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      Want to Enjoy Music More? Stop Streaming It.

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      Build a real music collection. Reintroduce intimacy to the songs you care about.The only music-streaming account I’ve ever had lasted less than 72 hours in 2012. In 2023, I’m still building a non-streaming music collection, shelling out hard cash for what the streaming industry has convinced consumers should be free. As a very online millennial, that makes me somewhat of an anomaly among my peers. I know it’s a privilege for me to pooh-pooh streaming — after all, for those with less disposable income than I have, it offers access to enormous music libraries at little to no cost. But even for those who can afford to purchase music, the concept of paying for songs is a foreign one to many of us.People like me, who came of age in the decade after Apple introduced iTunes and before Spotify took over the market, belong to what is probably the last generation to remember what it was like to own a music collection that doesn’t live in the cloud. Maybe that’s why I never latched onto streaming services — I didn’t like depending on a third-party platform, or being part of a social experiment that feeds Spotify data that it then sells to advertisers. There’s also the matter of fair pay: Streams are the slowest way for musicians to earn money, at fractions of pennies per stream. Most important, though, I don’t like how streaming feels — like I’m only borrowing something for a while, rather than having a handpicked library of albums (digital or physical) that I’ve vetted and can keep forever.I was still using iTunes until 2019, when Apple decided to sunset the app and replace it with a new media player called Music (not to be confused with Apple Music, the streaming service). The appeal of the app remains the same: a media player where I can see my entire music library hosted on my local machine rather than in the cloud. In fact, I have several libraries across different devices and drives that — much to my dismay — all differ from one another slightly. What I lack in portability, I make up for in security. Once I add something to my iTunes library, I have it forever. I have no fear of platforms’ removing artists, or of artists’ removing themselves.When I started this journey in grade school, I, like many of my peers, got around the new order via dubious means. I started by importing CDs I found at the library (the “Juno” soundtrack, anyone?) to my hard drive. I graduated to downloading MP3s online in the heyday of music blogs (“Bitte Orca,” by the band Dirty Projectors, darlings of the hype machine) and searching Google for compressed files. I was a D.J. at my college’s radio station, where we shared files and browsed the station’s racks for CDs we could rip, all to fatten up our iTunes libraries.These days I’m paying for nearly all my music, and have become more selective when adding to my collection. I lean into Bandcamp for MP3s. The platform’s low barrier to entry allows nearly anyone to share and sell their music, whether they have a distributor or not — a limiting requirement for most major streaming platforms. Bandcamp is also possibly the best way to give the most money to small artists, aside from picking up a T-shirt from the merch table. If something isn’t available on Bandcamp, I’ll scope out used CDs to buy and rip. If I love something enough, I’ll try to get the record. If it’s out of print, I’ll throw it on my wish list and cross my fingers for a reissue. At the end of the day, the goal is to have something to hold onto: a digital file, a CD, a record, anything other than an ephemeral stream.This isn’t always convenient: Depriving myself of streaming means there’s no easy way for me to repeatedly listen to a song without a deeper monetary commitment; but for me, listening to music is not about convenience so much as engagement. Resisting Spotify pushes me to actively find new music, as opposed to sitting through Discover Weekly playlists generated by an algorithm. I tune into local college stations, or online stations like the London-based NTS Radio network, and go down rabbit holes on YouTube, whose algorithm can still surprise me as long as I give it the right seeds. YouTube can be the most reliable platform for obscure finds, like live sets or rips of small-production seven-inches lost to time (I’m still trying to find out more about Naming Mary, a not-so-S.E.O.-friendly ’90s shoegaze band with little to no internet presence that surfaced after several recommended videos).This process of discovery has created a stash of albums that is dwarfed by Spotify’s bloated world of curated playlists and anarchic algorithmic “radio stations.” I prefer it that way. When everyone has access to everything, nothing is stamped with the personal memories — the particulars that hold our experience of music together. I don’t need the entirety of recorded music at my fingertips. I just need the few curated albums that I cared enough about to collect. Having my own library means I can distinctly remember the context of every find, and that makes my intimacy with the songs I care about — the ones I can mentally fill in when one earbud falls out as I’m tying my shoes — feel especially rich.Denise Lu is a visual journalist at Bloomberg News. She has previously worked for The New York Times and The Washington Post. More

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      Jerry Moss, the ‘M’ of A&M Records, Is Dead at 88

