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    Oasis Reunion Brings Back Spotlight on the Gallagher Hairstyle

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    News of a new tour put the band — and the rough-hewed hairstyles popularized by its sibling frontmen, Liam and Noel Gallagher — back in the spotlight.For the legions of Oasis fans who thought a reunion would never happen after the band broke up 15 years ago and vowed to regroup only when hell froze over, the recent announcement of a 2025 tour came as something almost life-altering. The news was also a boon for a smaller, though no less passionate, group of rock exegetes: those who tracks the history of music and culture through hair.That hair is foundational to pop identity is beyond dispute. Think, at random, of Little Richard’s lacquered pompadour; James Brown’s conk; the Beatles’ mop tops; Sinead O’Connor’s shaved head; Johnny Rotten’s mohawk; Boy George’s plaits; the jet-black nimbus — part bouffant, part rat’s nest — of the Cure’s lead singer, Robert Smith. Think Billie Eilish’s slime-green roots.“Hair is essential to rock ’n’ roll as a music and to rock stars as idols,” said Joe Levy, a former executive editor at Rolling Stone and the curator of a forthcoming photographic history of rocker hair and style for the Illuminarium theater in Atlanta. “It’s a flag of freedom.”From left, Liam and Noel Gallagher in August. Simon Emmet/EPA, via ShutterstockSurely it was that for the brothers Noel and Liam Gallagher in the long-ago 1990s, when they formed Oasis in Manchester, England. They wore hairstyles that could be described as tough, northern-English versions of the ’60s mod cuts popularized by the Beatles (a band Oasis plundered from liberally and without compunction.)“It’s this very English kind of look that morphed from ’60s Stones and Beatles, the mods, into this Gallagher version with bangs, side burns and a short crop at the top,” said Guido Palau, a go-to hairstylist for designers like Kim Jones and Marc Jacobs and a man Vogue once deemed to be among the most in-demand coiffeurs in the world.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

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      in Television

      ‘Bridgerton’s’ Nicola Coughlan on Her Season 3 Glow Up

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      The stars of the Shondaland series, streaming on Netflix, are given very different looks when they’re promoted from the supporting cast — a phenomenon fans have dubbed “the Bridgerton glow-up.”When the actress Nicola Coughlan joined the cast of Shondaland’s period costume drama “Bridgerton,” as the young socialite and secret gossip pamphleteer Penelope Featherington, the hair and makeup artist Marc Pilcher informed her that the creative brief they had for her character was only one word: “dowdy.”Penelope, the demure youngest daughter of the domineering matriarch Lady Portia Featherington, was to be done up in garish pastel dresses and gaudy jewelry, with a hairdo clogged with curls — none of it particularly flattering. “For the first two seasons, the objective, in the nicest way, was not meant to make me look nice,” Coughlan said in a recent interview. “A lot of the Featherington aesthetic was a ‘more is more’ approach.”A supporting player through the show’s first two seasons, Penelope is the main character of Season 3, which begins streaming May 16 on Netflix. And as she has moved into the spotlight, her entire style has been altered: a transformation that fans of the show refer to as the “Bridgerton glow-up.”Gone are the canary-yellow gowns and tacky headpieces. She’s now wearing milder colors and less ostentatious jewelry, and her hairstyles are looser and more elegant. In short, she is no longer dowdy. “At the first fitting for Season 3, I got teary-eyed,” Coughlan said. “It felt like a ‘Pretty Woman’ moment. They were finally going to let me shine.”In Season 1, the brief for Nicola Coughlan’s character was a single word: “dowdy.”Liam Daniel/NetflixIn Season 3, as the leading lady, Coughlan gets a romantic look that showcases Penelope’s growing confidence.Laurence Cendrowicz/NetflixThis kind of stylistic reinvention has become common practice on a series known for rotating actors in and out of its sweeping ensemble, and adapting their appearances accordingly. “When the transition is made from side character to leading character, we think a lot about what story it is we’re trying to tell,” the showrunner and executive producer Jess Brownell explained. When it comes to styling, she said, “it’s a lot more heady when it comes to the main characters.”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

