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    8 Crush Songs for Valentine’s Day

    Hear tracks by Frank Ocean, Alicia Keys and of course, the Jets.Frank Ocean.Angela Weiss/Agence France-Presse — Getty ImagesDear listeners,Tomorrow is Valentine’s Day, but for today’s playlist I wanted to give you something more specific than a collection of love songs. (For one thing, that mix would be approximately three billion tracks long.) Here, instead, is a playlist of crush songs.How exactly to define a crush? I’m glad you asked, because earlier this week The Times published an entertaining history of the word’s etymological evolution. For all the experts consulted in the piece, I most appreciated the definition offered by one reporter’s 7-year-old daughter: A crush “means you are in love with someone but the other person doesn’t know.” She added, “If you walk past them, all your blood goes up to your head, and it feels so startling.”Naturally, this state of being has provided inspiration for all sorts of notable songwriters, like Bruce Springsteen, Frank Ocean and Alicia Keys. As you’ll hear on this playlist, though, crush songs run the emotional gamut from painfully heart-wrenching to light and flirty, sometimes even with a bit of self-deprecating humor thrown in.Valentine’s Day is too often considered a holiday only for those already lucky and content in love. But if you’ve got your eye on someone special and haven’t let them know yet, or if you’re just trying to ride things out until you catch the ick and are finally liberated, let this playlist be your soundtrack. Consider it a candy heart from me to you. Crank it up and get ready to pine.Got a beach house I could sell you in Idaho,LindsayListen along while you read.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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    Meet the 2024 Grammys’ Best New Artist Nominees

    Listen to songs by Ice Spice, Jelly Roll, Victoria Monét and five more competitors for one of the show’s big four awards.Ice Spice.Nina Westervelt for The New York TimesDear listeners,Some people swear there’s a curse that comes with winning the Grammy for best new artist, but it’s difficult to believe that when you remember who has actually taken home the trophy.In the past five years, the award has gone to quite a few bona fide superstars-in-the-making, including Billie Eilish, Dua Lipa and Olivia Rodrigo — all of whom are currently nominated for song of the year. Toggle the winners list back another decade and you’ll see some established industry power players like John Legend (best new artist 2006), Carrie Underwood (2007) and Adele (2009). The Grammys even got it right as far back as 1965, when the award went to a group of worthy Liverpudlian newcomers called the Beatles.Today’s playlist is an introduction to the eight artists who stand a chance to join their ranks at this Sunday’s Grammys. They include some names you might already be familiar with, like the overnight rap sensation Ice Spice and the gravel-throated country crooner Jelly Roll, and a few you might not be, like the married Americana duo the War and Treaty and the R&B stylist Coco Jones.The current betting favorite is Victoria Monét, a trusted pop songwriter who has garnered previous Grammy nominations for her work on hits recorded by Ariana Grande and Chloe x Halle. Monét has a total of seven nominations as a solo artist this year, including two for her breakout album “Jaguar II” and one for a collaboration with Earth, Wind and Fire. Personally, I’d be happy to see the 34-year-old mom take home best new artist; I love when someone who’s been toiling in semi-obscurity for years finally gets her moment in the spotlight.But, as you’ll see below, Monét isn’t the category’s elder — one of these artists turns 40 this year, and stands a chance to become the oldest solo act ever to be crowned best new artist.As the Justin Bieber fans who unleashed unnecessary wrath on Esperanza Spalding will tell you, though, the category always holds the potential for an upset. For that reason, I wouldn’t be shocked to see the rootsy 27-year-old singer-songwriter Noah Kahan accept the award, even if his yelpy emotionalism isn’t exactly my thing. Still, best new artist is a rare Grammy category that skews female, which means that if Kahan wins he’d be the first male artist to do so since Chance the Rapper in 2017.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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    What to Watch This Weekend: Come Home to ‘Expats’