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      In partnership with Herb Alpert, he turned a small independent label into a powerhouse with a roster full of superstars.Jerry Moss, who with the trumpeter Herb Alpert founded A&M Records, which at its peak from the 1960s to the ’80s was an independent powerhouse behind hits by the Carpenters, the Police, Janet Jackson, Peter Frampton and Mr. Alpert’s group, the Tijuana Brass, among many others, has died at his home in the Bel Air neighborhood of Los Angeles. He was 88.His family announced the death in a statement on Wednesday.Over their more than 30 years with A&M, Mr. Moss and Mr. Alpert developed an eclectic roster — Cat Stevens, Carole King, Supertramp and the grunge band Soundgarden all released music there — and established the label’s reputation for being supportive of artists and treating them fairly.Sting, who signed to A&M with the Police in 1978 and has remained associated with the label throughout his career, said in an interview on Thursday that those values radiated directly from Mr. Moss and Mr. Alpert.“They were gentlemen,” he said. “I think their extraordinary success was really predicated on those very human qualities — not being ruthless businessmen or kill-or-be-killed people. They were artist friendly.”Built from humble beginnings in Mr. Alpert’s garage, A&M — its name was taken from the initials of its founders’ last names — became a major force in pop music and eventually earned its founders a huge payday. In 1989, they sold A&M’s recorded music business to PolyGram for a reported $500 million (about $1.2 billion in today’s money), though Mr. Moss and Mr. Alpert continued to manage the label until 1993. In 2000, they sold Rondor, their music publishing catalog, to Universal Music for an estimated $400 million.Mr. Alpert set the tone for how the label interacted with musicians after what he said in an interview on Thursday were his own unhappy experiences, early in his career, with big labels that had treated him “like a number.” That approach also gave some negotiating leverage to A&M, which in its early days lacked the financial resources of its corporate competitors in pursuing new acts.Mr. Moss, who began his career promoting pop and doo-wop records to radio stations, ran the business side of A&M with its longtime president, Gil Friesen, who died in 2012. But he also insisted on fair dealings with artists.“You can’t force people to do a certain kind of music,” Mr. Moss said in an interview with The New York Times in 2010. “They make their best music when they are doing what they want to do, not what we want them to do.”Early on, A&M signed the country singer Waylon Jennings, who cut a handful of singles but disagreed about his career trajectory with Mr. Alpert, who favored pop material. When Mr. Jennings got an offer from RCA Victor’s Nashville office, A&M agreed to release him from his deal.“I looked at Jerry and said, ‘This guy is going to be a big artist.’ He said, ‘I know,’” Mr. Alpert recalled. “At that point I realized we could be a big success with that attitude. We let Waylon out of the contract. He went on to a great career, and we remained friends with him.”Mr. Moss with one of A&M’s most successful artists, Janet Jackson, with platinum albums for her 1986 album, “Control.” The label’s eclectic roster also included (among many other artists) the Police, Peter Frampton and the Carpenters.Lester Cohen/Getty ImagesJerome Sheldon Moss was born in the Bronx on May 8, 1935, to Irving and Rose Moss. His father was a department store salesman, his mother a homemaker.Mr. Moss graduated from Brooklyn College in 1957. While waiting tables at a resort, he met Marvin Cane, one of the founders of Coed Records, who offered him a job pitching records to radio stations for $75 a week. His first big success was the doo-wop ballad “16 Candles” by the Crests, which reached No. 2 on the Billboard pop singles chart in late 1958.Mr. Moss moved to Los Angeles intending to enter the television business, but instead he soon set himself up again as a radio promoter. It was there that he met Mr. Alpert, who had worked as a songwriter and was attempting to establish himself as a vocalist under the name Dore Alpert.In 1962, the two young men went into business together, investing $100 apiece. They released “Tell It to the Birds,” a single credited to Dore Alpert, on a label they called Carnival.After learning that another record company was already using that name, they settled on A&M for their next release: “The Lonely Bull,” a trumpet-led instrumental with atmospheric sounds recorded at a bullfighting ring in Mexico. They borrowed $35,000 to press the single, which went to No. 6 and immediately put A&M on the map.By 1966, A&M was as successful as any label in pop music. That year, Mr. Alpert and the Tijuana Brass outsold the Beatles and had four albums in the top 10 at the same time. The group dominated the easy-listening market of the era with hits like “A Taste of Honey” and “Spanish Flea”; Mr. Alpert himself had a No. 1 vocal hit in 1968 with “This Guy’s in Love With You.” A&M also signed the Brazilian pianist and bandleader Sérgio Mendes and his band Brasil ’66, which toured with Mr. Alpert.In 1966 the label moved into Charlie Chaplin’s former film studio lot in Hollywood. A&M later signed another huge soft-pop act, the Carpenters, and, through deals with other labels, put out records by Cat Stevens (who now goes by the name Yusuf Islam) and Carole King, including her blockbuster 1971 LP, “Tapestry.”In 1976, A&M released Mr. Frampton’s double live album “Frampton Comes Alive!,” which became one of the defining rock hits of the decade, eventually going eight times platinum. In the 1980s, A&M signed Ms. Jackson, whose album “Control” (1986) went to No. 1 and established her as a major talent.After selling A&M, Mr. Moss and Mr. Alpert briefly ran another label, Almo Sounds, whose artists included Gillian Welch and Garbage. The founders were inducted into the Rock & Roll Hall of Fame as nonperformers in 2006.Mr. Moss’s survivors include his wife, Tina Moss; two sons, Ron and Harrison; two daughters, Jennifer and Daniela; and five grandchildren.Mr. Moss at a Songwriters Hall of Fame event in New York in 2012.Theo Wargo/Getty Images North AmericaIn his later years, Mr. Moss had notable success owning racehorses. One, Giacomo — named after one of Sting’s sons — won the Kentucky Derby in 2005, at extraordinary odds. Another racehorse, Zenyatta, was named after one of the Police’s albums, “Zenyatta Mondatta” (1980).Mr. Moss was active in local philanthropy. In 2020, he and his wife donated $25 million to the Music Center, a performing arts complex in downtown Los Angeles that includes the Dorothy Chandler Pavilion, the Ahmanson Theater, Walt Disney Concert Hall and other spaces.But Mr. Moss said that he was at his happiest making records with Mr. Alpert.“It is the best feeling in the world,” he told The Times. “I’d turn to Herbie and say, man, what in the world did we do to deserve this?” More

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      Clarence Avant, Mighty Engine Behind Black Superstars, Dies at 92

