Rawlings, half of Gillian Welch’s duo. “Molly plays with a confidence and command that only the very best guitarists ever achieve. If that could be bottled, I’d take two.”Best known as a top bluegrass guitarist, Tuttle, 29, is emerging as strikingly label-resistant. The first woman to win the International Bluegrass Music Association’s guitar player of the year award (two years in a row, 2017 and 2018), she considers herself as much a singer as a player, whose light soprano packs a surprising wallop. Nor is she, strictly speaking, a bluegrass musician.“I think of bluegrass as part of what I do,” Tuttle said, settling into a chair in her publicist’s office in Manhattan. “I can switch on my bluegrass self, but it doesn’t feel like my core identity, it feels more like an outlet for something I do and that I’ve done since I was a kid.”Tuttle set about defining her own brand of roots pop in two critically acclaimed albums, “When You’re Ready” from 2019 and its 2020 follow-up, “… But I’d Rather Be With You.” While the second LP consists entirely of covers, Tuttle co-wrote every song on “Crooked Tree,” an album out Friday that is very much bluegrass. Several of its songs are written from not merely a woman’s perspective, but a feminist’s, making Tuttle an outlier in what remains a male-dominated genre.“I’d always felt a block writing bluegrass songs,” she said. “I just don’t relate to a lot of the old themes. But something clicked where I was able to write songs that felt true to who I am but still fit into bluegrass.”Tuttle grew up in Palo Alto, Calif., in a musical family. Her father taught guitar for a living, and counted his daughter and her two younger brothers as prized students. Gravitating to the guitar at 8, Tuttle soon had herself on a strict regimen (for a 10-year-old): an hour of practice after school, an hour before bedtime.A musical omnivore, Tuttle helped herself to rock, punk and rap, including the National, Neko Case and the Bay Area punk bands Operation Ivy and Rancid. (Don’t miss her irresistibly propulsive punkgrass cover of Rancid’s “Olympia WA,” her solo a machine-gun spray of 16th notes.) Tuttle played acoustic guitar and banjo in the family’s bluegrass band, but she plugged in with pickup rock groups. Her middle-school music teacher had a big CD collection, much of which found its way onto Tuttle’s iPod.“I remember taking a Rage Against the Machine album home,” she said, “and going, ‘Whoa! This is amazing!’”By her midteens, Tuttle was driving with her father to California bluegrass festivals, reveling in the camaraderie. “It was so cool,” she said, “because nobody at my school knew what bluegrass was.” “People who don’t have alopecia think, ‘Well, it’s just hair,’ or ‘You can wear a wig,’” Tuttle said. “It is a traumatic thing. It’s like losing a part of your body.”Michael Tyrone Delaney for The New York TimesThe fellowship extended only so far. At one festival, Tuttle joined an impromptu jam in which the only musician she didn’t know was the fellow calling the tunes. When it came her turn to solo, she recalled, “He leaned right in front of me and pointed to the guy next to me, like, ‘You solo.’ He just completely skipped over me.’”Sexism’s sting empowered her: “Today I have my own band, so there’s no one who’s going to make me feel like that guy did, except me,” she said. “But there’s always times,” she added, “when you’re the only woman, so they do the song in a guy key and you can’t sing on it. Stuff like that happens a lot.”Tuttle has spent her life overcoming another hurdle: alopecia areata, an incurable autoimmune disease she contracted when she was 3 years old that results in partial, or, as in Tuttle’s case, total body hair loss.“People thought I had cancer, which made me really self-conscious,” Tuttle recalled. “First my parents got me hats” — you can see her on a YouTube video, peering out from under a sort of oversized cloche. She switched to wigs at 15, and “it was finally, like, ‘I can relax.’”Tuttle said those unaffected by alopecia rarely grasp its gravity. “People who don’t have alopecia think, ‘Well, it’s just hair,’ or ‘You can wear a wig,’” she said. “It is a traumatic thing. It’s like losing a part of your body.” While today Tuttle said she’s comfortable going without a wig, she prefers to wear one onstage. “What feels truest to myself is embracing the fluidity of ‘I can wear a wig one day and not wear a wig the next,’” she said.Learning to live with the disease remains a challenge that inspired the new album’s title song, where Tuttle tells the world, “I’d rather be a crooked tree!” Writing and performing “Crooked Tree” — giving it pride of place as the album’s title — is, for Tuttle, an act of self-acceptance and affirmation.“Growing up with it, and getting comfortable talking about it, has helped me overcome a lot of social anxiety — I’m naturally shy; everyone in my family is,” she said and laughed. “It’s helped me realize that it doesn’t matter what other people think, you can be yourself.”After majoring in guitar performance at Berklee College of Music in Boston — although she said her real tutelage was years of close listening to the singer-songwriter Hazel Dickens (“She stood up for marginalized people”), the guitarists Clarence White and David Grier, and Joni Mitchell — Tuttle arrived in Nashville.She worked with the mainstream pop producers Ryan Hewitt on her first album and Tony Berg on her second. Both surrounded Tuttle’s voice and guitar with multitextured, sometimes overly lush, soundscapes.In February, 2021, Tuttle was writing songs for what was to be a third pop album when bluegrass songs began pouring out of her, a return to her comfort zone in anxious times. Shelving the pop project for the time being, she invited some of Nashville’s top bluegrass players into the studio and asked the dobro master Jerry Douglas, a major force in contemporary bluegrass, to co-produce with her what became “Crooked Tree.”“It’s become such a loose term, anyway,” Tuttle said of bluegrass. “Today, everyone’s listening to everything and blurring things together.”Michael Tyrone Delaney for The New York TimesThe album’s first single, “She’ll Change,” co-written with Tuttle’s frequent collaborator, Ketch Secor of Old Crow Medicine Show, is a paean to strong women (“Just snaps her little fingers/And they all stand in line”) sprinkled with Tuttle’s jaw-dropping bluegrass runs.On other tracks, Tuttle doesn’t hesitate to subvert old themes. “I’ve always loved murder ballads,” she said, “I have a natural love of horror movies, and gore, and creepy stories. But some of the old ballads are really misogynist. There’s a lot of violence towards women. So I flipped the perspective to a woman’s.” In “The River Knows,” co-written with Melody Walker, it’s the guy who gets hacked to death, for a change (“Washed the proof out of my hair/Crimson streaming down my skin so fair”).“I’ll always want to come back to bluegrass,” Tuttle said, though she does play with musical convention on the new album. “It’s become such a loose term, anyway. Today, everyone’s listening to everything and blurring things together.”The genre today is indeed quite different from that of its founder, Bill Monroe. “If Bill came to a bluegrass festival today,” said the fiddler-turned-violinist and composer Mark O’Connor, another lifelong border crosser, “he would hardly recognize the genre he helped create.“Having said that,” O’Connor added, “if Bill Monroe were here today, he would hire Molly Tuttle for his Blue Grass Boys. Because she can sing the high lonesome and drive that rhythm on the flattop guitar. But then, Bill would have to consider a name change for the band.”Sitting in Manhattan, Tuttle considered the options: “The Blue Grass Persons?” she suggested. More