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      in Movies

      Singing ‘Wicked’ Fans Are Anything but Popular

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      Some fans who have attended early screenings of the film adaptation of the hit Broadway musical have treated it as a singalong. Not everyone is thrilled.Angela Weir went into a screening of “Wicked” on Monday night ready to be transported to the Land of Oz. But when Glinda (Ariana Grande) began to sing “Popular,” one of the musical’s early numbers, she was not the only one singing.“It started slow. Then people heard each other — it was like they encouraged each other,” Weir said on Tuesday. “It was a beautiful scene, and then you’re taken out of it.”As anticipation builds for the film’s release on Friday, some fans who have attended early screenings have ignored theater norms to sing right along with their favorite characters, much to the chagrin and annoyance of other “Wicked” enthusiasts. Many have taken to social media to issue a strict edict: Shush.As a debate grew on TikTok and Reddit, a possible solution emerged this week: For those who want to join in on the duet “What Is This Feeling?” between Grande and Cynthia Erivo, who plays Elphaba, more than 1,000 theaters across North America will host singalong screenings starting on Christmas Day.A representative for Universal said the company would not comment on the debate, and the off-key serenades have continued in the meantime.Weir, 35, said the singing at a screening in the suburbs of Charlotte, N.C., was particularly distracting during the movie’s finale, when Elphaba belts out the show’s most famous ballad, “Defying Gravity.”

      @arweirr i did like it tho #wicked #pleasedontsing #oscars ♬ original sound – Angela 🙂↔️

      @jordycray Time and place! #fyp #foryou #wicked #wickedmovie #arianagrande #cynthiaerivo #musical #popculture #popculturenews ♬ original sound – jordycray We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 200 Shares199 Views

      in Music

      Book Review: ‘Heartbreak Is the National Anthem: How Taylor Swift Reinvented Pop Music,’ by Rob Sheffield

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      HEARTBREAK IS THE NATIONAL ANTHEM: How Taylor Swift Reinvented Pop Music, by Rob SheffieldIt’s possible that I know too much about Taylor Swift. I know the words to all her singles and every name on her long list of ex-lovers. Thanks to her current relationship with Travis Kelce, I know details about the various social entanglements of his Kansas City Chiefs teammates that I would prefer not to. I listen to her music about as much as the median American, which is to say: all of the time. Swift has become America’s Muzak, her songs the soundtrack to our Starbucks lines and her life the fodder for our tabloid stories.In “Heartbreak Is the National Anthem: How Taylor Swift Reinvented Pop Music,” Rob Sheffield charts how Swift, who rose to fame writing songs for teenage girls (when she was still one herself), became ubiquitous — and he makes the case that even as her cultural dominance can work to obscure her skill, everything always leads back to her virtuosic writing.Sheffield is a contributing editor at Rolling Stone, where he publishes consistently glowing reviews of Swift’s seemingly limitless offerings. Here he steps back to consider the roots of her appeal. Swift has “always had a unique flair for writing songs in which people hear themselves — her music keeps crossing generational and cultural boundaries, in ways that are often mystifying,” he writes. She makes her “experiences public property, to the point where she makes the world think of her as a character.”Swift’s self-mythologizing stretches beyond her music to become a collaborative storytelling prompt, one that manages to absorb even her critics. As her superfans brand themselves as “Swifties” and build an extended Taylorverse of analysis and intrigue on social media, they recruit her haters into their project, using them to cast their billionaire idol as a complex and scrappy protagonist.A character becomes more interesting when she has challengers and flaws. “Taylor’s hubris, her way-too-muchness, her narcissism disguised as even more narcissism, her inability to Not Be Taylor for a microsecond — it’s a lot,” Sheffield writes. “You can’t fully appreciate her without appreciating the wide range of visceral reactions she brings out in people.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 163 Shares129 Views

