Mayer, John

Subterms

    Latest story

    138 Shares99 Views

    Dead & Company Said Farewell, but the Scene Is Very Alive

    by

    Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicIn mid-July, Dead & Company concluded what it had announced would be its final tour. The band, which includes members of the original Grateful Dead — Bob Weir, Mickey Hart and Bill Kreutzmann — along with Jeff Chimenti, Oteil Burbridge and John Mayer, was formed in 2015, becoming one of several offshoots of the Dead universe that took on its own life. But the band ended up generating tremendous interest from new audiences, too, becoming a bridge between Deadheads then and now.The long shadow of the Grateful Dead has hovered over improvised music for decades, and entire scenes have been built in the original band’s wake. In the last 10 years, however — thanks in part to the success of Dead & Company — those scenes are growing, thriving and mutating.On this week’s Popcast, a conversation about the long, strange trip the Grateful Dead kicked off, the overlaps of the Dead and Phish universes, and the younger generations who have found succor in the music and community that the band inspire.Guests:Scott Bernstein, editorial director at JamBaseMarc Tracy, New York Times culture reporterConnect 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

    More stories

    • 125 Shares139 Views

      in Music

      Dead & Company Fans React to John Mayer’s “Guitar Face”

      by

      For some fans of Dead & Company, which just finished its Final Tour, the faces made by John Mayer while performing are almost as memorable as the music.During the final show of Dead & Company’s so-called Final Tour on Sunday night, the crowd at Oracle Park in San Francisco swayed and bobbed like the current of a turning river.People in flower crowns grooved through the shimmying mass on the stadium’s field. A man in cowboy regalia cupped his hands around his ears and two-stepped to the beat. A woman in face glitter who gave her name as Honey Bee regaled strangers with the tale of how she came with a man she had met two days before, who happened to have an extra ticket. Other fans, who were not as lucky, danced on the sidewalk outside of the park.And onstage, the band’s lead guitarist, John Mayer, leaned back, sucked his lips inside his mouth and scrunched his eyes closed as he wailed on a guitar while playing the song “Althea.” Shortly after his impassioned solo, footage of it started spreading on Twitter.Mr. Mayer has been a member of Dead & Company, an offshoot of the Grateful Dead, since it formed in 2015. Though he is not the band’s face, the faces he has made while performing — which can cover the full spectrum of human emotion, from despair to sweet relief to sublime pleasure — have for some been almost as unforgettable as the music itself.Fans have made YouTube compilations, photo collages, a meme with a giant slug and niche Instagram accounts dedicated to Mr. Mayer’s expressive “guitar face,” which is not exactly an anomaly in the world of rock ’n’ roll. “I feel a little bit uncomfortable with people thinking that I made up the guitar face,” he told Rolling Stone in 2017. “God, wouldn’t it be great to go to the jungles of Borneo and give a tribe Fender Stratocasters and have them listen to Jimi Hendrix — but not show them Jimi Hendrix — and come back five years later and see if there’s any guitar face? I have a feeling there would be.”Mr. Mayer, through a representative, declined to comment for this article. The faces he made during the last leg of the Final Tour appeared to reflect the mood of its tie-dye-wearing fans, which alternated between grief and ecstasy as the music that seemingly would never stop finally did. (Dead & Company members have said the tour would be its last, but have not ruled out the possibility of a future for the band.)From far left, Mr. Mayer, Jay Lane, Bob Weir and Mickey Hart performing at the final show of Dead & Company’s Final Tour on July 16.Miikka Skaffari/Getty Images“The thing I love about him is he’s fully enjoying it — he’s in the music,” Tony Seigh, from Valparaiso, Ind., said of Mr. Mayer. “For those three, four hours, that guy is just in a different zone. And haters beware, he’s going to be making some very strange faces.”Mr. Seigh, 33, runs Holy Moly Mischief, which sells Dead-themed T-shirts, fanny packs and a bumper sticker that reads: “KEEP HONKING! I’m on my way to see JOHN MAYER and what’s left of the GRATEFUL DEAD.” Mr. Seigh, who used to work for Tesla, said he had seen Dead & Company 86 times, and he described Mr. Mayer’s faces using a word many others did: orgasmic.“It’s like a close-up of his face in an adult film,” he said. “There are moments where it’s like, Oh my gosh, something is happening to him. Like, is a ghost … massaging him?”Mr. Seigh, who was wearing a yellow “Always Grateful” hat that matched his yellow-painted toenails, added that Mr. Mayer’s expressions were one of many visual elements of live performances by Dead & Company, whose members have included Bob Weir, Oteil Burbridge, Mickey Hart, Bill Kreutzmann, Jeff Chimenti and Jay Lane.“Bob looks like a gray werewolf, and Oteil has, like, pro-wrestler face paint on, and Mickey looks like ET playing some drum thing,” he said. “And then you look at John, and he looks like pictures of old Catholic saints when they’re getting visited by an angel.”Clif Edwards, 60, a graphic designer from Sacramento whose hair was styled into a long gray ponytail, said that as a guitarist himself, he knew how playing could be a full-body experience. Of Mr. Mayer’s facial expressions, he said, “I approve.”“But it’s odd to watch,” added Mr. Edwards, who said he had seen the original Grateful Dead play some 340 times.A man in a tie-dye bucket hat who was standing near Mr. Edwards chimed in: “You know you’re in the thick of the jam when he’s got the face going.”Susan Marston, 58, a program manager from Boise, Idaho, said that unlike some longtime Dead fans who were skeptical when Mr. Mayer joined Dead & Company, she knew from the very beginning that he would bring something unique to the spinoff band.“There’s a lot of crusty people who said, ‘Oh, I can’t see John Mayer,” Ms. Marston said. “But if you knew anything about John Mayer prior to joining Dead & Company, then you knew the guy could freaking rip the blues.”“Sometimes his eyes are rolling back in his head,” added Ms. Marston, who was wearing a black top covered with photos of Mr. Mayer. “It elevates everybody because he’s so into what we’re into — it’s our synchronization with the band.” As she spoke, a man with a fake scarlet begonia tucked into his hat interrupted her to show off a sticker that featured Mr. Mayer’s face flashing a particularly euphoric expression and surrounded by a highly suggestive lyric from the song “The Weight.”A few Dead & Company fans said they had never noticed Mr. Mayer’s expressions. Kim Holzem, 52, from Three Rivers, Calif., scoffed in disbelief when her husband, Tim, mentioned that he had never registered the guitarist’s faces before.“Sometimes he looks like he’s in pain, other times he looks like he’s blissed out,” said Ms. Holzem, who saw Dead & Company three times last weekend in San Francisco with her husband and two teenage sons.Mr. Mayer, she added, “makes some weird-ass faces, but he’s still adorable.”Skyler McKinley, 31, a bar owner from Denver who was standing not far from the stage at the last show of the tour, said Mr. Mayer’s face was “inescapable” at live performances, in part because it is often “blown up, to skyscraper size” on massive screens. He added that Mr. Mayer had the “sex energy of a rock star” while performing, and compared his facial expressions to the dance moves of Mick Jagger.“At first I thought it was absurd, these lewd faces,” Mr. McKinley said. “But this is his aspect of communing with Grateful Dead music, the same way we all do, in a religious sense.”“I have no idea what my face looks like when I’m at one of these shows,” he added, “but I bet I look pretty ridiculous, too.” More

