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    Estonia’s entry, ‘Espresso Macchiato,’ brewed trouble in Italy.

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    When Tommy Cash, a rapper and singer from Estonia, won his country’s Eurovision selection with “Espresso Macchiato,” he barely had time to celebrate before a backlash began.In the song, Cash sings in a cheesy Italian accent that he is “sweating like a Mafioso” from working so hard, and just wants a coffee. “Me like mi coffee,” he says: “Very importante.”Cash’s riff on Italian clichés did not go down well in some parts of Italy. Gian Marco Centinaio, a lawmaker with Italy’s far-right League Party, posted on Instagram that Eurovision should ban the song. “Is this the idea of ​​European brotherhood that the organizers of the Eurovision Song Contest have in mind?” he wrote.The flap also made headlines because Codacons, an Italian consumer rights organization, complained that the song “conveys a message of a population tied to organized crime.”In a recent interview, Cash said that he found the reaction over the top. He hadn’t meant to insult Italians, he said: “I love Italy. I love the people. I’m drawn to them because they’re so passionate.”In earlier songs, he rapped in English with his own heavy Eastern European accent, he said, and he also made a track with a German-accented chorus. His comedic Italian voice in “Espresso Macchiato” was no different than those, he said.Cash — who has made several tracks with Charli XCX — has many fans in Europe who love his left-field vibe and provocative videos, but he’s never been close to a household name. But in Italy, at least, he is now a star. Cash said that he had performed on Italian TV many times since “Espresso Macchiato” blew up. On a recent trip to Milan, he added, fans chased him down the street.He had a simple message for anyone who still felt insulted. “Drink a coffee,” he said: “Chill!” More

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      in Movies

      ‘Smoke Sauna Sisterhood’ Review: Women, Uninterrupted

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      In Anna Hints’s bewitching documentary, Estonian smoke saunas beget a sweaty purification process — one that’s revealed to be more than skin deep.In Estonia, the smoke sauna is an 800-year-old tradition carried out with regularity — to this day — by the Voro community in the southeastern part of the country.Singled out by UNESCO as one of the world’s great cultural heritages (like the baguette in France or shadow puppetry in China), the Estonian practice begets a sweaty purification process — one that’s revealed to be more than skin deep in Anna Hints’s bewitching documentary, “Smoke Sauna Sisterhood.”Hints, whose grandmother introduced her to the smoke-sauna ritual, uses the documentary to speak volumes about what it means to be a woman, even as the focus remains fixed on a single location: a cramped sauna-cabin located in a forest.Inside the womblike sauna, Hints simply lets the women, who are primarily middle-aged and older, speak freely among themselves, just as they’re accustomed to doing; she doesn’t bother with title cards or other forms of contextualization. The women talk about their bodies, their relationships with men and the difficulties of growing up in a patriarchal society. One woman, her face obscured by her arm as she lies on the sauna bench, shares a horrific story about being raped as a teenager. The others listen attentively, providing the speaker with the compassionate audience she never had in her youth.Most of the subjects have chosen to remain anonymous, so Hints and the cinematographer Ants Tammik film the nude women from the neck down or using disembodied close-ups. Contrary to what one might expect, the focus on bare chests, perspiring backs and stretches of glistening skin doesn’t feel provocative.Instead, these raw bodies exhibit an organic kind of beauty, real and uninhibited as they commune with the swirling smoke from burning wood and the clouds of steam produced by moistened rocks. It’s no wonder the women tend to open up under these sweltering conditions. To feel fully aware of one’s own body is to acknowledge its scars, too.Smoke Sauna SisterhoodNot rated. In Estonian, with subtitles. Running time: 1 hour 29 minutes. In theaters. More