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      in Music

      Willie Nelson, Style Icon

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      “Roll me up and smoke me when I die,” Willie Nelson sang from the stage of the Hollywood Bowl during his 90th birthday celebration in April.As usual, Mr. Nelson looked very much at ease. He was wearing a cowboy hat over a red bandanna, and his hair spilled down his back. His trusty guitar, a road-worn classical acoustic model named Trigger, hung from the red, white and blue strap around his neck. At his side was his longtime friend, the equally relaxed Snoop Dogg.The duet with Snoop was one of many high points for Mr. Nelson in 2023, when fans and colleagues expressed their appreciation for one of the great survivors of American cultural life. In February, he won the Grammy for best country album. Two months later, he was joined by Beck, Rosanne Cash, the Chicks, Gary Clark Jr., Sheryl Crow, Keith Richards and other artists for the two-night Hollywood Bowl concert.In November, shortly after his latest book, “Energy Follows Thought: The Stories Behind My Songs,” appeared in indie bookstores and Wal-Marts alike, Mr. Nelson was inducted into the Rock & Roll Hall of Fame. This month, CBS broadcast the Hollywood Bowl concert; and a four-part documentary retrospective, “Willie Nelson & Family,” which made its debut at this year’s Sundance Film Festival, started streaming on Paramount+.But there was a time when Mr. Nelson’s prospects seemed shaky at best, when he was just one of many Nashville strivers who was trying to follow a path mapped out by music executives who supposedly knew better.The turnaround came when he made a break from all that and decided to be fully himself, not only in his musical approach but in how he presented himself to the world.Mr. Nelson, with Sheryl Crow, performed under a portrait of his former self at the Hollywood Bowl in April, during his star-studded 90th birthday celebration.Eduardo Munoz/ReutersThe Willie Nelson who appeared on the covers of the albums he made for RCA Records in the 1960s would seem to have almost nothing in common with the “cosmic cowboy” (as he once described himself) that audiences would come to know and love.On the cover of his 1962 debut album “ … And Then I Wrote,” he is a short-haired fellow wearing a suit and an anxious grin. For his eighth studio album, “Good Times,” released in 1968, he hit a fashion low, posing in golf attire on a putting green while draping himself around a young woman in a miniskirt. The albums sold poorly, and Mr. Nelson grew more and more frustrated by his lack of agency.In addition to foisting upon this sui generis singer-songwriter the image of a generic country star, RCA insisted that he use top-flight session musicians in the recording studio, rather than the down-home band that backed him on the road. It seemed that the label was doing everything to make Mr. Nelson a star but allowing him to be himself.His transformation began in earnest after his farmhouse outside Nashville burned to the ground in 1969. As Kinky Friedman noted in the foreword to Mr. Nelson’s 2012 book, “Roll Me Up and Smoke Me When I Die,” the down-on-his-luck singer launched into his next phase by channeling the spirit of an earlier American iconoclast.“Willie told the Nashville establishment the same words Davy Crockett had told the Tennessee political establishment: ‘Y’all can go to hell — I’m going to Texas,’” Mr. Friedman wrote.Before Mr. Nelson settled on his signature look, he tried out a number of public images, including the good-time golfer on the cover of this 1968 album.In 1972 he settled in Austin, a city known for its progressive politics, laid-back vibe and mix of musical styles, from conjunto to the blues. He grew out his hair, started wearing bluejeans and T-shirts to perform at clubs like the Armadillo World Headquarters and doubled down on his switch from alcohol to pot as his preferred mood enhancer.To keep the sweat out of his eyes, he wore a red bandanna around his forehead. He grew mutton chops, then a scruffy beard. The new look fit the changing times, though it wasn’t a calculated appeal to the counterculture.“It felt good to let my hair grow,” Mr. Nelson reflected in his 2015 autobiography, “It’s a Long Story.” “Felt good to get onstage wearing the same jeans I’d been wearing all damn day. As I look at it, I was turning exactly into the person I was.”He also managed to bridge a great divide in American cultural life. As Turk Pipkin, a writer and filmmaker who has coauthored two books with Mr. Nelson, put it: “He united the hippies and the rednecks.”In 1973, he hosted the first of what would become an annual event, Willie Nelson’s Fourth of July Picnic. The concert, on a ranch in the Texas Hill Country, attracted dyed-in-the-wool country music fans as well as young progressives who were discovering his music through albums like “Shotgun Willie,” released that June on his new label, Atlantic Records.Performing at Willie Nelson’s Fourth of July Picnic near Austin, Texas, in 1974. Mr. Nelson wrote that it “felt good to get onstage wearing the same jeans I’d been wearing all damn day.”Bettmann, via Getty ImagesMr. Nelson’s willingness to follow his instincts was a key to his crossover success, said Peter Blackstock, who frequently covered Mr. Nelson for The Austin American-Statesman.“Cowboys like Willie because he came from a country background and was born and raised in Texas,” Mr. Blackstock said. “What was unusual is that all these people who were listening to Led Zeppelin or Frank Zappa also got interested in Willie. They appreciated the individual streak there.”Though he was considered part of the so-called outlaw country movement, Mr. Nelson couldn’t have chosen a more patriotic day to assemble his flock for a picnic; and his set list in those years, as today, included “Will the Circle Be Unbroken,” “Family Bible” and other songs that reflected his upbringing in the Baptist Church.By 1978, Mr. Nelson was wearing his hair in long braids — a radical act for a male country singer. Even his fellow male “outlaws” Waylon Jennings, Kris Kristofferson and Tompall Glaser adhered to gender norms in their appearances.In 1979, he showed up at the White House waring jeans and a sating jacket to present a Country Music Association award to President Jimmy Carter. That night, Willie smoked what he called “a fat Austin torpedo” on the White House roof.Unlike his fellow country singer Charley Pride, Mr. Nelson did not wear a suit when he met with President Jimmy Carter at the Oval Office in 1979.Harvey Georges/Associated PressMuch has been made of Mr. Nelson’s appreciation of marijuana and advocacy on its behalf. A 1978 profile in High Times magazine began, “Willie Nelson smokes a lot of dope.” In the 1990s, he joined the advisory board of the National Organization for the Reform of Marijuana Laws, or NORML.Despite the waist-length hair and frequent pot-smoking, Mr. Nelson never abandoned his heartland roots. The High Times article quoted a friend who said he drove “a pickup truck with a gun rack”; and Mr. Nelson would go on to be a founder of Farm Aid, the annual benefit concert that has raised millions for American family farmers over the last four decades.As the nation grew more divided, his still had a knack for bringing together opposing camps. In 2015, he stood on a stage in Washington, D.C., to accept the Library of Congress Gershwin Prize for Popular Song. Applauding him from a few feet away were Representative Kevin McCarthy, Republican of California, and Representative Nancy Pelosi, Democrat of California. In its report on the event, The Texas Tribune called Mr. Nelson “the only person who can bring Democrats and Republicans together in the nation’s capital.”Contradictions have defined his life and career. Mr. Nelson is someone who owns a home in Maui, Hawaii, with views of the Pacific Ocean, yet for several years also operated Willie’s Place, a truck stop and biodiesel processing plant in Carl’s Corner, Texas. He has taught Sunday school in Fort Worth, Texas, and praised Las Vegas for its “hustler energy.” He has had his assets seized by the I.R.S. and sung with President Obama at a 2014 benefit concert for veterans.At his 90th birthday concert in April, Mr. Nelson duetted with Snoop Dogg on the 2012 song “Roll Me Up and Smoke Me When I Die.”Joshua Timmermans/Blackbird Presents“The common thinking for almost all of us is to see things as contrary positions, and we all fall into it,” Mr. Pipkin said. “Willie doesn’t necessarily see them as contrary. He doesn’t see the billionaire and the bum in different ways.”Or, as Mr. Nelson put it in his autobiography, “I’m a man of many parts.” More