    Our TV critic recommends a Nicole Kidman-led family drama in which no one’s quite sure where home really is.Brian Tee and Nicole Kidman star as grieving parents in “Expats.”Prime Video“Prestige TV” is often synonymous with “show about rich people being sad,” and by that metric, “Expats” (Amazon Prime Video) is easily among the most prestigious shows. Early on, its silky misery feels hollow — trite, even — but over six episodes, that emptiness becomes less of a void and more of a vessel, holding elegant, complicated ideas about class, pain and mothering.Nicole Kidman, whose presence alone connotes wealthy woe, stars as Margaret, an American mother living in Hong Kong because of her husband’s career. When viewers meet her, she’s in a state of fragile, paralyzed mourning, though the specifics of her agony remain vague until the end of the second episode, leaving the audience in the uncomfortable position of hungering for something terrible happening to a child, just to get things moving already.Luckily — well, unluckily — things do indeed start moving. Mercy (Ji-young Yoo), a Korean American young woman scrambling to find herself, or at least rent money, believes she’s cursed and accidentally catalyzes catastrophe. Margaret’s friend and fellow expat, Hilary (Sarayu Blue), has her own marital crisis, exacerbated by the fallout from Margaret’s tragedy. Essie (Ruby Ruiz), Margaret’s live-in housekeeper and nanny, mourns with her employers and misses her own adult children back in the Philippines. Puri (Amelyn Pardenilla), Hilary’s housekeeper, both admires and resents her boss. Margaret says Essie is “family.” Puri calls Hilary her friend. In each instance, the woman’s peers try to correct her.Over and over throughout the show, mothers tell their children to “come home.” No one is quite sure where that is, though, geographically or psychologically. Isn’t home wherever you hang your violent resentments? Love and suffering pour forth in equal velocity here, with money or lack thereof as a stand-in for both. When mothering is reconfigured as paid labor, what happens to both mothering and labor?“Expats,” created and directed by Lulu Wang, and adapted from the novel “The Expatriates,” by Janice Y.K. Lee, is a story of overlaps. Money, pain, guilt, peace, agency — they all pile on top of each other, in Hong Kong’s dense high-rises and in the characters’ fraught family trees. B-roll of construction abounds, and every driving scene seems to be on a hill. In a clever, artful trick, dialogue from one scene often begins before the previous scene is quite finished, an argument starting up before we even know its combatants. Characters’ stories collapse into one another, iterations of one grand maternal conflict.Two episodes of “Expats” arrived Jan. 26, and the following four arrive weekly, on Fridays. The first and second episodes are fine; the third and fourth episodes are good; the fifth and sixth episodes are stunning. More

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    Was 1968 the Grammys’ Best Year Ever?

    Before the 2024 awards on Sunday, revisit a ceremony where the Recording Academy got it right, honoring the Beatles, Bobbie Gentry, Aretha Franklin and more.In 1968 the Beatles won their first and only album of the year Grammy for “Sgt. Pepper’s Lonely Hearts Club Band.” PA Images, via Getty ImagesDear listeners,The 66th annual Grammy Awards take place on Sunday, and this year’s lineup of performers is pretty exceptional. I mean, Joni Mitchell is performing! For the first time ever at the Grammys! I could really just stop there, but Billy Joel, Billie Eilish, SZA, U2, Olivia Rodrigo, Burna Boy, Luke Combs, Dua Lipa, Travis Scott and more are scheduled to grace the stage. Will Joel and Eilish take this opportunity to start a supergroup called the Billies? Will SZA and U2 start an all-caps collaborative side project called SUZA2? Will Travis Scott meet Joni Mitchell, and if so, what will they talk about? The possibilities of this year’s ceremony are endless, and a little weird.To kick off Grammy week, I thought it would be fun to take a look back at another exceptional-if-slightly-odd year in Grammy history: the 10th annual ceremony, which took place on Feb. 29, 1968 and honored the music of 1967.The Grammys, infamously, do not always get it right. Sometimes their slights are laughably egregious (like when Metallica lost the 1989 award for best hard rock/heavy metal recording to … Jethro Tull); other times, they play things annoyingly safe (see: Beyoncé’s last three losses for album of the year). But just as a broken clock is right twice a day, sometimes justice actually is served at the Grammys. And 1968 was one of those years.Consider that album of the year went to a release that pushed the format forward into the future, and one that’s still often (and rightly) mentioned in lists of the greatest albums of all time. Some incredibly worthy artists won their first-ever Grammys that year: Elvis Presley, Aretha Franklin and Tammy Wynette. Many of the songs and artists awarded have — gasp — actually stood the test of time.Today’s playlist is culled entirely from the winners of the 10th annual Grammys. Feed your meter, inflate that beautiful balloon and prepare to hop in a time machine ready to take you up, up and away.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?  More