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      Behind the scenes, he furthered the careers of numerous entertainers, as well as some athletes and politicians.Clarence Avant, a record executive who shaped the careers not only of Bill Withers, Whitney Houston, Janet Jackson and other Black singers, but also of politicians, actors and sports figures — exerting so much influence that a 2019 documentary about him was called simply “The Black Godfather” — died on Sunday at his home in Los Angeles. He was 92.His family announced his death in a statement.Mr. Avant (pronounced AY-vant), born in a segregated hospital in North Carolina and educated only through the ninth grade, moved easily in the high-powered world of entertainment, helping to establish the idea that Black culture and consumers were forces to be reckoned with.He started out managing a nightclub in Newark in the late 1950s and moved on to representing some of the artists he met there. Joe Glaser, a high-powered agent who handled Louis Armstrong, Duke Ellington and many other top acts, took Mr. Avant under his wing; perhaps, the documentary suggested, Mr. Glaser, who was white, thought it would be advantageous to have a Black man representing some of his Black clients.In any case, Mr. Avant was soon handling artists including the jazz organist Jimmy Smith and traveling in rarefied circles. Not all his clients were Black; he said Mr. Glaser sent him to Los Angeles in 1964 with the Argentine pianist Lalo Schifrin, who was then working with Dizzy Gillespie, to try to get Mr. Schifrin started on a career composing for film and television. Though he knew nothing about the movie business, Mr. Avant worked his brand of magic on the West Coast: Mr. Schifrin has to date been nominated for six Oscars.In 1960 Mr. Avant formed Sussex Records — he said the name was his combination of the two things people want more than anything else, success and sex — which lasted only about half a decade but released, among other records, Mr. Withers’s early albums.“Clarence made some great choices musically,” Mr. Withers, who died in 2020, said in the documentary. “‘Lean on Me’” — Mr. Withers’s only Billboard No. 1 hit — “was not my choice for a single.”Later in the 1970s Mr. Avant founded Tabu Records, and for a time in the 1990s he was chairman of Motown. He also helped Jim Brown, the football player, build an acting career and negotiated an endorsement deal for Hank Aaron, the Hall of Fame baseball player, as well as supporting the political careers of Jimmy Carter, Bill Clinton and Barack Obama.“One of the things he understands is, there are different kinds of power,” Mr. Obama said in the documentary. “There’s the power that needs the spotlight, but there’s also the power that comes from being behind the scenes.”In 2013, accepting the entrepreneur award at the BET Honors, one of many he received in his career, Mr. Avant summed himself up.“I can’t make speeches,” he told the crowd while clutching his trophy. “That’s not my life. I make deals.”Clarence Alexander Avant was born on Feb. 25, 1931, in Greensboro, N.C., to Gertrude Avant Woods, a domestic worker. In the documentary, he said his mother was not married to his father, Phoenix Jarrell, whom he barely knew.Mr. Avant with Quincy Jones and Whitney Houston.NetflixHe grew up in Climax, N.C., in difficult circumstances and stayed in school only through ninth grade.“We were poor,” he said in the film. “I’m talking about poor, poor, poor. We had chicken-feet soup.”Racism was omnipresent, and the Ku Klux Klan loomed large.“My mother would just tell us, if you hear a car coming, run and hide; lay down flat,” he said.He grew up with a stepfather, Eddie Woods, who was abusive, and he said he left home when he was a teenager after his attempt to kill the man by putting rat poison in his food failed. He went to live with an aunt in Summit, N.J.For a time he held a low-level job at Martindale-Hubbell, publisher of a law directory. In his 20s he started working at a Newark nightclub that featured Black musicians. That was his introduction to the entertainment business, and he proved a natural.“I think Clarence exemplifies a certain cool,” Mr. Obama said in the documentary, “a certain level of street smarts and savvy that allowed him to move into worlds that nobody had prepared him for and say, ‘I can figure this out.’”As his career representing entertainers began to flourish, Mr. Avant met Jacqueline Gray, a model. They married in 1967, and as the couple prospered Ms. Avant became noted for her philanthropic work.In December 2021 a man burglarizing the Avants’ home, Aariel Maynor, shot and killed her. He pleaded guilty to multiple charges the next year and was sentenced to life in prison.In the documentary, friends remarked on their long marriage, somewhat unusual in the entertainment world.“They still look like they’ve got wedding cake on their feet,” the actor Jamie Foxx said, “like they just walked off a soul wedding cake.”Mr. Avant’s daughter, Nicole Avant, said in a phone interview that after the tragedy, her father made a conscious effort to press on.In 2013, Mr. Avant was presented with the entrepreneur award by the producers Jimmy Jam, center, and Terry Lewis at the BET Honors in Washington.Jonathan Ernst/Reuters“Music was, I think, the lifesaving force for him,” she said, especially that of Ellington, Frank Sinatra and other artists from his youth. “His mood changed when the music came on.”At about the time he was getting ready to marry Jacqueline, Mr. Avant was growing more vocal about racial matters. A 1967 article in The Pittsburgh Courier quoted a strongly worded letter he had written to the management of WLIB, a radio station in New York that was aimed at a Black audience but at the time was white-owned.“Is your station managed by Negroes,” he wrote, “and I am not referring to Negro disc jockeys?”“I think radio stations whose programs are supposed to appeal to the so-called Negro market,” he added, “should at least be staffed by Negro personnel.”He was also becoming active politically. He supported the early campaigns of Andrew Young, who made an unsuccessful run for a Georgia congressional seat in 1970 and a successful one two years later. It was Mr. Young who connected Mr. Avant to Hank Aaron when he was about to break Babe Ruth’s career home run record in 1974.“Clarence called me up and said, ‘Andy, do you know Hank Aaron?’” Mr. Young recalled in the documentary, which was directed by Reginald Hudlin. “I said, ‘Yeah, he lives around the corner.’ He said, ‘If he’s about to break Babe Ruth’s record, he’s supposed to make some money.’”Mr. Avant wanted to help Mr. Aaron secure some endorsement deals.“Will you tell him that I’m not crazy and I’m going to call him?” Mr. Avant asked Mr. Young.“I said, ‘Well, I can’t vouch for you not being crazy,’” Mr. Young said, “‘but I’ll tell him that you’ve been very helpful to me.’”It was fraught territory — Mr. Aaron was receiving death threats over the prospect that he would break a hallowed record set by a white player. Mr. Avant, though, according to the documentary, marched into the office of the president of Coca-Cola and told him, in unprintably blunt language, that Black people drink Coke.Mr. Avant’s guidance helped Mr. Aaron secure a substantial deal from Coke and otherwise market himself, which fueled his later charitable endeavors.“Henry Aaron would not be Henry Aaron if it were not for Clarence Avant,” Mr. Aaron, who died in 2021, said in the film.Mr. Avant also helped other athletes, including Jim Brown as he transitioned from football into acting in the 1960s. Interviewed for the documentary, Mr. Brown, one of the biggest Black stars of the 1960s and ’70s, had a hard time pinning down what Mr. Avant did — not an uncommon thing among those who knew and worked with Mr. Avant.“You have this guy called Clarence Avant that everybody’s talking about, but nobody seems to understand just what his official title was,” Mr. Brown, who died in May, said, recalling their early meetings. “I couldn’t tell you now exactly what he — was he an agent, a manager, a lawyer? — what he was.”Mr. Avant had rocky times in the mid-1970s, when the Sussex label went bankrupt and KAGB-FM, a radio station he had bought (making it one of the first Black-owned stations in the Los Angeles area), floundered. But, he said, friends were always his most important asset, and some of them helped him get back on his feet.Tabu Records, which Mr. Avant founded in 1975, released records by the S.O.S. Band, Cherrelle and others.In addition to his daughter, who was a producer of “The Black Godfather,” Mr. Avant is survived by a son, Alexander, and a sister, Anne Woods.The Avant home was always abuzz with A-list visitors. Nicole Avant recalled a day, when she was 12, that she and a friend got into trouble at school. The friend’s mother, driving Nicole home, was fuming — until she saw Harry Belafonte walking out of the Avants’ house.“Is that Harry Belafonte?” the woman asked her.”I said, ‘Yeah, how do you know Harry Belafonte?” — not realizing he was anyone other than a friend who would come around to visit her parents from time to time.Ms. Avant, who served as ambassador to the Bahamas during the Obama administration, said that Mr. Belafonte and others who would gather at the Avant home were serious about breaking down racial barriers, in the entertainment world and in society in general.“They knew that they were on a mission,” she said.The flood of tributes offered to Mr. Avant on Monday included many from younger performers who appreciated his legacy.“He is the ultimate example of what change looks like, what architecting change looks like, and what the success of change looks like,” the rapper and producer Pharrell said in a statement. “He stared adversity in the face in climates and conditions that weren’t welcoming to people that looked like him. But through his talent and relentless spirit in the pursuit to be the best of the best, he garnered the support and friendship of people who otherwise wouldn’t look in our direction.” More

