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    Drake Takes on All Comers

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThe new Drake album, “For All the Dogs,” isn’t an innovation in the Drake oeuvre. It’s not a home for stylistic experimentation, or a collection of forward-looking lyrics. Instead, it’s an extension and distillation of what he’s been doing for a decade and a half: tell personal stories cut with boasting, providing a view into the broken heart of a superstar.And yet the album has led to some of the most divisive discourse of Drake’s career, leading to conversations about maturity and misogyny. It also sets the table for debates about what a post-Drake era in hip-hop might look and sound like.On this week’s Popcast, a conversation about Drake’s creative boundaries, how he’s managed to ward off stylistic shifts in hip-hop, and how he might approach the middle and later years of his recording career.Guests:Justin Charity, senior staff writer at The RingerDylan Green, contributing writer at PitchforkConnect 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. More

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    Popcast (Deluxe): Taylor Swift’s Eras Tour Movie + Bad Bunny Returns

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:“Taylor Swift: The Eras Tour,” the concert film, in theaters now, that documents Swift’s summer stadium sojournThe new album by the Puerto Rican superstar Bad Bunny, Nadie Sabe Lo Que Va a Pasar Mañana”How Drake is setting up a creative life for his son, Adonis Graham, and other celebrity children who join in on their parents’ workNew songs from Ivan Cornejo and Ken CarsonSnack of the weekConnect 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. More

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    Do We Need Album Reviews Anymore?

    Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicIt is an increasingly fraught environment for music journalism and criticism. Recently, on Twitter, a conversation was initiated by the writer and musician Jamie Brooks about whether music journalism was too concerned with reviewing individual albums, and thereby focused less on more holistic, bigger-umbrella approaches to covering artists and scenes.Given the diminishing number of decently-paying options for journalists — particularly young ones — the question of how to deploy limited resources feels pointed and urgent.On this week’s Popcast, a conversation about the history of album reviews as a unit of music criticism, and the ways in which the growth of streaming have perhaps permanently altered how single-artist albums are made, and what they’re intended to achieve.Guest:Jamie Brooks, a musician and a columnist at The New InquiryConnect 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. More

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    Popcast (Deluxe): Drake’s New Album Courts New Enemies

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:The new album from Drake, “For All the Dogs,” and the fever-pitch online discourse around him, his career and his public personaThe current season in reality television, including off-camera developments on “Love Is Blind,” a bumpy beginning to “Survivor” and emotional manipulation on “The Golden Bachelor”Flirtations with “demonic” themes in recent pop musicNew songs from Jessie Murph featuring Jelly Roll, and RomySnack of the weekConnect 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. More

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    Testimony in Tupac Shakur Murder Case Gives New Details