    • 100 Shares149 Views

      in Music

      Why Can’t We Stop Quitting the Grateful Dead?

      by

      Jerry Garcia died in 1995. The band bid fans farewell in 2015. This weekend, Dead & Company will close out its Final Tour. Why can’t we stop quitting one of rock’s beloved acts?Dead & Company fans twirled on the floor of Citi Field in New York in June. The last shows on the band’s Final Tour are this weekend in San Francisco, where the Grateful Dead got its start.The first time Albie Cullen said goodbye to the Grateful Dead was on Aug. 9, 1995.A co-worker told Cullen, an attorney for a Boston-area music label, that Jerry Garcia, the Dead’s iconic lead guitarist, had died that day. Cullen had attended dozens of shows. He reveled in the Dead’s improvisational spirit, the way no two performances were alike: “When you saw the Stones a dozen times,” he explained recently, “it was pretty much the same show.”Despite the Garcia news, Cullen kept his plans to see RatDog, a side project of Garcia’s bandmate Bob Weir, play a concert in Hampton Beach, N.H., that evening. Weir, a rhythm guitarist, told the crowd that Garcia — who at 53 suffered a fatal heart attack at a drug rehab facility — “proved that great music can make sad times better.” During an encore of Bob Dylan’s “Knockin’ on Heaven’s Door,” Cullen, 59, recalled, “There was not a dry eye.”“Everybody kind of knew that was the end,” he added.The Grateful Dead had replaced departed members before, but this was different. With his rootsy tenor, Santa-gone-gray beard and unmistakable plucking, Garcia had defined a touring juggernaut and its vibrant subculture, which had become synonymous with the ’60s. The band’s four surviving original members agreed they would never use the name “Grateful Dead” without Garcia.Fans at the band’s show in Saratoga Springs, N.Y., came decked out in a mix of tie-dye and ’60s chic.But the Dead did not die. The next year, several members participated in a tour. They maintained side projects that mainly played Dead songs. Different permutations toured together — as the Other Ones, as Furthur, as the adjective-less the Dead.Finally, in 2015, the band staged another goodbye, playing five shows with Phish’s Trey Anastasio on lead guitar. The mini tour was called Fare Thee Well: Celebrating 50 Years of the Grateful Dead.That adieu, too, did not take. That fall, Weir and the Dead’s original drummers, Mickey Hart and Bill Kreutzmann, assembled a new act, Dead & Company, with the keyboardist Jeff Chimenti, the bassist Oteil Burbridge and the lead guitarist John Mayer (yes, that John Mayer).A funny thing happened as this new band wound its way across the United States: The Dead became a cultural touchstone again. Dead & Company attracted a new crop of younger fans, as did tribute bands like Joe Russo’s Almost Dead. Last August, the Dead had its largest week of record sales in 35 years, according to its publisher; in February, it won its first Grammy. Between 2012 and 2022, U.S. streams of Dead songs increased at nearly double the rate of the Rolling Stones, according to the tracking service Luminate.The Dead had found its moment again.The uniqueness of each Dead performance is crucial to the music’s lasting appeal.A young fan waiting for the Saratoga Springs show named a caterpillar “Bertha,” after the Dead song of the same name.“This could sound wildly corny, but I don’t care: The community of the Dead is a necessary community in a year like 2023,” said Bethany Cosentino, 36, of the indie rock band Best Coast. She became a fan just a few years ago thanks to her “Gen X boyfriend.”“There’s a real ethos of joy to be in a room with a bunch of people who are just connecting to music in their own way but having this communal, collective experience,” she added.Cullen said the Deadheads have taken note: “I joke with my friends — they’re bigger now than they ever were.”Now there is yet another farewell. After more than 200 shows, Dead & Company has sold out stadiums across the country with its so-called Final Tour. The run concludes this weekend with three shows at Oracle Park in San Francisco, the city where the Grateful Dead formed nearly 60 years ago.“It’s a part of the life cycle. In life, there’s death,” Hart said in a video interview. “But it all depends on what you call death. Because there’s life after death — in music, anyway.”What draws Dead fans to shows like the one that took place in Saratoga Springs? “There’s a real ethos of joy to be in a room with a bunch of people who are just connecting to music in their own way but having this communal, collective experience,” said the indie rocker Bethany Cosentino.Bands led by Weir, the original Dead bassist Phil Lesh and Kreutzmann (who was replaced for this tour by Jay Lane) all have concerts scheduled in the next couple of months. Hart allowed for the possibility of a future for Dead & Company, while confirming this was its last tour.