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      Taylor Swift Now Has More No. 1 Albums Than Any Woman in History

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      The pop superstar’s “Speak Now (Taylor’s Version)” debuts at No. 1 this week as the year’s biggest new album, and three of her other titles also made the Top 10.When Taylor Swift released “Speak Now (Taylor’s Version)” this month, there was no doubt it would debut at No. 1. The only questions were how forcefully it would smash records, how many mountains of vinyl it would sell and how far down the chart Swift’s catalog would push everybody else.“Speak Now (Taylor’s Version),” the third installment in Swift’s series of rerecorded albums — this one recreating “Speak Now” from 2010, with a thick appendix of tracks revisited from the cutting-room floor — is the year’s biggest new LP, notching the equivalent of 716,000 sales in the United States. It easily topped Morgan Wallen’s “One Thing at a Time,” which opened with 501,000 in March.But that is not all. It is Swift’s 12th No. 1 album, beating Barbra Streisand for the most chart-toppers by a woman. Drake also has 12 No. 1 albums, but the only acts with more are Jay-Z (14) and the Beatles (19).The popularity of Swift’s Eras Tour has lifted her entire catalog, and this week, in addition to the new “Speak Now,” she has three other titles in the Top 10 of the Billboard 200 album chart: “Midnights” (No. 5), “Lover” (No. 7) and “Folklore” (No. 10). Swift is the first living act to have four albums in the Top 10 since Herb Alpert in 1966. (Prince had five after his death in 2016, and for many years Billboard barred older “catalog” albums from reappearing on its main chart — a rule that was changed after Michael Jackson’s death, in 2009.)Swift’s effort to remake her first six albums began after her old record label was sold without her participation, as a way for Swift to reclaim and control her earlier work. But the project has turned into its own phenomenon, with fans using the opportunity to revisit their own relationship with the music, and critics scouring the new recordings for rare — but notable — edits, like a change to a lyric on the track “Better Than Revenge” from “Speak Now” that had come to be seen as outdated or worse.The new version of “Speak Now” had a bigger opening than her two previous rerecordings, “Red” (605,000) and “Fearless” (291,000).The 716,000 “equivalent” sales for the new “Speak Now” — a measurement by Billboard and the data service Luminate that reconciles the various ways fans consume music now — incorporates 269 million streams and 507,000 copies sold as a complete package. It also includes 268,500 copies on vinyl, the second-biggest week for any vinyl album since the predecessors of Luminate began keeping reliable sales records in 1991 — the biggest was Swift’s own “Midnights,” which opened with 575,000 copies sold on LP back in October.“Speak Now” continues an astonishingly productive run for Swift. It is her sixth studio album in three years, and according to Billboard she is the only artist to notch new No. 1 albums in each of the last five calendar years: “Lover” (2019); “Folklore” and “Evermore” (2020); “Fearless (Taylor’s Version)” and “Red (Taylor’s Version)” (2021); “Midnights” (2022); and now “Speak Now (Taylor’s Version).”Also this week, Wallen’s “One Thing” holds at No. 2; Lil Uzi Vert’s “Pink Tape,” last week’s top album, falls to No. 3; and Peso Pluma’s “Génesis” is No. 4. More

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      How a Jay-Z Exhibit Took Over the Brooklyn Public Library