    Grand jury witness testimony describes how hyperlocal clashes between warring gang factions spilled into a fatal dispute that would alter the course of hip-hop history.In the adrenalized aftermath of a Mike Tyson prizefight in 1996, a black BMW carrying the rapper Tupac Shakur pulled up to a red light just off the Las Vegas Strip, thrilling the women in the car next to him.Listen to This ArticleOpen this article in the New York Times Audio app on iOS.As Mr. Shakur hung out of his passenger-side window, his friends in the Lexus behind him assumed that he was inviting the women to his record label’s new nightspot, Club 662 — its numeric name a barely disguised telephone code for “MOB.”The women pulled away and a white Cadillac took their place. A large, muscular arm emerged from its rear window and fired a barrage of shots from a .40-caliber Glock pistol into the BMW. Mr. Shakur was hit four times.The driver of the BMW, the Death Row Records impresario Marion Knight, better known as Suge, was grazed by the gunfire. But he managed to take off, making a U-turn over a traffic median and driving the wounded Mr. Shakur in the opposite direction before pulling over.Malcolm Greenidge, a rapper and close friend of Mr. Shakur’s who had been following them in the Lexus, rushed out of the car to check on Mr. Shakur, he testified this summer to a Las Vegas grand jury. Mr. Shakur seemed less concerned with his wounds than with Greenidge’s safety as armed police officers approached the chaotic scene, he recalled.“Get on the ground, they’re going to shoot you,” Mr. Shakur told him, Mr. Greenidge testified. Mr. Shakur would die less than a week later, at 25.In the 27 years since, accounts of what happened on Sept. 7, 1996, have existed in an unwieldy tangle of news reports, true crime specials, street gossip, internet innuendo and dubious self-mythologizing. The case went cold.But with last week’s indictment of Duane Keith Davis, a former Compton gang leader known as Keffe D, who has been saying publicly for years that he was in the white Cadillac when the fatal shots were fired, prosecutors have begun to map out the most detailed narrative yet of the chain of events they say led to Mr. Shakur’s death, one that will be tested in court.While the broad outlines of Mr. Shakur’s killing and its possible motive have long been known, hundreds of pages of grand jury witness testimony reviewed by The New York Times — given under oath and with surprisingly vivid descriptions for a decades-old case — offer new details of how hyperlocal disputes between warring gang factions had spilled into an ultimately fatal rap beef that would alter the course of hip-hop history.The son of Black Panther parents and a onetime performing arts student turned hip-hop backup dancer, Mr. Shakur had broken out as a solo artist in the early 1990s with a unique blend of introspective street poetry and young man’s fury. A proud antihero whose popularity only grew as he became mired in violence and rivalries, Mr. Shakur transformed in death into a hip-hop icon and pop culture martyr.Duane Keith Davis, 60, a former Compton gang leader known as Keffe D, during a court appearance on Wednesday after he was arrested in Mr. Shakur’s killing. Pool photo by Bizuayehu TesfayeOn Wednesday, Mr. Davis made his first appearance in Clark County District Court for a scheduled arraignment, which the judge postponed because Mr. Davis did not have a lawyer present, saying that his longtime California-based lawyer, Edi Faal, could not be there. In a brief phone interview, Mr. Faal said Mr. Davis, 60, intended to plead not guilty; he declined to discuss specifics about the case, saying he was in the process of getting Mr. Davis a Nevada lawyer.“Like in all cases, I think we should allow things to play out in the courtroom,” Mr. Faal said.Some of the new evidence challenges the conventional wisdom that had formed around the killing. While Mr. Davis had previously told law enforcement officials that the gun had been fired by his nephew, Orlando Anderson, who was killed in a gang-related shooting in 1998, two witnesses shared accounts with the grand jury casting doubt on the widely believed narrative.Those close to the case have reacted to news of Mr. Davis’s arrest with a mixture of shock and relief.Allen Hughes, who directed two of Mr. Shakur’s early music videos and worked with his estate on “Dear Mama: The Saga of Afeni and Tupac Shakur,” a documentary series about the rapper and his mother that was released this year, said the family had wondered if there would ever be accountability for his death.