internal-truncator

Subterms

    Latest story

    138 Shares99 Views

    As Ukraine Rebuilds Its Identity, Folk Songs Are the New Cool

    by

    At first sight, it looked like a typical party in a nightclub. It was mid-March in central Kyiv and a hundred or so people were wiggling on the dance floor of V’YAVA, one of the Ukrainian capital’s most popular live music venues. The hall was dark, lit only by bright blue and red spotlights. Bartenders were busy pouring gin and tonics.But the lineup that night, in a concert hall that typically hosts pop artists and rappers, was unexpected: four Ukrainian folk singers, filling the room with their high-pitched voices and polyphonic choruses, accompanied by a D.J. spinning techno beats — all to a cheering crowd.These days, Ukrainian folk music “is becoming something cool,” said Stepan Andrushchenko, one of the singers from Shchuka Ryba, the band onstage that night. “A very cool thing.”More than two years into Russia’s full-scale invasion of Ukraine, folk music is enjoying a surge of popularity in the war-torn nation. Faced with Moscow’s efforts to erase Ukrainian culture, people have embraced traditional songs as a way to reconnect with their past and affirm their identity.“It’s like a defensive measure,” said Viktor Perfetsky, 22, who started traditional singing classes after the war broke out. “If we don’t know who we are, the Russians will come and force us to be what they want us to be.”Members of the Ukrainian band Shchuka Ryba rehearsing for an upcoming concert.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

    More stories

    • 88 Shares179 Views

      in Music

      Cyndi Lauper Could Only Ever Be Herself

      by

      One Friday afternoon in May, Cyndi Lauper stepped out of her Upper West Side apartment building and into the streets of New York City. She wore glitter-encrusted glasses, sneakers with rainbow soles and a stack of beaded bracelets on each arm. A rice-paper parasol swung in her hand. As she walked, she examined the crowds and remarked when glints of interest caught her eye.“Of course, up here it’s fashion hell,” she allowed of her tony neighborhood. And yet, every few blocks she rubbernecked at another woman’s look, her famous New Yawk accent lifting and tumbling in pleasure at what she saw:“Look at these dames, how cute are they?”“Did you love those pants? I kind of loved those pants.”“Look at this lady,” she said, stepping off the curb and clocking a passerby. The woman moved nimbly, tomato-red streak in her silver hair, body draped in shades of fuchsia and cherry as she pushed the gleaming metal frame of a walker. “Fabulous,” Lauper exclaimed. “Come on!”At 70, the pop icon and social justice activist isn’t just charging back into the streets. On Monday, Lauper announced her final tour, the Girls Just Wanna Have Fun Farewell Tour, which will have her headlining arenas across North America from late October to early December. And “Let the Canary Sing,” a documentary about her life and career that premiered at the Tribeca Festival last year, is streaming on Paramount+.Lauper has not staged a major tour — “a proper tour, that’s mine” — in over a decade. But now her window of opportunity is closing, so she’s leaping through it. “I don’t think I can perform the way I want to in a couple of years,” she said. “I want to be strong.”Lauper photographed at the Scarlet Lounge on the Upper West Side, the Manhattan neighborhood where she lives with her husband and two pugs.Thea Traff for The New York TimesAnd until recently, when she finally agreed to sit for the director Alison Ellwood, she could not envision committing her life story to film. “I wasn’t going to do a documentary because I’m not dead,” she said. More to the point, she did not feel particularly misunderstood. From the moment she danced across the city in the 1983 video for “Girls Just Want to Have Fun,” she felt that she had articulated precisely what she wanted to say.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

    • 113 Shares189 Views

      in Music

      Stockhausen’s Adventures in Space and Time at the Armory

      by

      An elliptical halo of thin, concentrated light floated in the capacious drill hall of the Park Avenue Armory on a recent morning, above a circular space designed to dissolve your sense of space and time.At the center was Kathinka Pasveer, the widow of the composer Karlheinz Stockhausen, performing his electronic music at a console. Pierre Audi, the Armory’s artistic director, sat nearby, visibly delighted by the scene around him. To his right and left, idiosyncratically shaped video screens faced each other across a round expanse dotted with lights that moved and changed color as Urs Schönebaum, the designer, spoke into a headset while riding a scooter.After a brief pause, Schönebaum cued various elements: Out of darkness and silence emerged eerie sounds that traveled freely through the space from unseen speakers; the videos throbbed with the music, their brightness, with the changing lights, creating an illusion of a void beyond the circle. It became difficult to track the passing minutes. The pleasant spring morning outside might as well have been another world.Kathinka Pasveer, Stockhausen’s widow, performing his music at the Armory on Urs Schönebaum’s very lighted set.Balarama Heller for The New York TimesSuch is the effect of “Inside Light,” the Armory’s theatrical presentation of electronic music from “Licht,” or “Light,” Stockhausen’s monumental, impractical cycle of seven operas written from the late 1970s to the early 2000s. Defying simple explanation and traditional form, these works, by turns comical and mystically sublime, deal with cosmic clashes of good and evil, with intimate dramas and global politics, with the nature of music itself.At the Armory, listeners will hear five electronic pieces that make up just a sliver of the 29-hour cycle, but even that will be substantial. They will be performed over two nights, beginning on Wednesday, or as single-day marathons for those who want to get lost in the sounds of Stockhausen, who died in 2007 and influenced the likes of Kraftwerk and Björk.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 Movies