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      “The Book of Hov,” an elaborate summer exhibition at the borough’s main branch, was quietly conceived by his team as a surprise tribute that opens Friday.Earlier this week, when passages of Jay-Z lyrics from songs like “Hard Knock Life (Ghetto Anthem)” and “Justify My Thug” appeared on the Art Deco-style, curved limestone facade of the Brooklyn Public Library’s main branch, fans and passers-by could only speculate on the occasion for the building’s sudden makeover. A surprise concert for the rapper’s home borough? A tribute to the 50th anniversary of hip-hop this summer?The answer, it turned out, was neither — and also a secret even from the man himself.On Thursday evening, when Jay-Z entered the library for a private event surrounded by an inner circle of family, friends and business associates, he was greeted by his live band playing instrumental versions of his hits out front, and a career-spanning archival exhibition that he never asked for inside.Jay-Z learned about the exhibition at a private event held at the library on Thursday night.Simbarashe Cha for The New York Times“I know he wouldn’t let us do this,” said Desiree Perez, the chief executive of Jay-Z’s entertainment empire Roc Nation, about keeping such elaborate plans from the boss. “This could never happen if he was involved.”Featuring artwork, music, memorabilia, ephemera and large-scale recreations of touchstones from a sprawling career, “The Book of Hov,” which will run through the summer, might seem more at home at the Brooklyn Museum down the block. But by installing the showcase across eight zones of a functioning library, its architects are aiming to bring aspirational celebrity extravagance to a free public haven just a few miles from the Marcy Houses where Jay-Z grew up.“Jay belongs to the people,” Perez said. “It’s a place that feels comfortable. It’s not intimidating. A lot of people go to the museum, but a lot of people don’t.”Nicola Yeoman and Dan Tobin Smith’s mash-up of instruments that was photographed for the “Blueprint 3” cover.Amir Hamja/The New York TimesA Gucci jacket tied to the release of Jay-Z’s 2010 memoir, “Decoded.”Amir Hamja/The New York TimesA mural by Jazz Grant made of hand-cut and scanned imagery from Jay-Z’s archives.Amir Hamja/The New York TimesOnly the debut on Thursday was meant to be exclusive. Following a private tour through his own memories, Jay-Z made himself scarce when the tightly controlled doors opened, content to leave the V.I.P. guests among representations of his many likenesses, from Mafioso M.C. to boardroom mogul to social justice string-puller.Even his elusive wife, Beyoncé, mingled more, at least momentarily, as crowds gathered outside to catch glimpses of the Jay-Z extended universe — athletes like Jayson Tatum and Robinson Cano; the musicians Lil Uzi Vert, DJ Khaled and Questlove; the director Josh Safdie and the businessman Michael Rubin.By Friday, when the exhibit opens to the masses, the hors d’oeuvres and passed drinks — Jay-Z’s brands, naturally — would be gone. But remaining among the stacks are statues, sneakers, paintings, platinum plaques, trophies and news clippings tied to Jay-Z’s 13 albums and the companies he founded, including Rocawear and Tidal.The library had initially pitched Jay-Z as an honoree for its annual fund-raising gala. But when its chief executive, Linda E. Johnson — the wife of another Jay-Z ally, the developer Bruce Ratner — floated the idea to Perez of Roc Nation, the pair pivoted.One area of the library features playable turntables and vinyl representing the samples used across Jay-Z’s catalog.Amir Hamja/The New York Times“I just asked her, ‘How big is the library?’” Perez recalled. “And when she said 350,000 square feet, I couldn’t believe it.”Throughout the pandemic, Perez and Roc Nation had been plotting to display artifacts that conveyed Jay-Z’s influence across music, business and broader culture, including the pallets’ worth of master recordings he had regained ownership of over the years.“That archive belongs in Brooklyn,” said Johnson, who oversaw the merger of the Brooklyn Public Library and Brooklyn Historical Society.Together, the teams began planning “The Book of Hov” in January, tapping the production designers Bruce and Shelley Rodgers, Emmy-winning veterans of the Super Bowl halftime show, as well as the creative agency General Idea to conceive and execute the elaborate project.It wasn’t just displaying memorabilia. Beyond the library’s main atrium, beneath an enormous Jay-Z collage, now sits a full-scale replica of the main room from Baseline Recording Studios, where Jay-Z created some of his best-known songs. Every detail had to be correct, down to the TV size and the tub of Dum Dums on the counter.A full-scale recreation of the main room from Baseline Recording Studios, where Jay-Z created some of his most famous songs.Amir Hamja/The New York TimesA reel-to-reel machine in the replica of Baseline Studios.Amir Hamja/The New York TimesA Betacam master tape of the song “99 Problems.”Amir Hamja/The New York Times“They had the wrong couch, the wrong soundboard,” said Juan Perez, a Roc Nation executive and longtime friend of Jay-Z’s, who designed the original studio and gave plenty of notes for the recreation.Another area of the library features playable turntables and vinyl representing the samples used across Jay-Z’s catalog, surrounded by the encased tape reels, floppy disks and CDs containing his original music.Bruce Rodgers, the production designer now working on his 18th Super Bowl halftime show, called the project “probably the most intense installation I’ve ever been involved in,” adding: “We didn’t want to interrupt the normal workings of the library, but we wanted to make a statement.” That included flying in “ninjas” from the West Coast who could rappel up and down the building to install the lyrical facade in time.An area of the exhibition designed for children to make paper planes.Amir Hamja/The New York TimesThe paper plane is a Roc Nation logo attached to an inspirational motto.Amir Hamja/The New York TimesPart of the exhibition is dedicated to Jay-Z’s philanthropy and social justice work, as well as his various businesses.Amir Hamja/The New York Times“People thought I was a little out of my mind,” Johnson, the library executive, said. “I don’t think I’d be going out on a limb to say that this is the biggest exhibition we’ve ever done.”While the valuables will require additional security, Brooklyn Public Library was not paying for any of the production for the show, she added. “Roc Nation is doing a lot for us financially,” Johnson said, including a substantial donation tied to the gala in October, when Jay-Z and his mother, Gloria Carter, will be honored.In the meantime, Jay-Z will also be helping, perhaps unwittingly, with sign-ups. In addition to the draw of the exhibition itself, the library is producing 13 limited-edition library card variations featuring its homegrown star — one for each album.“I’m concerned about crowds,” Johnson said, conveying equal parts trepidation and excitement. “We’ll run out, I suspect.” More

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      Millions Danced Joyfully to Her Song. She Drew on Her Pain to Write It.