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      in Theater

      When the Wig Is a Character: Backstage at Jocelyn Bioh’s New Play

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      The styles in “Jaja’s African Hair Braiding,” in previews on Broadway, require a wig designer, several braiders, some synthetic hair and lots of patience.Known for her amusing scripts and plaited hairstyles, Jocelyn Bioh can count only three times when she was without braids. “There’s a real freedom in getting your braids done,” she said. “Then you don’t have to worry about your hair for the next few weeks.”The playwright’s lifelong commitment to interwoven hairdos inspired “Jaja’s African Hair Braiding,” a Broadway comedy about a day in the life of a hair braiding salon. It’s most likely the first Broadway play to shine a spotlight on Black women’s hair, and what it takes to style it.Set in Central Harlem, around 125th Street and St. Nicholas Avenue (where many of these salons are clustered), “Jaja’s” presents a spirited group of West African hair stylists as their designs take shape and they juggle the uncertainties and perplexities of their new lives here. Because these women are rarely part of conversations about immigration, Bioh felt it was important for audiences to hear their stories.In writing the play, Bioh (“Nollywood Dreams,” “School Girls; Or, The African Mean Girls Play”) sought to put a face to something that was likely to be unfamiliar to many theatergoers. “I want to take them into this really unique, funny, crazy, exciting, in some ways mundane space that holds women who all have incredible stories,” said Bioh, a native New Yorker whose parents emigrated from Ghana. “That’s what I’m trying to unpack in my play. What’s the other? What’s in the other?”A mock-up of the wig, one of the play’s more colorful hair designs.Alongside the comedy and drama, “Jaja’s” features a multitude of strand mastery, as Bioh and the director Whitney White (“Our Dear Dead Drug Lord”) were determined to show a range of hairdos coming to life onstage. To pull this off, most of these styles are executed in real time with a little stage magic courtesy of wigs constructed by the hair and wig designer Nikiya Mathis. Cast members, who braid hair onstage, practiced during rehearsals on wigs she designed for the performance.“There are so many moving pieces to the show that involve hair, and it’s not just me backstage,” Mathis said. “It’s also the actors onstage, it’s what Jocelyn has written, and it’s what Whitney will be helping us to reveal.”“Part of that,” she continued, “is going to be the magic of figuring out how we’re going to construct the wigs and how to potentially take them apart.”The show is running about 90 minutes, without an intermission, yet these hairstyles can take anywhere from a couple of hours to a whole day to complete. There’s also the art of the craft. Creating a single braid starts with a cluster of hair: fingertips planted against the scalp, grasped at the roots of three sectioned tufts, deftly and repeatedly crocheted until a pattern emerges. The options are endless. The humble braid can stand alone, of course, but when woven loosely, it becomes the box braid. Woven against the scalp, it becomes the cornrow. Woven infinitesimally, it becomes the micro.Building wigs that mimic these looks is labor intensive, and audiences are just beginning to see how the production, in previews at the Samuel J. Friedman Theater, pulls it off. This summer we followed along on the assembly and design of one of the flashier styles, a wig known as Jaja’s Strawberry-Swirl Knotless Afro-Pop Bob, worn by the actress Kalyne Coleman in the show.Sew, Braid, Dye: One Wig, Many HandsThe wig-making process begins when a gallon-size poly bag is fitted on the actor’s head to make a mold. Once the measurements are taken and the hairline is drawn, the bag is removed, and the mold is filled with polyester fiber and placed on a canvas wig block. Lace is secured to the frame, which serves as the wig’s foundation, and finally strands of hair are sewn in one by one.The show’s hair and wig designer, Nikiya Mathis, dyes the wigs in a solution of water and semi-permanent color. The more saturated the water is with dye, the deeper the pigment. She then agitates the hair to ensure all the strands attain the desired hue.The hair design team builds the look together, with each stylist completing one braid at a time. Human hair is woven into the lace infrastructure, then small pieces of synthetic hair are added to give each braid length and fullness. More synthetic hair is bunched and teased at the ends of each braid to create volume for the puff.Before the fitting, Kalyne Coleman’s real hair was braided into cornrows, which sit close to her head, so that the wig would fit over it easily. Then a stocking cap is placed over her head and secured with pins. The wig is then applied, and baby hair is pulled out. The edges are curled with gel to complete the look. More