“The music’s never going to go anywhere — and one of the brilliant things about the music is there are thousands of concerts we all have access to,” said Andy Cohen, the Bravo host and executive producer who has been a Dead fan since high school. “But the communal feeling of all of us being at Citi Field together and enjoying two banger shows,” he added, “that’s something I don’t envision we’re going to get again.”We are, it seems, always saying goodbye to the Grateful Dead. But Weir and Mayer warned fans not to expect a eulogy.“I think everyone’s had enough loss in their life to go to San Francisco and have this be funereal,” Mayer said.“I’m dead-set against that happening,” Weir added. “I’ll be stir-fried if I’m going to let that happen.”Mayer continued: “If I had my wish, it would be for people to say goodbye to Dead & Company without the pain of goodbye.”In the parking lot at Citi Field, where vendors hawked T-shirts, jewelry, fresh cooked food and less licit fare.Fans hoping for a spare ticket to the show outside the Saratoga Performing Arts Center.THE PROMOTER PETER SHAPIRO, who owns the jam band redoubts Brooklyn Bowl and the Capitol Theater in Port Chester, N.Y., and promoted the Fare Thee Well shows, observed that the true volume of people who would pay to see the Grateful Dead — a band that stopped touring the year before Ticketmaster sold its first ticket over the Internet — wasn’t revealed until 2015, when Dead fans broke the site’s record for most buyers in a queue.Ticket sales for the five concerts that year — two at Levi’s Stadium near San Francisco and three at Chicago’s Soldier Field — brought in $40 million. Nearly 71,000 people attended each Chicago show; many more viewed theatrical and pay-per-view simulcasts.“Fare Thee Well was supposed to be an ending,” Shapiro said, “and it was a new beginning.”Mayer was secreted away during the Chicago shows, already a planned addition. He had met Weir and Hart through Don Was, the producer and record executive. Mayer gushed to them about the Dead’s music, which he came to well after his formative listening years; he compared it in a recent interview to “cilantro, if all I’ve been eating is meat and potatoes.”A fan gets an impromptu (and not permanent) tattoo in the Citi Field parking lot.Hart had been only glancingly familiar with Mayer’s music, but knew he was an excellent guitarist. “On our stage, he’s not a pop star or anything like that,” Hart said. “He has so much respect for the Grateful Dead — I have much respect for him for that. He treated the music like his own.”While some purists grumbled at Mayer’s inclusion (as, indeed, some grumbled about the Fare Thee Well shows), most fans “made a decision,” said Dennis McNally, a former Grateful Dead spokesman and biographer, “that they were not in love with ‘the band’ — the people — they were in love with the music, and that it was to some extent a matter of taste regarding who was playing it. That it was its own genre, almost like jazz or blues.”While many classic rock artists spawned cover acts, a website dedicated to Grateful Dead tribute bands has more than 600 groups in its database, 100 to 150 of which, its proprietors estimate, are active.Some Dead tribute acts are straightforward and quite popular, like Dark Star Orchestra, which recreates specific Dead concerts by set list. Others employ the Dead’s music as a jumping-off point. There is a jazz band and an Afrobeat one. Brown Eyed Women is all female. Warlocks of Tokyo sing in Japanese.The electronic artist LP Giobbi, a Millennial daughter of Deadheads, uses sonic loops and stems over house beats to create what she calls Dead House. “I am blown away by how many ravers I meet who are also Deadheads,” said the artist, who played at after-parties following many concerts on this Dead & Company tour.“The thing about this music is it doesn’t take place at home — no one’s home. People are trying to get home,” the guitarist John Mayer said.The uniqueness of each Dead performance is crucial to the music’s lasting appeal. Al Franken, the author, former senator and longtime fan who once opened for the band, recently caught up with friends who had seen Dead & Company outside St. Louis. “I asked what they played, and I was striking out. ‘Did they do “China Cat Sunflower”?’ ‘No.’ This is a big, big body of music. You can go to four nights in a row and basically not hear the same tune. And they play things differently all the time.”The Dead’s eclectic songbook comes out of rock, folk, blues, country and bluegrass; its lyrics, many by Robert Hunter and John Perry Barlow, tend to be ambiguous yet buoyant (“strangers stopping strangers just to shake their hand,” “wake up to find out that you are the eyes of the world,” “what a long strange trip it’s been”).“The thing about this music is it doesn’t take place at home — no one’s home. People are trying to get home,” Mayer said.“There’s something about the fantasy of transience for people who don’t necessarily have it in their lives, like myself,” he added. “The fantasy of the perpetual searcher, the person with the knapsack who can sleep on couch after couch. Most people who go to Dead concerts don’t necessarily live that life, but aspire to spiritually have this devil-may-care attitude.”Trey Pierce, 20, began discovering the Dead in middle school via CD boxed sets, DVDs and the Internet Archive, which hosts free tapers’ recordings of Grateful Dead shows. Now he is a die-hard who drove for hours from St. Lawrence University in northern New York to see Phil Lesh and Friends perform in March outside New York City.“That’s what’s gotten me through much of my life,” he said. “Any weird stuff I’ve had going on, challenges I’ve had, it’s been relating to those lyrics and Jerry” — who died eight years before Pierce was born — “belting into my soul.”A fan displays “Grateful” knuckle tattoos in the Citi Field parking lot.IN A PARKING LOT across from Citi Field in Queens before the second of two Dead & Company shows last month, car stereos blasted recordings of live Dead as the subway clacked over the elevated lines. Vendors hawked T-shirts, jewelry, fresh cooked food and less licit fare. Erin Cadigan, who specified that she had seen 72 Dead shows “with Jerry,” performed tarot readings on a licensed, Grateful Dead-themed tarot deck she created with a partner.The tour has tended to be well reviewed by fans. “Closest thing to the original I’ve seen,” Cullen wrote in a text message after leaving Fenway Park in Boston last month. “Ironically it’s ending just as they seemed to have figured it out.”Mariah Napoli, 45, a self-described “second-generation” Deadhead, said she had seen on this tour “a lot more people crying the last two songs than you usually do.”She added, “I’ve been doing it so long, I don’t see myself stopping until they’re all dead. At that point, it’ll be time for me to hunker down and start to grow older.”Why do we keep saying goodbye to the Grateful Dead … then welcome them back, and then do it again?Several generations of Dead fans attended Dead & Company’s most recent run of shows.Dustin Grella and a friend bought a used Kentucky school bus and turned it into a canvas for Dead fans to express their love of the band through art.“The Buddhists believe that knowing every minute you’re going to die is what makes life so precious,” said Elena Lister, a New York-based psychiatrist and grief specialist. “If you know you’re going to lose something of any sort, you treasure it all the more while you have it. If you deny it, you miss that opportunity.”Dustin Grella, 52, a professor of animation at Queens College, has a more dramatic Dead story than most. In the spring and summer of 1995 he was following the Grateful Dead on what would turn out to be its last tour. But he missed the final two concerts at Soldier Field after he sustained an injury to his spinal cord when a porch collapsed at a campground outside a show near St. Louis.“When you’re experiencing that kind of trauma,” Grella said of the recovery period, “you want just to go back to normal. For me, that was being a touring Deadhead.”In 2015, he saw in the Fare Thee Well shows in Chicago a chance for closure — “my opportunity,” he said, “to make peace with the Dead.”But that did not mean he would miss another occasion to say goodbye. For Dead & Company’s final tour, Grella and a friend bought a used Kentucky school bus, attached panels to both sides and covered them in chalkboard paint. Grella, who uses a wheelchair, parked the bus in the lot, put chalk out and encouraged passers-by to add their own designs. He had begun the spontaneous artwork by etching a lyric from “Scarlet Begonias”: “Once in a while you get shown the light/In the strangest of places if you look at it right.” More