“All these years, we all knew what it was,” he said. “Just because law enforcement didn’t close the case, doesn’t mean we didn’t feel we knew who the true culprits were.”Now someone has been indicted in his death. And Greg Kading, a retired Los Angeles police detective who began to reinvestigate the killing in 2006, said, “Tupac Shakur’s murder will never again go down as an unsolved mystery.”Mr. Shakur performing in 1994 in Chicago.Raymond Boyd/Getty ImagesBrawls and RetaliationMr. Shakur’s music and public persona had taken on a darker edge following his 1993 arrest and subsequent conviction for sexual abuse, as he aligned himself with the gangster rap label Death Row Records and its leader, Suge Knight, who orchestrated his $1.4 million bond pending appeal.While still awaiting the verdict in the case, Mr. Shakur had been ambushed, robbed and shot in the lobby of a Manhattan recording studio, an attack he later blamed on his former friend the Notorious B.I.G. and affiliates of the New York-based label Bad Boy Records, including Sean Combs, known then as Puff Daddy. (They denied involvement, with the Notorious B.I.G. claiming that his taunting track “Who Shot Ya?” had been written before the incident.)After Mr. Shakur responded with the furious, personal diss “Hit ’Em Up” in June 1996, what was once a simmering competition between the hip-hop vanguard on the East and West Coasts became a boiling feud, with each side relying on support from sworn enemies in the gang underworld for protection and street credibility.Those rising tensions began to boil over as players from each side prepared to travel to Las Vegas to watch Mr. Tyson fight Bruce Seldon at the MGM Grand Garden Arena.Not long before the fight, a brawl at the Lakewood Mall in Southern California set off a sequence of retaliation.Denvonta Lee, who said he was an affiliate of Compton’s South Side Crips, told the Las Vegas grand jury this summer that Mr. Davis — who called himself “the five-star general” of the local Crip set — had given a local football player $4,000 to shop for clothes before heading to college and told other gang members to accompany him to the mall.There, the group of young Crips collided with a Death Row-affiliated group of Mob Piru Bloods, their nearby rivals, resulting in a struggle over a Death Row chain. “That’s like taking somebody’s crown,” Mr. Lee testified. “It means something.” Within 24 hours, he added, “a war” had broken out locally. “There was shootings everywhere,” he said.One of the participants in the mall fight, witnesses said, was Orlando Anderson, a nephew of Mr. Davis’s known as Baby Lane. That September, Mr. Anderson traveled to Las Vegas with his uncle and other Crips for a weekend of boxing, gambling and revelry.The heavyweight fight ended in less than two minutes with a first-round Tyson knockout. Some ticket holders hadn’t even made it to their seats before it was over.As those gathered plotted their next moves for the evening, Mr. Anderson, brushing off the need for backup, found himself alone near the MGM hotel elevators and face to face with Mr. Shakur and his entourage of Bloods, including the same man whose Death Row chain had been targeted at the mall in California.In a scuffle that was captured by security cameras at about 9 p.m. that night, the group began to punch and kick Mr. Anderson, who declined to cooperate with the police and hotel security after his assailants scattered.Now, it was Mr. Anderson who was looking to exact revenge. “He wasn’t coming back to Compton with nothing being done,” Lee told the grand jury.A Fatal EncounterMr. Davis, a successful drug dealer and “shot caller” for the Crips at the time of Mr. Shakur’s death, wrote in a 2019 memoir, “Compton Street Legend,” that on the night of the shooting he obtained a Glock pistol from a drug associate from Harlem before setting out with Mr. Anderson to find Mr. Shakur and Mr. Knight.A childhood friend of Mr. Knight’s — the two played Pop Warner football together — Mr. Davis had found himself enmeshed throughout the 1990s in the growing gangster rap nightlife scene, but his relationship with Death Row soured as the label became more closely associated with the Bloods. Mr. Davis instead aligned himself with their cross-country rivals at Bad Boy, supplying his Crip soldiers as West Coast security for the label’s artists and executives, in exchange for access to concerts and parties.Following a failed stakeout targeting Mr. Shakur and Mr. Knight at Club 662, the white Cadillac that Mr. Davis and Mr. Anderson were riding in came upon Mr. Shakur’s BMW by chance, spotting him as he leaned out from the passenger side.