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      in Music

      The Bald Power of Sinead O’Connor

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      The Irish singer’s shaved head was as much a part of her identity and allure as her sound.It was the bald head that became the avatar of a million dreamy rebellions; the shaved pate that bridged the gap between the angry and the sublime. It is almost impossible to think about Sinead O’Connor, the Irish singer whose death was reported on July 26, or her work, without thinking about her hair. Or lack of it.Without thinking about the striking curve of her shorn skull on the cover of her 1987 debut album, “The Lion and the Cobra,” her face below caught mid-scream; the nakedness it seemed to convey in the 1990 video of “Nothing Compares 2 U,” as her blue eyes brimmed with tears; the purity of the line on the cover of her 2021 memoir, “Rememberings.” Which contains an entire chapter entitled “Shaving My Head.”It was effectively her signature — in a 2014 story in Billboard Ms. O’Connor, 56 when she died, identified herself as “the bald woman from Ireland” — along with her Dr. Martens and torn jeans, and it followed her throughout her life, just as much as her ripping up the photo of the Pope on “Saturday Night Live” in 1992 did. Even in the few periods when she grew her hair back, she was often referred to as the “formerly bald” Sinead O’Connor. And as such, she was an integral part of the renegotiation of old stereotypes of gender, sexuality, rebellion and liberation that is still going on today.“I just don’t feel like me when I have hair,” she told The New York Times in 2021.Now that female baldness has become more common, has become a badge of identity for women such as Ayanna Pressley, the representative from Massachusetts who went public with her alopecia in 2020, and X González, the Marjory Stoneman Douglas High School student (then known as Emma) who became a campaigner for gun control, not to mention the Dora Milaje of “Black Panther,” it can be hard to remember how extraordinary it was when Ms. O’Connor emerged. “Shaving my head to me was never a conscious thing,” Ms. O’Connor told Spin in 1991. “I was never making a statement. I just was bored one day and I wanted to shave my head, and that was literally all there was to it.”Independent News and Media/Getty ImagesBut that seeming repudiation of her own porcelain beauty in the wake of a spate of teen pop queens, at a time when armoring yourself in a helmet of big hair was a big thing and shaving your head was still largely seen as a punishment, was as much of a statement of singularity as her sound. Perhaps, it was also the first sign of the controversial politics to come, including refusing to play the national anthem before her concerts and stenciling the logo of Public Enemy into the side of her head at the 1989 Grammys when the show’s organizers declined to televise the first-ever award for Best Rap Performance.She offered various explanations of the choice. All the stories come down to the same thing in any case, which was a refusal to cater to traditional definitions of “pretty” as established by the male gaze as long ago as Rapunzel and Lady Godiva.In shearing her head “she was literally shearing away a false narrative,” said Allyson McCabe, the author of “Why Sinead O’Connor Matters.” In 1991 Ms. O’Connor told Spin, “shaving my head to me was never a conscious thing. I was never making a statement. I just was bored one day and I wanted to shave my head, and that was literally all there was to it.” However, she also said, “The women who are admired are the ones that have blond hair and big lips and wear red lipstick and wear short skirts, because that’s an acceptable image of a woman.” And, “Because I have no hair, people think I’m angry.”In a 2017 TV interview she told Dr. Phil that it was because during her abusive childhood her mother had compared her with her sister, who had long red hair, unlike Sinead. “When I had long hair, she would introduce us as her pretty daughter and her ugly daughter,” Ms. O’Connor said in the interview. “And that’s why I cut my hair off. I didn’t want to be pretty.”The cover of Ms. O’Connor’s memoir.Houghton Mifflin Harcourt, via Associated PressA still from her music video for “Nothing Compares 2 U.”In the interview she also said, “It’s dangerous to be pretty, too, because I kept getting raped and molested everywhere I went,” and “I did not want to dress like a girl. I did not want to be pretty.”In her memoir, she wrote that she was working on her first album in London, and had been told by a male music executive she should grow her (buzzed but not shorn) hair long and start to dress more like a girl. The next day she went to a barbershop and had it all shaved off.During the period after the “S.N.L.” appearance, when she was rejected by the music industry and revealed she had been diagnosed as bipolar, Ms. O’Connor’s bald head was taken as a sign of instability (just as it was later with Britney Spears). The fact that she continued shaving her skull for the rest of her life suggested it was, rather, a sign of selfhood.The first time she looked in the mirror after that visit to the barbershop, she wrote in the book, “I looked like an alien.” Another way to put it, however, is she looked like the woman she became. And in becoming that woman — in giving herself that permission — she helped extend it to us all. More