      Richard Linklater on ‘Hit Man’ and the Killer Inside Us All

      by

      Richard Linklater’s latest movie, “Hit Man,” is a bit of a departure for the director, who has made some of the most acclaimed and influential indie films of the last 30-plus years. The movie, which stars the ascendant Glen Powell, is about a mild-mannered college professor who has a side gig with the New Orleans Police Department, setting up stings by posing as different hit men. It’s a tight, stylish and sexy thriller, with some twisted romance added in, from a filmmaker better known for the ambling rhythms and gently existential tone of beloved classics like “Dazed and Confused,” “Boyhood” and “Before Sunrise” (not to mention his great comedy “School of Rock,” which exists in a category of its own).Listen to the Conversation With Richard LinklaterDavid Marchese talks to the acclaimed director about his new film “Hit Man” and life’s big questions.But alongside its pop charms, “Hit Man” still manages to sneak in a provocative exploration of one of Linklater’s pet themes: the nature and malleability of personal identity. It’s also, as so many of the 63-year-old’s films are, a movie that understands the pure cinematic pleasure of watching smart, inquisitive people converse — exploring ideas and philosophies, making one another laugh, testing one another.It’s the talking that made me fall in love with Linklater’s films, which he almost always writes or co-writes. (He co-wrote “Hit Man” with Powell.) The way his vivid, relatable characters discuss the big questions, with so much soul and hang-looseness, free from any highfalutin airs, has long been something of a north star for me as a movie lover and as a talker. The searching, openhearted discussions in Linklater films are the kind of conversations most meaningful to me in my own life and work. I don’t want to make too big a deal of it, but I can see a pretty clear line from adolescent me sitting around watching all the chatty oddballs in “Waking Life” and “Slacker” to middle-aged me, here and now, speaking with Richard Linklater — who, surprise surprise, sounds a lot like a character from one of his movies.I’m curious how you think about your identity at 63 years old. Do you feel as if it’s fixed? Do you still have formative experiences? It’s the kind of thing I’ve thought a lot about my entire life: What could transform me? I was probably more in the camp of we’re fixed, give or take whatever little percentage around the edges. So I was interested in this notion lately that, oh, you can change, the personality isn’t fixed. That seems current: this notion of self and identity, gender. I sort of like that it’s all on the table, that everybody’s thinking you kind of are who you say you are. To me, that’s interesting.Do you have a lot of different identities? Probably as many as anybody else.What are the different ones? Well, if you get me on a Ping-Pong table — my third rail is athletics. I feel this little rush of competitiveness, which I really don’t have in the world of art at all — or my life even. I’m the guy looking at the world through glass. I was always the guy in the corner thinking about everything. I’m an introvert who gets put in extroverted situations occasionally, and I can play that role. But roles I currently play? I don’t know. It’s nice to care less about it as you get older. More

    • 113 Shares129 Views

      in Music

      How A.I. Has Changed Music, and What’s Coming Next

      by

      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicWhether you know it or not, you’ve likely encountered A.I. — artificial intelligence — in your music consumption over the past year. Maybe it was Ghostwriter releasing a song with a fake “Drake” and “the Weeknd” in collaboration that took over the internet last year. Or maybe it was Drake himself rapping as “Tupac” and “Snoop Dogg” during the recent Kendrick Lamar beef. Or maybe it was a new track by the country superstar Randy Travis, who suffered a stroke in 2013, and hasn’t sung a song since.In these ways and more, A.I. has become the dominant disrupter to music creation and distribution. And those use cases are merely the tip of the iceberg — A.I. is being used in playlisting, demo recording, and in the case of two hyped startups, Suno and Udio, consumer-level music-making.On this week’s Popcast, a conversation about the ways in which A.I. has been deployed by musicians, the legal and philosophical questions it generates, and the sub rosa ways A.I. companies hope to weave their products into the music production and consumption of the future.Guests:Rachel Metz, who covers A.I. for BloombergKristin Robinson, who covers the music business for BillboardConnect 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. More