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    A New Way to Hear The Amplifier (Plus 5 More Whistling Songs)

    Listen to a deluxe edition of the playlist, including an addition from noted whistler Andrew Bird, now available on Apple Music.Noted whistler Andrew Bird.Alec BasseDear listeners,Since we started The Amplifier — gasp — almost a year ago now, there is one question I’ve been asked over and over (and over): “When are you going to start putting your playlists on Apple Music?” If you are one of those many people who inquired, I have great news: That day has finally arrived.Starting with today’s Amplifier, we’ll be including links to stream our playlists with either Spotify or Apple Music, in addition to YouTube links to individual songs. And while I’m at it, I’ll respond to a few of our other most frequently asked questions to make sure you can hear the music.Where do I find the new Amplifier playlist each Tuesday and Friday?There’s a main playlist on both Spotify and now Apple Music that we fill with the new songs every time we send out a new Amplifier. So you can always click there and find the latest edition.How can I listen to an older Amplifier playlist?We archive all of our previous playlists on the streaming services, too. You can find them by accessing The New York Times account page on either Spotify or Apple Music. (We’ve added the 10 most recent Amplifier playlists to our Apple Music account page and will continue to archive the older ones throughout the next few weeks.) If you’d like to read a previous send and can’t find it in your inbox, all of them are on the Times website, too.What if I don’t subscribe to either Spotify or Apple Music?Don’t fret! Spotify features a free, ad-supported tier that allows you to listen to playlists once you make an account. Apple Music also offers a one-month free trial. Plus, as always, we’ll continue to post YouTube links to every song we mention.Also, about Tuesday’s playlist … how could you possibly put together a mix of whistling songs without noted whistler Andrew Bird?!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?  More

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    What to Watch This Weekend: Something Hot

    Our TV critic recommends a wild and wide-ranging documentary series about the world of hot pepper enthusiasts.Johnny Scoville, a YouTube star and central figure in the documentary series “Superhot: The Spicy World of Pepper People.”HuluDocumentaries about niche subcultures abound: dog dancing, science fairs, yo-yos. Few if any include as much on-screen vomiting as the Hulu series “Superhot: The Spicy World of Pepper People,” but then, few cover quite as much ground.“Pepper” follows the overlapping pursuits of a handful of pepper enthusiasts, whose interests lie in the hottest of the hots, peppers that induce sweating, crying and retching within minutes. Some of the featured subjects are more into the horticultural side, while others are more into online public masochism. Many acknowledge the overlap between drug use and pepper-eating, that the thrill of spiciness has replaced more dangerous and illicit substances in their lives, that once they found peppers, capsaicin became their drug of choice.The try-hard glibness of a lot of the narration (voiced by Ben Schwartz) undercuts the show’s more intriguing ideas, as if “Pepper” didn’t always know what it has. This is, deeply, a show about social media, about being famous to 15 people, about the rush and reality of online connections. It is also about the ways in which consuming too much internet narrows your vision and imagination, until you forget that posting is not the same thing as existing. It’s a big world out there, filled almost entirely with people who have never heard of any of your heroes and never will.Much like the featured growers who combine strains to cultivate extreme heat, “Pepper” combines documentary and reality formats to keep its 10 episodes moving. Early on, the show’s most endearing heroine, a Chicago nurse, “comes out” to her co-worker pals about her pepper and hot sauce hobby. It’s a scene straight out of “Queer Eye” or any number of real estate shows, an awkward party where a teary sweetheart receives support. Another episode is knockoff “Top Chef,” with people vying for a chance to develop a hot sauce for a food chain. (I’m genuinely surprised this was not developed as its own stand-alone show.)The segments about competitive pepper-eating mirror every sport documentary, with sage champions eventually compensating for their relentlessness by turning to Buddhist philosophy to help with “managing desire.” When some growers become extra suspicious about thievery and back-stabbing, “Pepper” apes Netflix’s true crime aesthetics.“Pepper” opts for breadth instead of depth, and what it lacks in insight it makes up for in volume of people calling each other “brother.” This is a series with experts who joke about putting toilet paper in the freezer, so maybe it isn’t reasonable to expect some mention that humans have been fascinated by altered states and ritualized body mortification throughout history. Fair enough. There’s still more than enough heat here for a fun, edifying ride. (Again, though: lots and lots of throwing up.) More