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      in Music

      DNA From Beethoven’s Hair Unlocks Medical and Family Secrets

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      It was March 1827 and Ludwig van Beethoven was dying. As he lay in bed, wracked with abdominal pain and jaundiced, grieving friends and acquaintances came to visit. And some asked a favor: Could they clip a lock of his hair for remembrance?The parade of mourners continued after Beethoven’s death at age 56, even after doctors performed a gruesome craniotomy, looking at the folds in Beethoven’s brain and removing his ear bones in a vain attempt to understand why the revered composer lost his hearing.Within three days of Beethoven’s death, not a single strand of hair was left on his head.Ever since, a cottage industry has aimed to understand Beethoven’s illnesses and the cause of his death.Now, an analysis of strands of his hair has upended long held beliefs about his health. The report provides an explanation for his debilitating ailments and even his death, while also raising new questions about his genealogical origins and hinting at a dark family secret.The paper, by an international group of researchers, was published Wednesday in the journal Current Biology.It offers additional surprises: A famous lock of hair — the subject of a book and a documentary — was not Beethoven’s. It was from an Ashkenazi Jewish woman.The study also found that Beethoven did not have lead poisoning, as had been widely believed. Nor was he a Black man, as some had proposed.And a Flemish family in Belgium — who share the last name van Beethoven and had proudly claimed to be related — had no genetic ties to him.Researchers not associated with the study found it convincing.It was “a very serious and well-executed study,” said Andaine Seguin-Orlando, an expert in ancient DNA at the University Paul Sabatier, Toulouse, in France.The detective work to solve the mysteries of Beethoven’s illness began on Dec. 1, 1994, when a lock of hair said to be Beethoven’s was auctioned by Sotheby’s. Four members of the American Beethoven Society, a private group that collects and preserves material related to the composer, purchased it for $7,300. They proudly displayed it at the Ira F. Brilliant Center for Beethoven Studies at San Jose State University in California.But was it really Beethoven’s hair?The Hiller lock, which the study found did not come from Beethoven but a woman, with its inscription by its former owner, Paul Hiller.William Meredith/Ira F. Brilliant Center for Beethoven Studies, San Jose State UniversityThe story was that it was clipped by Ferdinand Hiller, a 15-year-old composer and ardent acolyte who visited Beethoven four times before he died.On the day after Beethoven died, Hiller clipped a lock of his hair. He gave it to his son decades later as a birthday gift. It was kept in a locket.The locket with its strands of hair was the subject of a best-selling book, “Beethoven’s Hair,” by Russell Martin, published in 2000, and made into a documentary film in 2005.An analysis of the hair at Argonne National Laboratory in Illinois found lead levels as high as 100 times normal.In 2007, authors of a paper in The Beethoven Journal, a scholarly journal published by San Jose State, speculated that the composer might have been inadvertently poisoned by medicine, wine, or eating and drinking utensils.That was where matters stood until 2014 when Tristan Begg, then a masters student studying archaeology at the University of Tübingen in Germany, realized that science had advanced enough for DNA analysis using locks of Beethoven’s hair.“It seemed worth a shot,” said Mr. Begg, now a Ph.D. student at Cambridge University.William Meredith, a Beethoven scholar, began searching for other locks of Beethoven’s hair, buying them with financial support from the American Beethoven Society, at private sales and auctions. He borrowed two more from a university and a museum. He ended up with eight locks, including the hairs from Ferdinand Hiller.First, the researchers tested the Hiller lock. Because it turned out to be from a woman, it was not — could not be — Beethoven’s. The analysis also showed that the woman had genes found in Ashkenazi Jewish populations.Dr. Meredith speculates that the authentic hair from Beethoven was destroyed and replaced with strands from Sophie Lion, the wife of Ferdinand Hiller’s son Paul. She was Jewish.Lab work on the Moscheles lock at the University of Tübingen in Germany.Susanna SabinAs for the other seven locks, one was inauthentic, five had identical DNA and one could not be tested. The five locks with identical DNA were of different provenances and two had impeccable chains of custody, which gave the researchers confidence that they were hair from Beethoven.Ed Green, an expert in ancient DNA at the University of California, Santa Cruz, who was not involved with the study, agreed.“The fact that they have so many independent locks of hair, with different histories, that all match one another is compelling evidence that this is bona fide DNA from Beethoven,” he said.When the group had the DNA sequence from Beethoven’s hair, they tried to answer longstanding questions about his health. For instance, why might he have died from cirrhosis of the liver?He drank, but not to excess, said Theodore Albrecht, a professor emeritus of musicology at Kent State University in Ohio. Based on his study of texts left by the composer, he described what is known of Beethoven’s imbibing habits in an email.“In none of these activities did Beethoven exceed the line of consumption that would make him an ‘alcoholic,’ as we would commonly define it today,” he wrote.Beethoven’s hair provided a clue: He had DNA variants that made him genetically predisposed to liver disease. In addition, his hair contained traces of hepatitis B DNA, indicating an infection with this virus, which can destroy a person’s liver.But how did Beethoven get infected? Hepatitis B is spread through sex and shared needles, and during childbirth.Beethoven did not use intravenous drugs, Dr. Meredith said. He never married, although he was romantically interested in several women. He also wrote a letter — although he never sent it — to his “immortal Beloved,” whose identity has been the subject of much scholarly intrigue. Details of his sex life remain unknown.The Stumpff lock, from which Beethoven’s whole genome was sequenced, with an inscription by its former owner Patrick Stirling.Kevin BrownArthur Kocher, a geneticist at the Max Planck Institute for Evolutionary Anthropology in Germany and one of the new study’s co-authors, offered another possible explanation for his infection: The composer could have been infected with hepatitis B during childbirth. The virus is commonly spread this way, he said, and infected babies can end up with a chronic infection that lasts a lifetime. In about a quarter of people, chronic infection will eventually lead to cirrhosis of the liver or liver cancer.“It could ultimately lead someone to die of liver failure,” he said.The study also revealed that Beethoven was not genetically related to others in his family line. His Y chromosome DNA differed from that of a group of five people with the same last name — van Beethoven — living in Belgium today and who, according to archival records, share a 16th-century ancestor with the composer. That indicates there must have been an out-of-wedlock affair in Beethoven’s direct paternal line. But where?Maarten Larmuseau, a co-author of the new study who is a professor of genetic genealogy at the University of Leuven in Belgium, suspects that Ludwig van Beethoven’s father was born to the composer’s grandmother with a man other than his grandfather. There are no baptismal records for Beethoven’s father, and his grandmother was known to have been an alcoholic. Beethoven’s grandfather and father had a difficult relationship. These factors, Dr. Larmuseau said, are possible signs of an extramarital child.Beethoven had his own difficulties with his father, Dr. Meredith said. And while his grandfather, a noted court musician in his day, died when Beethoven was very young, he honored him and kept his portrait with him until the day he died.Dr. Meredith added that when rumors circulated that Beethoven was actually the illegitimate son of Friedrich Wilhelm II or even Frederick the Great, Beethoven never refuted them.The researchers had hoped their study of Beethoven’s hair might explain some of the composer’s agonizing health problems. But it did not provide definitive answers.The composer suffered from terrible digestive problems, with abdominal pain and prolonged bouts of diarrhea. The DNA analysis did not point to a cause, although it pretty much ruled out two proposed reasons: celiac disease and ulcerative colitis. And it made a third hypothesis — irritable bowel syndrome — unlikely.Hepatitis B could have been the culprit, Dr. Kocher said, although it is impossible to know for sure.The DNA analysis also offered no explanation for Beethoven’s hearing loss, which started in his mid-20s and resulted in deafness in the last decade of his life.An 1827 lithograph of Beethoven on his deathbed by Josef Danhauser, after his own drawing.Josef Danhauser, via Beethoven-Haus BonnThe researchers took pains to discuss their results in advance with those directly affected by their research.On the evening of March 15, Dr. Larmuseau met with the five people in Belgium whose last name is van Beethoven and who provided DNA for the study.He started right out with the bad news: They are not genetically related to Ludwig van Beethoven.They were shocked.“They didn’t know how to react,” Dr. Larmuseau said. “Every day they are remembered by their special surname. Every day they say their name and people say, ‘Are you related to Ludwig van Beethoven?’”That relationship, Dr. Larmuseau said, “is part of their identity.”And now it is gone.The study’s findings that the Hiller lock was from a Jewish woman stunned Mr. Martin, author of “Beethoven’s Hair.”“Wow, who would have imagined it,” he said. Now, he added, he wants to find descendants of Sophie Lion, the wife of Paul Hiller, to see if the hair was hers. And he’d like to find out if she had lead poisoning.For Dr. Meredith, the project has been an amazing adventure.“The whole complex story is astonishing to me.” he said. “And I’ve been part of it since 1994. One finding just leads to another unexpected finding.” More