“If Pac had not been hanging out of the window, we would have never seen them,” Mr. Davis wrote. “Like two rams locking horns, Suge and I looked each other dead in the eye.”The police displayed a graphic showing who they believe was in the white Cadillac that opened fire on Mr. Shakur, and where they sat.Las Vegas Metropolitan PoliceAccording to witness testimony and law enforcement accounts, Terrence Brown was driving the white Cadillac that night; Mr. Davis rode in the front passenger seat, with Mr. Anderson behind him and Deandrae Smith, known as Big Dre, also sitting in the back. (Mr. Davis is the only person in the vehicle who is still alive, the police said.)In describing the shooting, Mr. Davis wrote in his memoir that he had tossed the Glock into the back seat before the encounter at the traffic light. While he has sometimes refused to say who fired the shots that night, he told law enforcement officials in interviews about 15 years ago that it had been Mr. Anderson.But new testimony in the case suggests a different version of events.Mr. Lee, the grand jury witness, was Mr. Smith’s roommate at the time, and told the court in July that Mr. Smith had admitted at the time that he fired the shots that killed Mr. Shakur and injured Mr. Knight. “Orlando didn’t have a clear shot,” he said, adding, “Dre said, ‘Hey, give me the pistol,’ got the pistol, boom, did his thing.”In the aftermath, however, speculation spread in Compton and beyond that Mr. Anderson had pulled the trigger as retribution for his beating at the MGM. Mr. Smith let Mr. Anderson have the “glory,” Mr. Lee testified. “He didn’t want to take the credit for Orlando.”The indictment of Mr. Davis does not identify the shooter, stating that Mr. Davis provided the gun to Mr. Smith “and/or” Mr. Anderson “with the intent that said co-conspirators commit said crime.” Mr. Kading, the former Los Angeles detective, said in an interview that he believed that the “overriding evidence is Keffe D’s own admissions within his law enforcement interviews that he handed the gun to Orlando Anderson and Orlando Anderson pulled the trigger.”Mr. Anderson, his friend said, often stopped short of claiming the murder. “‘You all crazy, man, don’t believe everything you hear,’” Mr. Lee recalled him saying.Sharing His StoryImmediately after the killing, as a related gang war broke out in Compton, the police there arranged what Robert Ladd, a former Compton Police Department detective, described to the grand jury as a “massive multi-gang search warrant,” arresting known gang members to try to reduce the violence in the streets and searching the homes of Mr. Davis and the others from the white Cadillac.But the initial investigation stalled, with the police blaming a lack of cooperation from witnesses. It was revived in 2006 when the Los Angeles Police Department opened a task force into the still-unsolved 1997 killing of the Notorious B.I.G. in a shooting long thought to be related to Mr. Shakur’s death.It was during that inquiry that Mr. Kading, the Los Angeles police detective, persuaded Mr. Davis to speak with him after dangling the threat of a drug trafficking prosecution.In 2008, Mr. Davis agreed to what is called a proffer agreement, in which Mr. Kading promised to not prosecute Mr. Davis using what he told him about Tupac and Biggie, so long as nothing he said proved to be a lie.Mr. Kading taped Mr. Davis’s interview, and after retiring from the Police Department, the detective used the contents of the confession in a 2011 book called “Murder Rap: The Untold Story of the Biggie Smalls and Tupac Shakur Murder Investigations.” In 2015, the recording was included in a documentary based on the book.Mr. Davis was irritated by Mr. Kading’s disclosures. Eager to share his story after recovering from colon cancer, he began talking publicly about the case. It was a risky step. Although Mr. Davis — who has spent a quarter of his life in prison, partly on drug trafficking charges — would have been protected from prosecution for what he told Mr. Kading during their meeting, his later public disclosures were not protected, legal experts said.Mr. Davis gave his first public interview on the subject of Mr. Shakur’s death for a 2018 docu-series called “Death Row Chronicles.”“He was trying to word things careful enough to walk a tightrope between taking credit, but not getting arrested,” said Mike Dorsey, the director of “Murder Rap,” who consulted on “Death Row Chronicles.” He said Mr. Davis arrived with a lawyer.After the series aired without leading to charges, Mr. Davis wrote about the case in his memoir; his interviews on the subject, including with prominent YouTubers, grew “looser and looser,” Mr. Dorsey said.Police officials and prosecutors in Las Vegas were watching Mr. Davis’s interviews closely.“Since 2019, he has appeared at least eight separate times in promotion of this book and repeated various versions of these events, all of which he acknowledges that he is in fact the person that ordered the death of Mr. Shakur,” Marc DiGiacomo, a prosecutor on the case, said in court on Friday.In his memoir, Mr. Davis at times softened toward Mr. Shakur and his family, writing that he had a “deep sense of remorse” for the pain his death caused.Still, he held firm that revenge was necessary for the beating of his nephew, going as far as to say that for some of the Crips involved, the killing earned them “some stripes.”“But it generated too much attention,” Mr. Davis went on, “and put us under a microscope by law enforcement that would not cease and eventually brought us down. It was a big-time loss for everybody involved.”Lynnette Curtis More