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    In Praise of Whistling in Pop Music

    Billy Joel has a new song coming next week. Before it arrives, revisit “The Stranger” and tracks by Juelz Santana, Dick Hyman and more.Billy Joel’s “The Stranger” is a classic whistle song. Next week, he’ll release a new track titled “Turn the Lights Back On.”Ethan Miller/Getty ImagesDear listeners,When Billy Joel was working on what would become his breakout 1977 album, “The Stranger,” he played the opening chords of the title track for his producer Phil Ramone, whistling a melody that he imagined another instrument would play in the final recording. “I whistle the whole thing and I finish,” he wrote in 2013, “I look at him and I say, ‘So what instrument should that be?’” Ramone responded, “You just did it.” The rest is music history.On Monday, Joel announced he’ll be releasing his first new pop single in nearly two decades next week. Fortuitous timing! While listening to “The Stranger” over the weekend, I found myself considering the pop musical whistle.It’s such a simple expression, but in a song it can convey a wide range of feelings and tones. A whistle can be childlike and playful (see: the whistle solo on Paul Simon’s “Me and Julio Down by the Schoolyard”) or it can be an adult expression of vulnerability (like the broken whistle that John Lennon musters on the wrenching “Jealous Guy”). Some whistles are innocent as lambs, and others — particularly those of the “wolf” variety — are unmistakably lascivious. Best of all, though, it’s a free instrument that almost all of us carry all the time. You don’t even need to take lessons to play it passably.While we await Joel’s latest, “Turn the Lights Back On” (which may or may not feature a whistle break), today’s playlist is a homage to the pop musical whistle, in all its glory and multitudes. I hope these 10 songs will wet your … well, never mind. And if you don’t know how to whistle along, you can always consult Lauren Bacall.Listen along on Spotify while you read.1. Billy Joel: “The Stranger”The aforementioned whistle acts as a kind of theme for the album “The Stranger,” setting its tone and recurring later, at the tail end of the closing track. Joel said the feeling he was going for was the “sound of a man walking down a Parisian street at night, and the streets are all glistening from rain.” (Listen on YouTube)2. Caroline Polachek: “Bunny Is a Rider”A repeated, beckoning whistle urges on Caroline Polachek’s restless heroine in this 2021 single, which plays out like a kind of pop travelogue. (Listen on YouTube)3. Peter Gabriel: “Games Without Frontiers”Peter Gabriel, hauntingly, depicts war as a kind of children’s game on this lilting hit from 1980, which features backing vocals from Kate Bush, invoking the French name of the European game show “Jeux sans frontières.” The whistled motif that echoes throughout is at once playful and eerie. (Listen on YouTube)4. Peter Bjorn and John: “Young Folks”I almost included this 2006 tune on my “Summer of Saltburn” playlist a few weeks ago, but it’s an even better fit here. “Young Folks,” the best-known track from the Swedish indie-pop group Peter Bjorn and John, has a happy-go-lucky whistled refrain that immediately recalls a particular sense of mid-2000s whimsy. (Listen on YouTube)5. Paul Simon: “Me and Julio Down by the Schoolyard”Speaking of whimsy, here’s a Paul Simon classic that also made an appearance on my Wes Anderson playlist last year. The song’s arrangement is so light and childlike that a midsong guitar solo would be too intense — so, Simon wisely reasoned, how about a whistle solo? (Listen on YouTube)6. Dick Hyman: “The Moog and Me”You may recognize this one thanks to Beck, who memorably sampled it in the intro of his “Odelay” track “Sissyneck.” A whistled melody snakes through a 1969 song from the jazz pianist and electronic music pioneer Dick Hyman, who contrasts familiar human-generated sounds with the synthetic ones made with the a Moog synthesizer, then a novel instrument. (Listen on YouTube)7. Juelz Santana: “There It Go (the Whistle Song)”A minimalist, melodically descending whistle provides the infectious hook for this 2005 hit by the New York rapper and Cam’ron collaborator Juelz Santana, and provides the main reason this song still gets stuck in my head all the time. “I decided to simplify,” Santana once said of the song’s composition. “I knew that the whistle would be something that people would come back to — and be distinctive. People don’t want to hear too much.” (Listen on YouTube)8. John Lennon featuring the Plastic Ono Band: “Jealous Guy”I appreciate the wobbly imperfection in the whistling solo in the middle of this one because it heightens the vulnerability that Lennon channels throughout a deeply personal song. (Listen on YouTube)9. Guns N’ Roses: “Patience”A karaoke standard — even more so if you can match Axl Rose note for note in his extended whistle intro. (Listen on YouTube)10. Otis Redding: “(Sittin’ on) The Dock of the Bay”Finally, I’ll play you out with this all-timer from Otis Redding, who perfectly captures the laid-back feeling of “sittin’ on the dock of the bay, wasting time” by idly whistling a tune as the song fades out. (Listen on YouTube)Whistling tunes we hide in the dunes by the seaside,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“In Praise of Pop Music Whistling” track listTrack 1: Billy Joel, “The Stranger”Track 2: Caroline Polachek, “Bunny Is a Rider”Track 3: Peter Gabriel, “Games Without Frontiers”Track 4: Peter Bjorn and John, “Young Folks”Track 5: Paul Simon, “Me and Julio Down by the Schoolyard”Track 6: Dick Hyman, “The Moog and Me”Track 7: Juelz Santana, “There It Go (The Whistle Song)”Track 8: John Lennon featuring the Plastic Ono Band, “Jealous Guy”Track 9: Guns N’ Roses, “Patience”Track 10: Otis Redding, “(Sittin’ on) The Dock of the Bay” More