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      ‘Babylon’ and the Case of the Missing Bob Haircut

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      Margot Robbie’s 1920s silent-screen star wears her locks long and frizzy — and that’s by design, as the director Damien Chazelle and hairstylist explain.At the start of the epic “Babylon,” Margot Robbie’s character, a rising silent-film star named Nellie LaRoy, quite literally crashes into a Hollywood bigwig’s party — her car hits a statue — and then proceeds to take over the dance floor, her voluminous hair whipping back and forth as she headbangs to a jazz score. In a sea of the kind of bobbed hairstyles usually associated with the 1920s, Nellie’s long frizzy mane stands out as Robbie wields it almost like another appendage.The hairstylist Jaime Leigh McIntosh was terrified. “I will be honest, it was freaking me out,” she said in a recent interview via video. “I was just like, I’m going to be stoned in the village square. My fellow hair stylists are going to be like, ‘That’s not period correct.’”But McIntosh and the film’s writer-director, Damien Chazelle, also made sure that as anomalous and modern as Nellie’s hair might seem for the 1920s, there was historical precedent for it. What results is a look that evokes both Clara Bow and Janis Joplin with a bit of the Bible’s Samson thrown in. “I wanted it to be like someone just took her from the woods,” Chazelle said.The wild Nellie symbolizes the ethos of the sprawling movie, which takes the classic narrative of a starry-eyed ingénue and adds a layer of excess and scatological humor. Chazelle was intent on creating a portrait of the 1920s that didn’t look like the one audiences knew from, say, “Great Gatsby” adaptations. “He was just like, ‘There’s got to be another ’20s out there,’” McIntosh recalled. “‘We just keep kind of regurgitating the same looks and the same fashion, and there must have been other things happening.’”In the months before shooting began, she and Chazelle sent reference photos back and forth. He gave her a list of films and documentaries to watch, but the production team was also on a hunt for images of people not filtered through a movie lens. She and the makeup artist Heba Thorisdottir leafed through the book “Least Wanted: A Century of American Mugshots” for examples of what unvarnished people of the era might look like. Chazelle in particular was drawn to images from portrait studios. “Like Man Ray portraits, but less famous than that,” he said.The Projectionist Chronicles a New Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Best-Actress Battle Royal: A banner crop of leading ladies, including Michelle Yeoh and Cate Blanchett, rule the Oscars’ deepest and most dynamic race.Golden Globe Nominations: Here are some of the most eyebrow-raising snubs and surprises from this year’s list of nominees.Gotham Awards: At the first official show of the season, “Everything Everywhere All at Once” won big.Governors Awards: Stars like Jamie Lee Curtis and Brendan Fraser worked a room full of academy voters at the event, which is considered a barometer of film industry enthusiasm.“There’s only so much of what you would call documentary photography, candid camera stuff, but there’s a lot of really out-there, wild, transgressive studio photography that wound up inspiring a lot of the costumes, too, where people would put on crazy, crazy stuff that even the pre-Code movies of the time would never allow you to put on,” Chazelle said, referring to the Hays Code, which imposed morality restrictions on film starting in the 1930s. It was not just the hairstyles that caught his eye, he added, but also the “risqué-ness that was accepted in the wardrobe both of men and women at the time.”Anything that bucked conventional wisdom about the time sparked inspiration. McIntosh cited footage she found of women at a long hair competition and an image of Miss Philadelphia 1924, her hair a mess of frizz around her face before falling into long ringlets. Chazelle looked to the silent film star Clara Bow — “Margot and I both loved just how bird’s nest-y Clara Bow’s hair could get,” he said — but also the less well known Lili Damita, who sometimes appeared with a big curly mop. “I just kept coming back to photos I would find of women of the time with long hair, with wild long hair,” Chazelle said. “I just couldn’t get over those photos because of how un-1920s they felt. They felt so counter to expectations.”As Chazelle and McIntosh found — and as Rachael Gibson, who bills herself as the Hair Historian — confirmed, it was a misconception to think that all women in the 1920s wore their hair short. “We just kind of think, ‘Oh everyone had this hair,’” Gibson said. “But that’s not the reality.”Still, the images Gibson has seen of Nellie struck her as incongruous. (At the time of the interview, she had not yet seen the movie.) “It’s not superlong and it’s kind of got this natural wave to it, and it’s really unlike anything else that we associate with that era,” she said.That too was the point. One of the words Chazelle kept using, McIntosh said, was “timeless.” As he identified Nellie’s historical counterparts, Chazelle also kept in mind “spirits” he wanted her to evoke. Those included the musicians Joplin and Courtney Love and the actresses Jean Harlow and Julie Christie. Chazelle felt Nellie needed to “always have a foot in a different era as though she sort of came from the future,” and used ’80s punk culture as a reference, too.To determine the specific length and style, McIntosh and Chazelle went through multiple rounds of tests, putting Robbie in various wigs to see not just how they looked but eventually how they moved as she walked and danced. “I never expected it to be as complicated as it wound up being,” Chazelle said. “We locked it down right in the nick of time.”Once they settled on her long locks, Robert Pickens built a wig that could both withstand Nellie’s thrashing and convey the “grittiness” of the era. Without air conditioning, Pickens said, “people are sweating. To communicate all that through hair we went with a really fine texture.”Going into filming, McIntosh was still nervous. It wasn’t until she saw Robbie shoot the opening dance number that she suddenly realized, “‘It all makes complete sense. This is genius.’ It took me a while. I was a little stubborn but I got there.”Later in the film, Nellie’s hair is cut into a more recognizably period finger-wave bob as she tries to rehabilitate her flailing career by fitting in with high society. It looks awkward. Her power has been sapped from her, almost like Samson’s when his hair was cut.“I was just like, ‘Oh, my God, what have we done to her?’” McIntosh said. “Which is so funny because normally you’d be like, ‘Oh, wow, look at this beautiful finger wave,’ but because it was on Nellie it was so wrong.” More