      in Theater

      ‘Attack on Titan’ Shows that Anime and Broadway Could Be a Good Match

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      “Attack on Titan: The Musical” showed what a crossover between two seemingly different types of fans could look like.There are a few things that New York theatergoers can always expect to see on Broadway stages: some Disney, some Sondheim, some Hollywood stars. One may not expect to see the Colossal Titan.What is the Colossal Titan? That would be a giant, skinless humanoid creature, all red tendons and exposed ligaments, that has a taste for humans. This is basic knowledge, of course, for the legions of fans of “Attack on Titan,” the internationally popular Japanese manga that takes place in a dystopian world where people live in a penned-in society hidden behind towering walls.About 2,000 of those fans, many dressed as their favorite characters, filled New York City Center to see “Attack on Titan: The Musical” on the first night of its recent run earlier this month. This particular brand of manga-based onstage entertainment, and the fans who enjoy it, may at first seem like a novelty, but that’s only true in America — and perhaps only for the moment. In Japan, anime plays and musicals are omnipresent.Three sold-out performances later, it was easy to think that maybe the center of a Venn diagram between anime fandom and theater fandom is not as tiny or unusual a space as it may at first seem. Broadway presently banks on pop culture, already established intellectual properties and the fans who invest in them; the success of this performance of “Titan” made it possible to see a future in which anime doesn’t once again get mis-characterized as niche, or separate from mainstream culture, but rather as part of it.In other words, who’s to say that in a few years, anime won’t be another standard sight on Broadway?For now, it’s still uncommon to see what unfolded onstage earlier this month. Each time a titan appeared, it was a spectacle. Some materialized on a digital backdrop, crushing buildings and people below. Others were massive puppets, requiring a small battalion of coordinated handlers. And then there was the Colossal Titan, rendered with an inflatable head and arms.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 63 Shares169 Views

      in Music

      A Lesson From John Lennon

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      The ecstasy and agony of an original Beatles fan.It started in April 1963, when friends of my parents returned to New Jersey from a trip abroad with a present for me. It was something a record shop clerk in London had recommended as the perfect thing for a 13-year-old girl.I prepared myself to act surprised and grateful, even if I didn’t like it. But when I opened it, I gasped. The four young men on the album cover were the cutest guys I had ever seen.This album, “Please Please Me,” was not available in the United States. And the group, the Beatles, was unknown here. I loved them immediately.My classmates thought my new obsession was weird, except for one girl, Sharon, who was open to new things. In the months before the first stirrings of Beatlemania in America, Sharon and I spent the after-school hours listening to the album and gazing at the cover. We could never decide which Beatle was our favorite, because our opinions changed by the day.One afternoon I noticed a sticker on the inside of the cardboard sleeve with the address for the Beatles Fan Club. I mailed a letter to 13 Monmouth Street, London, and began waiting.That summer I spent eight homesick weeks at a sleep-away camp in Maine. With every letter home, I asked if I had gotten a reply from the Beatles. With every letter back, there was a no.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 50 Shares149 Views

      in Music

      Chappell Roan’s Rocket-Ship Year

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicChappell Roan has become one of the biggest breakout pop stars of the past year, and made it happen in novel fashion: creating grand-scale, 1980s-influenced pop refracted through a queer lens; building a drag-inspired performance character; and calling into question the way that fans worship their heroes while rapidly accumulating fans online and in real life.Her debut album, “The Rise and Fall of a Midwest Princess,” continues its rise toward the top of the album chart, more than a year after its release. And her festival performances have become wildly viral events. Roan’s ascent has tested the boundaries of contemporary pop, and also may create a template for a next generation of stars.On this week’s Popcast, a conversation about the fits and starts of Roan’s early career, the events that propelled her to fame and the ways in which she is remaking the star-fan dynamic.Guest:P. Claire Dodson, associate director of culture at Teen VogueConnect 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.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More

    • 125 Shares199 Views

      in Movies

      In ‘Smile 2’ and ‘Trap,’ Pop Stardom Looks Pretty Terrifying

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      At a time when the business of being Taylor Swift or Beyoncé is booming, these films examine toxic fandom and what can seem like mass hysteria.This article contains spoilers.Last year around this time, audiences were heading to movie theaters to experience the joy of being in the presence of a pop star.“Taylor Swift: The Eras Tour” had just been released, prompting Swifties and the Swift-curious to descend on multiplexes, friendship bracelets adorning their wrists. Weeks later, the Beyhive would don silver cowboy hats for the release of “Renaissance: A Film By Beyoncé.” Attending one of these concert films meant having a great time and reveling in the glory of the women onstage who seemed to be doing the same.Now being a pop star at the movies looks a lot more terrifying.Horror centered on pop stars is all the rage these days. In M. Night Shyamalan’s “Trap,” released in August, the concert by the fictional Lady Raven (Saleka) is an elaborate setup to nab a serial killer (Josh Hartnett). This weekend, “Smile 2,” directed by Parker Finn, follows Skye Riley (Naomi Scott), a troubled Grammy winner with a history of addiction who comes to be possessed by a demon that drives her mad with violent hallucinations. To her fans and her team, it looks like she’s on another, possibly drug-induced spiral, but really a monster is goading her into killing herself.Both these movies are a product of a time when the business of being a pop star is bigger than ever. Events like the Eras and Renaissance tours became zeitgeist-defining moments as well as fodder that filmmakers could mine for inspiration. Shyamalan was even direct about it in an Empire interview. His premise for “Trap”? “What if ‘The Silence of the Lambs’ happened at a Taylor Swift concert?”Saleka as a pop star whose concert is a setup to nab a serial killer in “Trap.” Warner Bros. PicturesBut both “Trap” and “Smile 2” prove that beyond the fun of the setup, the life of a pop star is actually thematically ripe for horror. It’s a high-pressure job in which you never know whether you’re meeting a fan or a predator.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares169 Views