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      Nomcebo Zikode, the South African singer of the pandemic hit “Jerusalema” that inspired a global dance challenge, wrote the chorus while battling her own depression.It starts with a clap, and then the feet tap along to the beat: four times on each side, followed by a quick jump. As the melody rises, dancers dip low and twirl.It’s a dance easy enough for anyone to learn, and people all around the world have done so, with everyone from an urban dance crew in Angola to Franciscan nuns in Europe showing off their moves on social media.The “Jerusalema” dance, named for the South African hit song that inspired it, provided a moment of global joy during the lockdowns of the pandemic, a welcome distraction from the isolation and collective grief.But it was the chorus, a lamentation over a heavy bass beat, that was balm to millions. Sung in a low alto in isiZulu, one of the official languages of South Africa, audiences didn’t need to understand the song to be moved by it.The singer Nomcebo Nkwanyana, who goes by Nomcebo Zikode professionally, drew on her own intense pain when she wrote it.“Jerusalem is my home,” she sang. “Guard me. Walk with me. Do not leave me here.”After more than decade as an overlooked backing vocalist, and with her faith in music faltering, Ms. Zikode, 37, was in a dark place in 2019 when she wrote those words.Her manager, who is also her husband, insisted she write the lyrics to help her crowd out the voices in her head that were telling her to give up on music, and herself.Ms. Zikode, 37, was in a dark place when she wrote lyrics that would uplift millions.Alexia Webster for The New York Times“As if there’s a voice that says you must kill yourself,” she said, describing her depression at the time. “I remember talking to myself saying, ‘no, I can’t kill myself. I’ve got my kids to raise. I can’t, I can’t do that.’”She didn’t listen to the recording of the song until a day after it was made. As the bass began to reverberate through her car, everything went dark, she said, and she almost lost control of the vehicle. She pulled over, tears streaming down her face.“Even if you don’t believe it, this is my story,” she said. “I heard the voice saying to me, ‘Nomcebo, this is going to be a big song all over the world.’”And that prognostication soon proved true.In February 2020, a group of dancers in Angola uploaded a video showing off their choreography to the song, and challenging others to outdo them. As lockdowns were enforced just weeks later, the song was shared around the world.The global success of “Jerusalema” has taken Ms. Zikode on tour to Europe, the Caribbean and the United States. It also led to her being featured on the song “Bayethe,” which would win the Grammy award for Best Global Music Performance earlier this year.But while “Jerusalema” has brought her global renown, she has had to fight to earn any financial reward from it and to be recognized as part of its creative force.She sued her record label, and a settlement in December called for her to receive a percentage of the song’s royalties and to be allowed to audit the books of the label, Open Mic Productions, that owns the song.At least as important, the agreement also states that Ms. Zikode must be cited as the song’s “primary artist” alongside Kgaogelo Moagi, more commonly known as Master KG, the producer behind the instrumental track on “Jerusalema.”But even this victory in South Africa’s male-dominated music industry comes with significant caveats: For one, Master KG is receiving a higher percentage of royalties. And Ms. Zikode said she has yet to see payment. “I’m still waiting for my money,” she said.Open Mic did not respond to multiple requests for comment, but in a statement put out after her Grammy win, the label said: “She is a very talented artist and we welcome this agreement as a progressive resolution.”The global success of “Jerusalema” has taken Ms. Zikode on tour to Europe, the Caribbean and the United States.Alexia Webster for The New York TimesStruggles with money are nothing new to her.The youngest of four children born in a polygamous marriage, Ms. Zikode’s father died when she was young and her mother, the third wife, was left destitute. Desperate, her mother let a church outside Hammarsdale, a small town in South Africa’s eastern province of KwaZulu-Natal, take her daughter in for four years.There, she slept on bunk beds among rows of other children. She sewed her own clothes and helped to clean the dormitories. The church choir was a solace, but she sorely missed home until she was able to return in the 10th grade.Her mother sold maize or bartered what vegetables she could grow for secondhand clothes. The neighbors who would ask the young Ms. Zikode to sing for them would feed her and take her in for a few nights as her mother struggled.When she was old enough, Ms. Zikode learned to braid other people’s hair to earn some money, but remembers self-consciously pressing her elbows to her side, for fear that her customers would smell that she could not afford deodorant.But what she really wanted was to sing, and she got her break at an open-call audition. She spent years singing backup for gospel stars, sharing crowded apartments with other backing vocalists. When gigs dried up, she took computer classes as a career backup plan.Ms Zikode’s first major South African hit came in 2017 when she sang vocals on the song “Emazulwini” for a well-known house music producer and D.J., Frederick Ganyani Tshabalala. But what had seemed like a long-awaited break turned into a letdown when DJ Ganyani, as he is known, did all he could, she said, to prevent her from performing the song live on her own.“They try by all means to suppress the singers,” Ms. Zikode said of the D.J.s and producers who hold most of the power in South Africa’s music industry.DJ Ganyani did not respond to requests for comment.Hoping a record label would better protect her rights, Ms. Zikode signed with Open Mic, but once the deal was inked, the label went quiet, she said, and she was left hustling to record her debut album.Feeling abandoned by the record company, her husband and manager, Selwyn Fraser, sent messages to other artists, masquerading as his wife on Instagram and Twitter, trying to get bigger names to work with her.This outreach campaign connected Ms. Zikode with Master KG and resulted in “Jerusalema.”It’s not only the song that has made her a household name in South Africa, but also her very public fight for her royalties and recognition, in the courts and on social media, said Kgopolo Mphela, a South African entertainment commentator.“She’s coming across as the hero, or the underdog, taking on Goliath,” Mr. Mphela said.For all her struggles with reaping the monetary benefits of “Jerusalema,” Ms. Zikode’s musical career has made her financially comfortable and she now has a music publishing deal with a division of Sony Music.Her 17-year-old daughter and 8-year-old son want for nothing, she said. She and her husband renovated their home, adding an in-house studio.Ms. Zikode can also bask in the accolades that have come with her Grammy win for “Bayethe.”Ms. Zikode won a Grammy for “Bayethe,” which she performed with two other South Africans, the flutist Wouter Kellerman and the performer-producer Zakes Bantwini.Alexia Webster for The New York TimesOn a chilly April night in Johannesburg, in the Grammy’s afterglow, Ms. Zikode stepped out of a borrowed Bentley at an event to celebrate South Africans who have achieved international success.As she walked the red carpet, determined to own the moment, she granted every interview request, whether from the national broadcaster or a TikTok influencer. Later that night, she accepted two checks, one for herself and one for a charity she founded that helps impoverished young women.When she took the stage to perform the song that made her famous, she hiked up her gown to dance the “Jerusalema.” More

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      Dolby Atmos Wants You to Listen Up. (And Down. And Sideways.)