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      One Last Takeaway From ‘The Slap’: Leave Black Women’s Hair Alone

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      Lost in the Oscars fray is the hurt inflicted when a group is denigrated for a laugh. Chris Rock, who has examined this issue in a documentary, should have known better.While the Slap Heard Round the World has been vigorously debated and dissected since Will Smith confronted Chris Rock at the Oscars, there was more to the incident than its abrupt physicality.Rock’s joke, and Jada Pinkett Smith’s resulting eyeroll, echoed even more thunderously for Black women. Her glare encapsulated the fatigue and frustration that so many of us deal with in the complex daily feat of simply wearing our hair as we like. That Chris Rock would point to a Black woman’s hair for a joke left me breathless, and I wasn’t alone.“When Black women’s hair is mocked by comedians like Rock, he ushers in the everyday forms of microaggressive hatred against Black women that normalized blatant discrimination,” Ralina Joseph, a professor at the University of Washington, Seattle, and the director of the Center for Communication, Difference and Equity, said in an email interview.Black women’s hair has been the object of scrutiny, derision and ridicule in American society since it’s been growing out of our heads. Thanks to standards of beauty that for too long excluded us, we are arguably the largest demographic in the country whose hair is continually policed. Court cases document fights against school districts and corporations trying to govern how we can wear our hair. A segment of people who don’t live with it, in all its iterations of textures and lengths, somehow wants to dictate how and when it’s pretty, professional or unkempt.Distaste for Black hair seeps into our everyday lives: Just last month, the House of Representatives passed the CROWN Act, banning discrimination against natural hair in hiring, public housing placement and public access accommodations. Let that sink in: Exclusionary actions stemming from disdain toward our hairstyles are so pervasive, they require legislation.Nowadays, visibility and a touch of glamorization in mainstream media (I’m lookin’ at you, Beyoncé), have fostered a growing fascination with our manes — a double-edged sword. Bosses scrutinize or give it a shout-out, strangers try to paw or photograph it, friends and frenemies praise or judge it — even Tinder prospects weigh in on it.Academic studies have outlined how strongly the identity of many Black women is tied to their hair. Not having the type of hair that’s affirmed and considered “womanly” in the culture at large can dent one’s sense of self. And feeling that what’s considered a key part of womanhood needs altering to be accepted, especially from childhood, makes it hard to see one’s image as positive.The Altercation Between Will Smith and Chris RockThe Incident: The Oscars were derailed when Will Smith slapped Chris Rock, who made a joke about Mr. Smith’s wife, Jada Pinkett Smith.His Speech: Moments after the onstage altercation, Mr. Smith won the Oscar for best actor. Here’s what he said in his acceptance speech.The Aftermath: Mr. Smith, who the academy said refused to leave following the incident, apologized to Mr. Rock the next day after the academy denounced his actions.A Triumph Tempered: Mr. Smith owned Serena and Venus Williams’s story in “King Richard.” Then he stole their moment at the Oscars.What Is Alopecia?: Ms. Smith’s hair loss condition played a major role in the incident.Since it’s hard to separate our image from our hair, poking fun at a Black hair style is an easy way to get a laugh while devaluing Black women. Witness Jamie Foxx lampooning us as Wanda on “In Living Color” and Martin Lawrence as Sheneneh. It’s incomprehensible that a Black comic would reach for it in such a high-profile setting as the Oscars — especially a man so closely associated with a film about Black women’s hair struggles.Not only did Rock produce and narrate the 2009 documentary “Good Hair,” which brought Black hair culture to the big screen, but he created it with his own daughters in mind. In the opening, he recounts how one of his girls asked him, “Daddy, how come I don’t have good hair?” Onscreen, he speaks to a range of women, including celebrities like Raven-Symoné, who explain that when they relaxed their hair, the goal was also about making society comfortable with them.Chris Rock in “Good Hair,” a documentary he narrated and produced.Roadside AttractionsWhile the film could have delved further into how Black women have thrived in a beauty culture (including a hair-care industry) that has rarely included them, it illuminated our struggle to audiences that may not have known one existed. It’s hard to understand how he could help bring that gem of a film to life and yet take a swipe at a Black woman’s hair. Did he so quickly forget the lessons of that film, which seemed to recognize how American society “otherizes” us and our tresses?Or, worse still, did the lessons never matter? Rock has a history of dogging not just Black women, but the entire Black community, or as Joseph calls it, “in-group punching down.”“Despite a brief ‘Good Hair’ moment. where he celebrated (and mocked) Black women, his punching down has also been broadly anti-Black woman,” she noted.Through his career, Rock has demonstrated a penchant for belittling and mischaracterizing Black women, from his ex-wife to female romantic partners in general. In a 1997 episode of “The Chris Rock Show,” he skewered Black women’s need to join the Million Woman March to his guest — Jada Pinkett Smith, a march participant.There’s another sensitive aspect to Rock’s dig at Pinkett Smith. In interviews and on her Facebook series “Red Table Talk,” she has chronicled her painful ordeal with alopecia, a condition that disproportionately affects Black women. She initially concealed her hair loss under wigs. That she decided to shave her head and reveal the reason was to be commended, not jabbed at. To be clear: Whether Rock knew of her condition or not, the joke wasn’t hurtful only because Pinkett Smith deals with alopecia (an affliction to which “Good Hair” even devotes special attention). The insult added an extra layer of hurt, especially because Black women can be harsh on ourselves about hair, amid social pressures and Eurocentric beauty standards that we’ve internalized, often to an extreme degree.Generations of Black American women recall weekend afternoons spent watching an iron comb glow like molten lava on the stove burner. We waited for our mothers to wield the hot comb like a weapon, ready to press our thicket of coils into submission to make us more culturally palatable. Even at a young age, I wondered who I was supposed to be impressing.When I was deemed old enough, I “leveled up” to chemical straighteners that would frequently blister my scalp — all for a flouncy bob I detested. “Beauty is pain,” my hairdresser would chirp as she kneaded the chemical cream into my roots and I winced. In my mid-20s, I decided beauty wasn’t worth that pain, so I chopped off most of my hair and have since maintained a very short, natural style.“When Black women’s hair features as the butt of jokes, the very real and myriad forms of multiple marginalization against Black women is erased and even justified,” Joseph noted. “It hurts.”Even though the jokes at the expense of us and our hair predate Rock, we don’t need him to lead the way in turning up the savagery of the practice, let alone on Hollywood’s biggest evening.Like the director Jane Campion’s misstep a couple weeks ago at another awards show (which, sadly, also involved the Williams sisters, one of the focuses of the Will Smith film “King Richard”), this takedown of a Black woman stings even more for having been unleashed by someone who should know better — in Rock’s case, as a Black father of daughters; in Campion’s, as a woman who’s also probably dealt with sexist professional slights. But the result each time was the same: Black women were expected to smile and take the stab.In one sense, the entire Oscars to-do, and its flurry of embarrassment and apologies, could have been avoided by choosing not to drag a Black woman down by her hair. Yet for too many and for too long, it has felt irresistible not to mess with it, mess with us.So to anyone who ever feels the urge to mock, I’ll reframe Will Smith’s warning at the show: Keep the mention of Black women’s hair out of your mouth. More