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    Conducting Lessons: How Bradley Cooper Became Leonard Bernstein

    On a late-spring day in 2018, when the New York Philharmonic was deep in rehearsals of a Strauss symphony, an unexpected visitor showed up at the stage door of David Geffen Hall, the Philharmonic’s home.Listen to This ArticleListen to this story in the New York Times Audio app on iOS.The visitor, Bradley Cooper, the actor and director, had come on a mission. He was preparing to direct and star in a film about Leonard Bernstein, the eminent conductor and composer who led the Philharmonic from 1958 to 1969. He was asking the orchestra’s leaders for help with the movie, “Maestro,” which has its North American premiere on Monday at the New York Film Festival.The Philharmonic is accustomed to having luminaries at its concerts. But it was unusual for someone like Cooper to express such deep interest in classical music, a field often neglected in popular culture.“How many top Hollywood stars can be genuine or interested in that way?” said Deborah Borda, the Philharmonic’s then-president and chief executive. “We were really impressed.”Soon, Cooper was a regular at the Philharmonic’s concerts and rehearsals, sitting in the conductor’s box in the second tier and peppering musicians with questions. He visited the orchestra’s archives to examine Bernstein’s scores and batons. And he joined Philharmonic staff members on a trip to Green-Wood Cemetery in Brooklyn, placing a stone on Bernstein’s grave, a Jewish rite.Cooper as Bernstein.Jason McDonald/NetflixBernstein as Bernstein, in 1962.Eddie Hausner/The New York Times“You could see that he was watching with a very special eye,” said Jaap van Zweden, the Philharmonic’s music director. “He wanted to get into Bernstein’s soul.”Cooper’s time with the Philharmonic was the beginning of an intense five-year period in which he immersed himself in classical music to portray Bernstein, the most influential American maestro of the 20th century and a composer of renown, whose works include not just “West Side Story” but music for the concert hall.He attended dozens of rehearsals and performances in New York, Los Angeles, Philadelphia, Berlin and at Tanglewood in Massachusetts. And he befriended top maestros, including van Zweden; Michael Tilson Thomas, a protégé of Bernstein who led the San Francisco Symphony; Gustavo Dudamel, who leads the Los Angeles Philharmonic; and Yannick Nézet-Séguin, the music director of the Metropolitan Opera and the Philadelphia Orchestra, who served as the film’s conducting consultant.Cooper has portrayed musicians before: He took piano, guitar and voice lessons for his role as Jackson Maine, a folksy rock star, in the 2018 film “A Star Is Born,” which he also directed.But “Maestro,” in theaters on Nov. 22 and on Netflix on Dec. 20, posed a new challenge. Bernstein was a larger-than-life figure with an exuberant style at the podium. Cooper needed to learn not only to conduct, but also to captivate and seduce like a great maestro.Cooper watched archival footage of Bernstein conducting, and Nézet-Séguin recorded dozens of videos on his phone in which he conducted in Bernstein’s manner. He also sent play-by-play voice-overs of Bernstein’s performances and assisted Cooper on set, sometimes guiding his conducting through an earpiece.Nézet-Séguin said the biggest challenge for Cooper, as for many maestros, was “feeling unprotected” and “naked emotionally” on the podium. “He wouldn’t settle for anything less than what he had in mind.”Cooper with Yannick Nézet-Séguin at Ely Cathedral, in England, where Nézet-Séguin coached Cooper for the film’s re-creation of a performance of Mahler’s “Resurrection” Symphony with the London Symphony Orchestra.NetflixCooper, who wrote “Maestro” with Josh Singer, declined to comment for this article because he belongs to the union representing striking actors, which has forbidden its members from promoting studio films. But in a discussion last year with Cate Blanchett, who played the fictional maestro Lydia Tár in “Tár” (2022), he described conducting as “the most terrifying thing I’ve ever experienced.”He said that people often ask: “What does a conductor even do? Aren’t you just up there doing this?” He waved his arms.“My answer is it’s the absolute hardest thing you could possibly ever want to do,” he said. “It is impossible.”Cooper grew up near Philadelphia surrounded by music. He played the double bass and showed an interest in conducting, inspired by portrayals of mischievous maestros in “Looney Tunes” and “Tom and Jerry” cartoons. When he was 8, he asked Santa for a baton.“I was obsessed with conducting classical music,” he told Stephen Colbert on the “Late Show” last year. “You know you put your 10,000 hours in for something you never do? I did it for conducting.”Steven Spielberg, who had been planning to direct “Maestro,” was aware of Cooper’s obsession. He recalled Cooper telling him that “he’d conduct whatever came out of their hi-fi system at home.”After a screening of “A Star Is Born,” Spielberg was so impressed that he decided to hand “Maestro” over to Cooper, with whom he shares a love of classical music.“It only took me 15 minutes to realize this brilliant actor is equaled only by his skills as a filmmaker,” said Spielberg, who produced the film, along with Cooper and Martin Scorsese.Cooper worked to win the trust of the Bernstein family, including his children, Jamie, Alexander and Nina, who gave the film permission to use their father’s music. (“Maestro” beat out a rival Bernstein project by the actor Jake Gyllenhaal.)Jamie Bernstein said that Cooper seemed “keen to seek an essential authenticity about the story.” He asked questions about her relationship with her father, and he was adept at imitating his gestures, like placing his hand on his hip as he conducted.Cooper visited the family home in Fairfield, Conn., admiring a Steinway piano that Bernstein used to play and examining his belongings: a bathrobe, a blue-striped djellaba, a bottle of German cough syrup that he brought back from a foreign tour.