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    Sleater-Kinney’s 10 (or Actually 11) Best Songs

    As the band’s 11th album arrives, listen back through the strongest moments in its catalog.From left: Janet Weiss (formerly of Sleater-Kinney), Carrie Brownstein and Corin Tucker.Chad Batka for The New York TimesDear listeners,I first heard the band Sleater-Kinney when I was a teenager, and it’s not an exaggeration to say it changed my life. The early 2000s were a particularly macho time in rock music — all wounded emo boys and nü-metal aggressors — and even in the late ’90s it was difficult to find female musicians lauded for how well they played their instruments rather than the way they looked. Then I happened upon a live recording of Sleater-Kinney playing its 1997 song “Words and Guitar,” and it blew my hair back like I’d entered a wind tunnel.The band sounded huge — loud and furious and virtuosic in its precision. The drummer, Janet Weiss, played harder than pretty much anyone I’d ever seen, of any gender, and she sometimes wore pigtails. Clearly, that meant I could do anything. Clearly, this was the best band in the universe.I still believe that Sleater-Kinney’s two-decade, eight-album stretch from 1995 to 2015 ranks among the strongest runs ever by an American band. But its last three albums, released since Weiss left the group, have largely left me cold. That was an inconvenient truth I had to confront this week when I reviewed Sleater-Kinney’s latest release, “Little Rope.”The album is a dark, brooding meditation on grief — the guitarist and singer Carrie Brownstein lost her mother and stepfather while she was writing these songs — and it does have fleeting moments of that old magic. But I’d be lying, or blindly stanning, if I said I rank this new album with the band’s best work. Something difficult about being a music fan and a critic is the fact that our longtime faves still have the potential to disappoint us.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?  More