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      Paul Huntley, Hair Master of Broadway and Hollywood, Is Dead at 88

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      The many famous heads he worked on included those of Elizabeth Taylor and Carol Channing. Some actors requested him in their contracts.Paul Huntley, the hair stylist and wig designer who gave Carol Channing her expansive bouffant in “Hello, Dolly!,” Alan Cumming his plastered curl in “Cabaret” and Sutton Foster her golden bob in “Anything Goes,” died on Friday in London. He was 88. His death was confirmed by a friend, Liz Carboni, who said he had been hospitalized for a lung infection.Mr. Huntley left New York for London, his native city, in February, and made clear in an interview with The New York Times that his work on “Diana: The Musical,” which is to begin performances on Broadway in November, would be his last. The pandemic, he said, had dried up opportunities, and his fractured hip was hurting.In a 60-year career, Mr. Huntley styled hair and created wigs for more than 200 shows, including “The Elephant Man,” “Chicago” and “Cats.” He was so respected that Betty Buckley, Jessica Lange and others had contracts specifying that he would do their hair.“He put wigs on my head for every show except ‘Les Miz’ in London. He was the master,” the actress Patti LuPone said. “When I put on a Paul Huntley wig, I never felt anything but my character.”The costume designer William Ivey Long called him “by far the premier hair designer on the planet, hands down.”Mr. Huntley tried a wig on Sutton Foster in 2002 for her role in “Thoroughly Modern Millie,” for which he sought to evoke New York City in 1922 with bangs, spit curls and finger waves.Sara Krulwich/The New York TimesMr. Huntley’s output was prodigious, and he typically worked on several shows at once. In 2014 alone, he turned out 48 wigs for “Bullets Over Broadway” and more than 60 wigs and facial pieces for the Shakespeare Theater Company’s two-part “Henry IV” in Washington.In 2002, when he designed the hair for the Broadway musical “Thoroughly Modern Millie,” he also worked on “Morning’s at Seven,” “Hairspray” and the Off Broadway comedy “Helen.”For the show “Diana” — a version of which, filmed without an audience during the pandemic, is scheduled to premiere on Netflix on Oct. 1 — he created four wigs for the actress Jeanna de Waal to portray how the style of the Princess of Wales changed over time, from mousy ingenuousness to windswept sophistication.Paul Huntley was born on July 2, 1933, in Greater London, one of five children of a military man and a homemaker. He was fascinated at an early age by his mother’s movie magazines. After leaving school, he tried to find an apprenticeship in the film industry, but the flooded post-World War II job market had no space for him, so he enrolled at an acting school in London.He ended up helping with hair design for school productions and in the 1950s, after two years of military service, became an apprentice at Wig Creations, a large London theatrical company. He went on to become the main designer, working with the likes of Vivien Leigh, Marlene Dietrich and Laurence Olivier.Mr. Huntley helped construct the signature braids worn by Elizabeth Taylor in the 1963 movie “Cleopatra.” Ms. Taylor introduced him to the director Mike Nichols, who a decade later enlisted Mr. Huntley to do hair for his Broadway production of “Uncle Vanya” at Circle in the Square. He eventually became the go-to designer for plays and musicals, including “The Real Thing,” “The Heidi Chronicles” and “Crazy for You.” More