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      True believers in the immersive audio format say it could restore a musical appreciation lost to a generation that has come up during the streaming era.After more than 30 years as a producer and engineer, Brad Wood wasn’t sure if he still had a future in music.Wood, a classically trained saxophonist, had gotten his start in Chicago’s early ’90s music scene, helming breakthrough albums for Liz Phair and Veruca Salt, and platinum records for Smashing Pumpkins and Placebo. In 2000, he moved to Southern California, where he thrived for a time — and then merely survived, as the downloading era sank recording budgets just as the brand of guitar rock he specialized in lost cultural relevancy.While many of his colleagues gave up, Wood kept going, working harder while earning less. “I probably got to the point where I was making the same rate as when I started,” he said.Then, in 2021, an emergent technology ushered Wood — and thousands of recording professionals like him — into an unexpected boom time.Over the past two years, Wood has been busy mixing old and new records in Dolby Atmos, an audio format that lets engineers create a listening experience more immersive than traditional stereo by placing sounds around and above the listener. Working for a variety of labels, Wood has done Atmos mixes for the Supremes, the Pogues, Jennifer Lopez, Modest Mouse, Gwen Stefani and Soul Asylum — some 300-plus tracks in total, the equivalent of two dozen albums.“The whole thing has been pretty unexpected and thrilling,” he said.For Dolby, the audio company that developed Atmos, and Apple Music — which has invested heavily in it — the technology could lead to the most dramatic shift in audio in 65 years.“The recording industry went from mono to stereo decades ago, and it didn’t move from there,” John Couling, senior vice president of Dolby Laboratories, said in a phone interview.There have been efforts to convince the public to adopt new advanced technologies in the years since, ‌including Quadraphonic sound in the ’70s ‌and 5.1 surround sound in the ’90s, but with little success. “We’ve changed formats, we’ve changed delivery methods, we’ve changed all sorts of things,” Couling said, “but it was still fundamentally the same sound. Atmos is a completely new experience.”Oliver Schusser, a vice president at Apple Music, said that his company, which has incentivized record labels to deliver catalog material in Atmos, sees it as way to bring sonic value back to music — something that’s been lost among a whole generation that has come up during the streaming era.“There was no appreciation of the art and work of sound engineers and mixing and mastering,” Schusser said over a video call this spring. “That really pained us. We wanted to fix that.”Today, all three major record labels and hundreds of independents are delivering tracks in Atmos. Apple Music, Amazon Music, Tidal and Qobuz are the among the 15 streaming services bringing Atmos to 160 countries and over 500 million listeners.“But mention the word ‘Atmos’ to anyone in the general public and they don’t know what the hell you’re talking about,” said the veteran engineer and producer Bob Clearmountain. One of the most respected and influential figures in the recording world, Clearmountain was initially dubious of Atmos’s staying power, but he has come to believe in its future.“Music has become background noise for most people. It’s something in your headphones while you’re out doing other stuff,” he said during a call last month. “When I was a teenager, I used to listen to an album three, four times through just sitting in front of my speakers, entranced.” That way of listening has disappeared, he said, but he’s hopeful that Atmos can bring it back, “if we’re able to get people to understand what it is and hear it the right way.”From the outside, it appears Atmos is entering a critical period that could determine whether it will kick off a sonic revolution or become just another tech lost to time.“The goal is to feel like you’re sitting amongst these musicians as they’re performing,” the producer Brad Wood said.Michael Tyrone Delaney for The New York TimesDOLBY ATMOS, INTRODUCED in 2012, was initially developed for movie theaters and the home theater market. Because it offers a wider palette than stereo, and differs from traditional 5.1 and 7.1 channel setups, Atmos allows engineers — typically mixing across a dozen or more speakers — to put sound sources in front, to the side, behind and even above the listener.“When you take sounds and you separate them from each other,” Couling said, “you will be able to hear those sounds independently much more clearly than if they are on top of each other. By creating space, we also create depth and clarity — and we found that’s what content creators really wanted.”For artists like Chic’s founder, Nile Rodgers, immersive audio is the closest thing to the musician’s experience. “When I’m making a record, I’m sitting in a room with the band,” Rodgers said during a video chat, “we’re playing and jamming and what happens is the sound is bathing us. That’s what music sounds like to me.”Listening to Dolby Atmos mixes in a professional recording studio can be a powerful experience. “It’s remarkably seductive,” said Clearmountain, who’s done Atmos projects for Bruce Springsteen, the Rolling Stones and others. “I’ve played Atmos tracks for so many people who say, ‘I can never listen to stereo again.’ People have been in tears, moved by what they were hearing. It has an incredible effect.”Opinions among recording professionals on any subject are rarely uniform, and there are some who have reservations about Atmos.Susan Rogers, a longtime engineer for Prince, left the music industry in the late ’90s to become a cognitive neuroscientist. Last fall, Dolby invited her to the company headquarters in San Francisco to listen to a new Atmos mix of Prince’s “When Doves Cry,” a track she originally worked on.“As both an engineer and as a psychoacoustician, I have mixed feelings about whether it’s an improvement,” Rogers said in a phone interview.She noted that there are evolutionary and biological reasons that sound sources coming from behind and above listeners can be unsettling or anxiety inducing. She also observed that music is a potent form of communication in large part because the consummatory phase happens entirely in the listener’s head. Having clearer and more sound sources can actually make it harder to know what to pay attention to.“That was what I noticed listening to ‘When Doves Cry’ in Atmos,” Rogers said. “It sounded amazing, but it was more difficult to assemble it into a unified whole in that private place I listen to music. I found it distracting.” Her “knee-jerk reaction was ‘do not want,’” she said. “But over time I may learn to like it.”APPLE MUSIC IS betting heavily that the public will, by and large, come to love Atmos. Although other companies, including Amazon, had flirted with the technology, in 2021 Apple decided to commit itself fully to Atmos, putting its own proprietary and branding spin on the tech, dubbing it “spatial” audio.Strategically, Atmos offers Apple Music a way to further distinguish itself from streaming competitors like Spotify — which has historically ignored high resolution or advanced audio options — and siphon market share from the industry’s dominant music service, YouTube.“We wanted something where people would notice a difference immediately,” said Schusser, the Apple Music executive. “Maybe not 100 percent would love Atmos or spatial audio right away, but everyone would know this sounds different, and the hope is the majority would come to appreciate the upgrade.”Initially, Apple’s biggest challenge was that there was very little Atmos content available. In 2017, R.E.M.’s “Automatic for the People” became the first album mixed for Atmos, and over the next few years, several notable Atmos releases — from Elton John, Queen and the Beatles — showcased the format’s possibilities.To achieve its broader aims, Apple needed to make Atmos content both viable and plentiful. It began by partnering with Dolby to encourage recording studios to upgrade to the format. There are now some 800 officially recognized Dolby Atmos studios in over 40 countries, a 350 percent increase in just two years. (Dolby estimates there are two or three times that number of other studios capable of delivering music in Atmos.)Apple Music also drew up wish lists of artists, albums and tracks and presented them to record labels, along with funding and deadlines, to help quickly expand the library of titles available in Atmos. Over the past few years, this effort to refit 50 years of pop music has heralded a rush of work for engineers and mixers, who’ve suddenly found themselves doing volume business in the format.Wood, initially dismissive of learning to work in Atmos, said he changed his mind once he realized the inevitability of its rise. “It was clear that records I’d made were going to get mixed in Atmos,” he said, “and if I didn’t learn how to do it, somebody else would, and I’d be ceding that control.” Wood’s first Atmos mix was for Liz Phair’s “Soberish,” an album he’d originally produced. “And, also, I realized there would be a good payday in learning,” he added.While contemporary pop and hip-hop artists were quick to adopt the format for new releases, convincing veteran rock acts to enter the Atmos fray proved more of a challenge. “The first six months, those artists had a lot of questions,” Schusser said.Some groups, like the Doors, embraced the format, overhauling their entire catalog in Atmos all at once; others, like Fleetwood Mac, have proceeded more cautiously, doing one album at a time. More and more though, top legacy artists have been putting out Atmos mixes with increasing regularity, with recent releases including landmark albums like Pink Floyd’s‌ ‌“The Dark Side of the Moon‌‌” and ‌the Beach Boys’‌ ‌“Pet Sounds.”Given the sheer volume of Atmos catalog work and the still evolving understanding of the format, not all mixes are created equal.“The labels seem to be farming this stuff out and it isn’t always being done with the original artist or production team involved,” Clearmountain said. “I know that’s not always possible. But sometimes what comes back are just bad mixes — or strange mixes, anyway.”Wood — who has done mixes in consultation with the original artists as well as on his own — agrees. “In general, you have to try to put the tracks into a speaker array so it doesn’t sound too jarring or gimmicky,” he said. “The goal is to feel like you’re sitting amongst these musicians as they’re performing. Like all mixing, it’s subjective, and how you approach it really depends on the music itself.”For some artists, transforming old recordings into Atmos has been challenging. Chic recently had its first three albums mixed in the format. “The process took months and months to get right,” Rodgers said. “The team that was working on it, we gave them notes, we went into different rooms, did rough mixes to show them what we were talking about.”For others, the overhaul has been relatively painless and even eye-opening. This past spring, Alicia Keys had eight of her albums mixed for Atmos. In a video interview promoting her catalog overhaul, Keys said that engineers working on her albums “completely reimagined every note, every sound, every instrument, every voice. It sounds like you’ve never heard it before. I mean, I never even heard it like this before. It really is a new experience.”Strategically, Atmos offers Apple Music a way to further distinguish itself from streaming competitors like Spotify,Chad HagenONE OF THE reasons other highly touted surround sound technologies like 5.1 and 7.1 failed to catch on is because they required a specific speaker configuration. Dolby Atmos, however, is scalable and can adapt to a variety of setups.Given its success in the headphones market, Apple has emphasized playback on its AirPods and Beats Fit Pro devices, which all offer a version of the Atmos experience with dynamic head tracking (where the sound shifts along with a user’s movement) in the $200 to $500 range. A number of other manufacturers, including Audeze, RIG, Corsair and LG, also offer Atmos headphones and earbuds.The options for affordable home music systems, ones purpose-built for Atmos audio, have been limited. Amazon and Apple have long offered their own Atmos-enabled smart speakers, but neither really conveyed the full range of sound possible.In March, Sonos introduced a first of its kind sub-$500 speaker, the Era 300, which more successfully packages the Atmos experience into a single compact unit, equipped with a half-dozen drivers that direct sound left, right, forward and upward.The Grammy-winning mixing and mastering engineer Emily Lazar, who helped test and fine tune the Era 300, hopes it will be the start of tech companies bringing more viable Atmos options to market.“No one who’s listened to Atmos in a properly tuned, beautiful-sounding studio can deny what it offers,” she said. “How now can we deliver that in a smaller package so everybody can afford it and have that same kind of experience is going to be key moving forward.”If Atmos does ever achieve critical mass, it might come through automobiles. Most cars come equipped standard with a dozen-plus speakers, making them a natural environment for immersive audio. So far, a handful of major automakers including Mercedes-Benz and Volvo have introduced plans to put Atmos in their vehicles. It’s a market Dolby and Apple both say they are determined to expand further.“But those kind of tech changes don’t happen in a year or two — and that’s really what it’s been so far,” Schusser said. “There’s obviously more work to be done. But we’re all optimistic we’ll get there with Atmos.”In the meantime, recording pros like Wood will keep working and mixing, hoping the Atmos bump will last a little while longer.“I don’t know that I could have written a better chapter for this phase of my career,” he said. “If you told me three years ago, I was going to get paid my day rate to listen and work on some of the greatest recordings in history, I would’ve said, ‘Sign me up — that sounds amazing.’” More