“Channeling a supernova”: Cooper with Gustavo Dudamel at Walt Disney Concert Hall in Los Angeles.Kazu Hiro/Netflix“He was just like a sponge soaking up every detail about our family’s existence that he possibly could,” she said.Cooper sent photos of himself in makeup and costumes, holding replicas of Bernstein’s batons, to his children. (They defended him recently when he drew criticism for wearing a large prosthetic nose in his portrayal of Bernstein, who was Jewish.)At the gym, Cooper sometimes wore a shirt emblazoned with the words “Hunky Brute,” a nickname that Bernstein used for the New York Philharmonic’s brass players. (Bernstein also wore a version of the shirt.)Bernstein’s musical career unfolds in the background in “Maestro”; much of the film focuses on his conflicted identity, including his marriage to the actress Felicia Montealegre (Carey Mulligan) and his dalliances with men.Cooper was eager to approach “Maestro” less as a biography and more as the story of a marriage, Spielberg recalled.While Cooper understood Bernstein’s genius, Spielberg said, he also had “an understanding of the complexities of Felicia’s love for this man, whom she would certainly have to share not only with the world but also with his hungry heart.”The film, shot largely on location, recreates several moments from Bernstein’s career, including his celebrated 1943 debut with the New York Philharmonic, when he filled in at the last minute for the ailing conductor Bruno Walter at Carnegie Hall.At Tanglewood, the Boston Symphony Orchestra’s summer home in the Berkshires, Cooper’s Bernstein is shown leading master classes and driving a sports car with the license plate MAESTRO1 across a pristine lawn as the real Bernstein had done. He visits his mentor, the Russian conductor and composer Serge Koussevitzky, who suggests he change his surname to Burns to avoid discrimination.Cooper in the pit at the Metropolitan Opera where he observed Nézet-Séguin during a performance of Debussy’s “Pelléas et Mélisande.”Jonathan Tichler/Metropolitan OperaIn his conducting studies, Cooper spent the most time with Dudamel and Nézet-Séguin. He visited Walt Disney Concert Hall in Los Angeles, dressed and made up as Bernstein, for sessions with Dudamel. And he traveled to Germany, score in hand, to observe Dudamel as he rehearsed Mahler’s “Resurrection” Symphony with the Berlin Philharmonic. (Dudamel declined to comment because he is also a member of the actors’ union.)Cooper stealthily watched Nézet-Séguin from the orchestra pit at the Met, including at a 2019 performance of Debussy’s “Pelléas et Mélisande.” Later that year, for Bernstein’s 100th birthday, Nézet-Séguin invited Cooper and Mulligan to narrate a staging of Bernstein’s operetta “Candide” with the Philadelphia Orchestra.Nézet-Séguin said he didn’t set out to give Cooper conducting lessons but to refine his portrayals. “I had to take what he already did as an actor,” he said, “and make it into a frame that was believable.”Nézet-Séguin, who also conducts the film’s soundtrack, helped him find the downbeat for Schumann’s “Manfred” overture, which opened the Carnegie program in 1943. And he assisted Cooper with dialogue for a rehearsal scene of “Candide,” during which he conducts with a cigarette in his mouth.Last fall, Cooper and Nézet-Séguin traveled to Ely Cathedral in England to recreate a 1973 performance of Mahler’s “Resurrection” Symphony by Bernstein and the London Symphony Orchestra, a climactic moment in the film.Cooper, who chose the music in “Maestro,” had studied the piece intensely, watching Bernstein’s performance as well as videos in which Nézet-Séguin dissected Bernstein’s gestures and explained how to count beats.“He would watch the videos,” Nézet-Séguin said, “and then text me and say, ‘Hey, can we talk about this or that moment?”Inside an empty Ely Cathedral, Nézet-Séguin, wearing a sweater that had belonged to Bernstein, coached Cooper as he rehearsed an eight-minute section of the piece with a recording.When the London Symphony Orchestra arrived, Cooper watched as Nézet-Séguin rehearsed in the style of Bernstein, who often broke the rules of conducting with his animated gestures. Sometimes, Cooper offered suggestions, such as adding tremolo in the strings.When Cooper took the podium, Nézet-Séguin provided occasional direction through an earpiece, advising him to hold onto a moment or let go.The musicians of the London Symphony Orchestra were startled by Cooper’s transformation. “It was uncanny,” said Sarah Quinn, a violinist in the orchestra. “It was just kind of a double take.”Throughout his work on “Maestro,” Cooper maintained a connection to the New York Philharmonic, soliciting stories about Bernstein. Van Zweden, who worked with Bernstein in Amsterdam in the 1980s, told him how Bernstein had broken protocol and hugged Queen Beatrix of the Netherlands, calling her “darling” and taking a sip of his drink at the same time.Cooper visited Geffen Hall last fall after its $550 million renovation, attending a rehearsal of Beethoven’s Ninth Symphony and flipping through a Mahler score that had belonged to Bernstein. He returned in February when Dudamel was introduced as the Philharmonic’s next music director, embracing him and admiring a photo of Bernstein.Over the summer, Cooper invited a few Philharmonic staff members and musicians to his Greenwich Village townhouse for screenings of “Maestro.” The orchestra presented him with a gift: a replica of Bernstein’s Carnegie debut program.“From the beginning, he was intent on avoiding a broad burlesque of a personality, especially one as big as Bernstein’s,” said Carter Brey, the orchestra’s principal cellist, who attended a screening.Cooper has compared playing Bernstein to “channeling a supernova.” He said in a recorded Zoom conversation with Jamie Bernstein last year that her father transmitted his soul through conducting.“The pilot light never went out with him, which is incredible given everything that he saw, experienced, understood, comprehended, bore witness to, even within his own self,” he said in the video. “What a person. What a spirit.”Audio produced by More