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      in Music

      A Conductor on Why He Stayed in Russia After the Invasion Began

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      The Estonian American conductor Paavo Järvi chose to remain in Moscow temporarily to lead a Russian youth orchestra: “I felt a responsibility.”As the Russian military began its attack on Ukraine in late February, the Estonian American conductor Paavo Järvi was in Moscow, leading rehearsals for a long-planned engagement with a Russian youth orchestra.Järvi, who was born in 1962 in Tallinn, Estonia, then part of the Soviet Union, had a difficult decision to make. Friends urged him to cancel on the ensemble to protest the invasion. But Järvi, saying he did not want to disappoint the players of the Russian National Youth Symphony Orchestra, decided to stay in Moscow and lead the group in works by Richard Strauss on Feb. 26, two days after the invasion began, before departing on Feb. 27.Järvi’s appearance drew criticism in some corners of the music industry. The day after the concert, Järvi, the chief conductor of the Tonhalle Orchestra of Zurich and the NHK Symphony Orchestra in Tokyo, released a statement decrying the invasion and defending his decision.“These young people should not and cannot be punished for the barbaric actions of their government,” Järvi said in the statement. “I cannot turn my back on my young colleagues: Musicians are all brothers and sisters.”In an interview with The New York Times by email from Florida, Järvi reflected on his visit to Moscow, the scrutiny of Russian artists in wartime, and the future of cultural exchange between Russia and the West. These are edited excerpts from the conversation.As an artist who was born in the former Soviet Union, how do you view Putin’s invasion of Ukraine?It is hard even to find any words for what’s happening in Ukraine at the moment. It is totally barbaric, horrible, inhuman and shocking, yet ultimately unsurprising: In 1944, the Soviets did the same to Estonia, practically carpet bombing Tallinn to the ground.How does your Estonian heritage affect how you see this war?Deep suspicion and distrust (to put it mildly) of Soviets is virtually encoded in our DNA. My family left Estonia when I was 17 years old to escape the Communists. My parents and my grandparents never trusted the Soviets, but life here in the West makes you forget certain realities. Over the years, we of the younger immigrant generation have become more westernized, complacent and slowly accepting of the view that Russians have somehow changed and evolved, that they are no longer dangerous and can be treated as partners.Many of the older Estonians living abroad are still afraid to go and visit, not to mention move back to Estonia, because of their deep fear and hatred of Soviets. (I deliberately avoid using the word “Russians” because it is really the hatred of Soviets, Communists and Soviet leaders that we are referring to.)You were in Moscow just as the Russian invasion of Ukraine was getting underway. You have said you initially felt conflicted about your decision to stay to lead a concert. What was going through your mind?It has always been a part of my mission to give back to the next generation of musicians, which is why I regularly conduct youth orchestras. That was the reason I was in Moscow, but had the war already started, I would obviously not have traveled there.Everyone was already incredibly nervous and tense at the beginning of the week, and when it actually happened, there was complete shock.Why not cancel and leave, as some of your friends urged?I felt a responsibility. I could not turn my back on these young musicians at such a difficult and confusing time. I wanted for them to experience something meaningful. Something that could sustain them during the time of isolation and blockade that clearly was going to be imposed on them for a very long time, maybe decades.The concert was played in a spirit of defiance of the invasion and solidarity with the young musicians, and in deep solidarity and support of the Ukrainian people.Will you return to Russia to conduct while the invasion continues?I will definitely not return to Russia while the war is ongoing, and I find it very difficult to imagine returning even after the war is over, because long after it has finished, the human suffering, wounds, hatred and misery of ordinary people everywhere will continue for generations.What sort of engagement do you think artists in the West should have with Russia in light of the ongoing war? Is it necessary to isolate Moscow culturally, or should there be a free exchange of the arts?Artists outside of Russia should not be interacting with Russia at all so long as the war continues and innocent people are being bombed and dying.How do you think this war will affect the arts in Russia and Ukraine?The impact to Russian artists is going to be devastating. There will be a boycott for a very long time as a new Iron Curtain will be in effect. In the worst case scenario, there is probably going to be the old Soviet model that will be reinstituted. On every level — and culturally, of course, including music — life will be isolated from the West, similar to the former Soviet years.How the Ukraine War Is Affecting the Cultural WorldCard 1 of 6Paavo Järvi. More