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      Paul McCartney Says A.I. Helped Complete ‘Last’ Beatles Song

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      The song was made using a demo with John Lennon’s voice and will be released later this year, McCartney said.More than 50 years after the Beatles broke up, Paul McCartney said artificial intelligence helped create one last Beatles song that will be released later this year.The song was made using a demo with John Lennon’s voice, McCartney said in an interview with BBC Radio 4 that was released on Tuesday. He did not give the title of the song or offer any clues about its lyrics.“When we came to make what will be the last Beatles record, it was a demo that John had, that we worked on,” McCartney said. “We were able to take John’s voice and get it pure through this A.I., so then we could mix the record, as you would normally do.”Holly Tessler, a senior lecturer on the Beatles at the University of Liverpool, said in an interview on Tuesday there was speculation that the song might be “Now and Then,” a song Lennon composed and recorded as a demo in the late 1970s.Lennon was fatally shot outside his New York apartment building in December 1980. His widow, Yoko Ono, gave the tape to McCartney as he, Ringo Starr and George Harrison, who died in 2001, were working on “The Beatles Anthology,” a career-retrospective documentary, record and book series.Two other songs on that tape, “Free As a Bird” and “Real Love,” were later completed by the three surviving Beatles using Lennon’s original voice recording and were officially released in 1995 and 1996.It is unclear exactly how McCartney was using the latest demo and whether any new lyrics would be incorporated.The use of A.I. technology to create music with the voices of established artists has raised a number of ethical and legal questions around authorship and ownership in recent months.This spring, an A.I.-produced song called “Heart on My Sleeve,” which claimed to use the voices of Drake and the Weeknd, became popular on social media before it was flagged by Universal Music Group. Similarly created tracks, including one using A.I. versions of Rihanna to cover a Beyoncé song and another using A.I vocals from Kanye West to cover the song “Hey There Delilah,” continue to rack up plays on social media.Other artists are embracing the technology. Grimes, the producer and pop singer, put out a call in April for anyone to make an A.I.-generated song using her voice. The results were mixed.Proponents of the technology say it has the power to disrupt the music business in the ways that synthesizers, sampling, and file-sharing services did.McCartney’s use of A.I. technology may recruit new fans, but it may also alienate older fans and Beatles purists, Tessler said.“We have absolutely no way of knowing, creatively, if John were alive, what he’d want to do with these or what he’d want his contribution to be,” she said, adding that it creates an ethical gray area.Over McCartney’s career, he has been quick to engage with new creative technologies, whether talking about synthesizers or samplers, she said.“I think he’s just curious to see what it can do,” Ms. Tessler said of McCartney. “I mean, it gives us some insight into his mind and what his creative priorities are, that given how much of the music industry is at his fingertips, that what he chooses to do is finish a demo with John Lennon. In a way, it’s very poignant.” More