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    Zach Bryan Begins Building His Village

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicA few weeks ago, Zach Bryan released his self-titled second major label album, which went to the top of the Billboard album chart — his first time doing so. It contained a duet with Kacey Musgraves that also topped the Hot 100. Then, not long after, he released a new EP, “Boys of Faith,” that includes collaborations with Bon Iver and Noah Kahan.Bryan is working hard, and on his own terms — he releases music seemingly at will, and is finding a path to collaborators that hews tightly to his own taste profile. Even his recent arrest, for interfering with a traffic stop in Oklahoma, felt signature, with footage from the arrest showing him to be both stubborn and apologetic, following his own moral code more closely than the law.On this week’s Popcast, a conversation about Bryan’s post-politics approach to stardom, his dogged work ethic, and how he’s partnering up with fellow dissidents to build a coalition of artists who are ordinarily resistant to coalitions.Guests:Elamin Abdelmahmoud, host of the CBC’s “Commotion with Elamin Abdelmahmoud”Tom Breihan, senior editor at StereogumConnect 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. More

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    Popcast (Deluxe): Doja Cat’s Rap Renaissance + Taylor Swift & Travis Kelce

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:The emergent relationship between Taylor Swift and the NFL star Travis KelceThe new album by Doja Cat, “Scarlet,” its relationship to hip-hop from the 1990s and 2010s, and its uniqueness in relationship to the rest of the women who are dominating contemporary hip-hopThe recent New Yorker exposé of the comedian Hasan Minhaj, and how he strategically deployed misdirection and composite narratives to amplify his humorNew songs from Headie One & K-Trap featuring Clavish, and Jean Dawson featuring SZASnack of the weekConnect 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. More