      in Music

      Sean ‘Diddy’ Combs’s Streaming Numbers Grow as His Legal Woes Pile Up

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      The embattled music mogul is facing federal sex trafficking charges and a slew of lawsuits. Curious listeners and fans are keeping his catalog in rotation.In the 11 months since the singer Cassie accused Sean Combs in a lawsuit of sexual assault and years of physical abuse, the mogul’s once-booming music career has largely fallen apart.His songs have vanished from radio playlists. He became a pariah at the Grammy Awards, where he once held court. And his business interests — including stakes in a media network and a popular liquor brand — have collapsed. At least 17 more lawsuits have been filed against Mr. Combs alleging misconduct, and last month, he was indicted in New York on federal charges including sex trafficking and racketeering conspiracy. He has pleaded not guilty and is appealing his detention in a Brooklyn jail.But through it all, one part of Mr. Combs’s music business has remained steady, and even seen some growth: the popularity of his songs on streaming services like Spotify and Apple Music.Over the last year, as Mr. Combs, who is also known as Diddy and Puff Daddy, faced a drumbeat of negative stories in the news media — like the raids on his homes by federal agents in March, and a leaked security camera video in May that showed him brutally assaulting Cassie in a hotel in 2016 — the number of people who follow him on Spotify has steadily grown. That figure has climbed from about 1.5 million late last year to 1.8 million now, an increase of about 15 percent, according to Chartmetric, which tracks data from streaming music and social media.Recently the number of clicks for Mr. Combs’s songs have shot up dramatically. In the week before his arrest on Sept. 16, his catalog had about 3.2 million streams on services in the United States; in the weeks following, that figure rose about 50 percent to 4.8 million, according to Luminate, which supplies the data for Billboard’s charts. (In the most recent chart week, the number dipped a bit to 4.3 million.) On social media, Mr. Combs’s follower count has fluctuated, depending on the platform, but support on TikTok has been strong, where the hashtag #FreeDiddy has 12,000 uses.In the music business, this has become a familiar phenomenon of the streaming era. A household-name star — like R. Kelly, Marilyn Manson or Michael Jackson — comes under harsh scrutiny over allegations of sexual misconduct, and may temporarily suffer in the broader cultural marketplace, but maintains steady streaming numbers.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares199 Views

      in Music

      Sean Combs’s Legal Woes Are Growing. So Are His Streaming Numbers.

      by

      The embattled music mogul is facing federal sex trafficking charges and a slew of lawsuits. Curious listeners and fans are keeping his catalog in rotation.In the 11 months since the singer Cassie accused Sean Combs in a lawsuit of sexual assault and years of physical abuse, the mogul’s once-booming music career has largely fallen apart.His songs have vanished from radio playlists. He became a pariah at the Grammy Awards, where he once held court. And his business interests — including stakes in a media network and a popular liquor brand — have collapsed. At least 17 more lawsuits have been filed against Mr. Combs alleging misconduct, and last month, he was indicted in New York on federal charges including sex trafficking and racketeering conspiracy. He has pleaded not guilty and is appealing his detention in a Brooklyn jail.But through it all, one part of Mr. Combs’s music business has remained steady, and even seen some growth: the popularity of his songs on streaming services like Spotify and Apple Music.Over the last year, as Mr. Combs, who is also known as Diddy and Puff Daddy, faced a drumbeat of negative stories in the news media — like the raids on his homes by federal agents in March, and a leaked security camera video in May that showed him brutally assaulting Cassie in a hotel in 2016 — the number of people who follow him on Spotify has steadily grown. That figure has climbed from about 1.5 million late last year to 1.8 million now, an increase of about 15 percent, according to Chartmetric, which tracks data from streaming music and social media.Recently the number of clicks for Mr. Combs’s songs have shot up dramatically. In the week before his arrest on Sept. 16, his catalog had about 3.2 million streams on services in the United States; in the weeks following, that figure rose about 50 percent to 4.8 million, according to Luminate, which supplies the data for Billboard’s charts. (In the most recent chart week, the number dipped a bit to 4.3 million.) On social media, Mr. Combs’s follower count has fluctuated, depending on the platform, but support on TikTok has been strong, where the hashtag #FreeDiddy has 12,000 uses.In the music business, this has become a familiar phenomenon of the streaming era. A household-name star — like R. Kelly, Marilyn Manson or Michael Jackson — comes under harsh scrutiny over allegations of sexual misconduct, and may temporarily suffer in the broader cultural marketplace, but maintains steady streaming numbers.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More