    • 50 Shares129 Views

      in Music

      Sarah McLachlan Is Resurfacing

      by

      Sarah McLachlan was just 30 hours from beginning her first full-band tour in a decade, and she could not sing.She was in the final heave of preparation for eight weeks of shows stretching through late November that commemorate “Fumbling Towards Ecstasy,” the sophisticated 1993 album that turned her into an avatar for the sensitive, mysterious singer-songwriters of ’90s radio. But three days into a string of seven-hour rehearsals, her voice collapsed, the high notes so long her hallmark dissolving into a pitchy wheeze.So onstage in a decommissioned Vancouver hockey arena, a day before a sold-out benefit for her three nonprofit music schools, McLachlan only mouthed along to her songs, shaking her head but smiling whenever she reached for a note and missed.“It only goes away when I project, push out,” she said backstage in a near-whisper following the first of the day’s mostly mute run-throughs. She slipped a badge that read “Vocal Rest” around her neck and winked. “Luckily, that’s only a third of what I do.”For the last two decades, McLachlan, 56, has contentedly receded from the spotlight and the music industry she helped reimagine with the women-led festival Lilith Fair. Since 2008, she has been a single mother to India and Taja, two daughters from her former marriage. With rippling muscles that suggest a lean triathlete, she is now a devoted surfer, hiker and skier who talks about pushing her body until it breaks. Though she writes every morning, waking up with a double espresso at the piano in her home outside Vancouver, she has focused on motherhood and the Sarah McLachlan School of Music, offering free instruction to thousands of Canadian children since 2002.A few years ago, she finished a set of songs about a pernicious breakup but reckoned the world didn’t need them; she hasn’t released an album of original material since 2014. “What do I want to talk about?” she said months earlier during a video interview from her home, swaying in a hammock chair. “I’m just another wealthy, middle-aged white woman.”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 Shares149 Views

      in Music

      Popcast (Deluxe): Did Dua Lipa Flop? + Miserable Pop Music Films

      by

      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes discussion of:The imperfect rollout of Dua Lipa’s latest album, “Radical Optimism,” and how the narrative around it became poisoned before it was even releasedDua Lipa’s career of smooth and frictionless popThe current pop marketplace favoring eccentricity, humor and meme-abilityWhat it will take for Dua Lipa to break free of her cycleThe struggle of making movies about pop music, including “Back to Black,” the new biopic about Amy Winehouse and “The Idea of You,” about a divorced woman who falls for an aging boy band starSnack of the weekConnect 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. More

    • 138 Shares99 Views

      in Music

      Jaap van Zweden’s Brief, Fraught Time Atop the New York Philharmonic

      by

      On a balmy spring morning, after a breakfast of coffee and plain yogurt at a luxury Manhattan hotel, Jaap van Zweden grabbed his bag of conducting batons and scores by Mozart and Gubaidulina and set out for Lincoln Center through the wilds of Central Park.“I love the air, I love the trees,” he said. “Everybody can do whatever they want here. This is freedom, absolute freedom.”Van Zweden, 63, will leave the New York Philharmonic this summer after six seasons as its music director, the shortest tenure of any maestro since Pierre Boulez, the eminent French composer and conductor who led the Philharmonic in the 1970s. Van Zweden helped the orchestra emerge from the turbulence of the pandemic; shepherded it through a trying, nomadic season when its home, David Geffen Hall, was undergoing a $550 million renovation; and led the orchestra when it reopened the sparkling, reimagined hall ahead of schedule, to the delight of musicians and audiences.But throughout his tenure, van Zweden, an intense, exacting maestro from Amsterdam, faced persistent questions about whether he had the star power, creative drive and strong connection to New York needed to lead the Philharmonic.During the pandemic, he spent more than a year at home in the Netherlands, which fractured his nascent relationship with the ensemble. And in 2021, he announced that he would step down from his post, far earlier than many people expected.Van Zweden said he felt no other Philharmonic music director had faced such profound challenges.“We had to start all over again,” he said. “I feel like we are still in the process of getting to know each other.”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

    • 113 Shares99 Views

      in Television

      West Wilson is the Breakout Star of “Summer House”

      by

      West Wilson never thought he’d be spending the summer in a house in the Hamptons, let alone as part of a reality television show. The unemployed former football player from Missouri was about to run out of money following a three-week boys’ trip when he got a call that would change his life.“My severance ended that weekend,” Mr. Wilson, 27, recalled. “I came home and it was like the most depressing Monday of all time.”Mr. Wilson decided to check his voice mail to see if there was something — anything — in there to cheer him up. To his shock, a Bravo producer had left a message. She was interested in possibly casting him on Season 8 of “Summer House,” an unscripted show that follows the lives of a group of New York media workers, influencers and entrepreneurs who share a house in the Hamptons — the last few seasons have been filmed at a mansion in Water Mill — each summer.Though he had never seen “Summer House” and wasn’t a fan of reality TV (except for the occasional “Bachelor” binge), Mr. Wilson had an intuition that it might be right for him. “I just had something in me that was like, just see what this is and call back,” he said. He had recently met a “Summer House” cast member named Lindsay Hubbard at the bar of Lamia’s Fish Market in the East Village. Mr. Wilson was so unprepared to be cast that he didn’t initially make the connection between having met Ms. Hubbard and receiving the call from Bravo. “I was like, ‘Oh I actually know someone on that show’ and they were like, ‘That’s how we found you, you idiot,’” Mr. Wilson said.The son of an OB-GYN and a cattle rancher has been an unlikely hit with viewers. As Joel Kim Booster wrote: “Haven’t liked a straight white guy this much since friggin Bernie Sanders.”Marissa Alper for The New York TimesWe 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