    • 138 Shares99 Views

      in Movies

      B.J. Novak Went to Texas Looking for ‘Vengeance’ and Found America

      by

      A funny story that B.J. Novak likes to tell from the making of his new movie is about the day he thought he was having a stroke. Are you chuckling yet?At the start of 2020, Novak, a writer, comedian and alumnus of “The Office,” had finally gotten the green light to make “Vengeance,” a dark comedy set in small-town Texas. That’s when he thought he was slurring his speech and called a colleague to ask if he was noticing it, too.As Novak recalled, “I was like, you hear that, don’t you? And he said, I do. And I called my doctor and went in the next morning for an M.R.I., and they said you’re fine, and I realized I’m terrified to make this movie.”Like a lot of the humor that appeals to Novak — whose symptoms, rest assured, were completely psychosomatic — what’s funny about this story is a matter of perspective. You can laugh at it in relief, when you know the person telling it is no longer in danger.This is a theme that comes up frequently in “Vengeance,” which blends some of the awkward cringe comedy that “The Office” was famous for with a knowing, cynical sharpness that would never fly in the hallways of Dunder Mifflin.The film, which opens Friday, is Novak’s debut as a feature director and screenwriter, and he stars in it as Ben Manalowitz, a self-assured New York writer. When Ben learns that a woman he dated casually — very casually — has died under hazy circumstances in her Texas hometown, he travels there in hopes of turning the story into a hit podcast.Though Ben arrives with selfish motives and a stereotypical sense of red-state values, he grows enamored of the dead woman’s family (played by Boyd Holbrook, J. Smith-Cameron, Isabella Amara and Dove Cameron, among others). His investigation also leads him to an astute record producer (Ashton Kutcher) who exerts an ominous influence over the town.Boyd Holbrook, left, with Novak in a scene from the new film “Vengeance.”Patti Perret/Focus FeaturesFor Novak, “Vengeance” is an ambitious attempt to step out of his sitcom comfort zone and see if he can make it as an Albert Brooks-like leading man. As he said of his acting résumé, which has included small roles in “Inglourious Basterds” and other films, “I’m very much a reaction-shot guy. I’ve never been a point-of-view character.”“Vengeance” is also one of a small number of original comedies that will receive a theatrical release, and getting it made required a level of commitment that Novak had never expected.“I really felt like a madman on the corner,” he said. “I’m going to star in this movie, and it’s a comedy but also a thriller but also a love story. But it’s also about how technology does this to us. I really thought I was nuts, but I kept going.”One afternoon in June, Novak was relaxing in the patio of a hotel in downtown Manhattan, where he’d presented “Vengeance” at the Tribeca Festival. For the first time in several months, Novak said, “I haven’t been under some terrible cloud of writing and editing and fighting. I really like it.”Face to face, Novak, who turns 43 on July 31, comes across as easygoing and effortlessly humorous. Describing his life as a Boston-area transplant now residing in Los Angeles, he said, “Everyone in L.A. assumes I live in New York, which I take to mean: You’re Jewish, right? Or, I haven’t seen you in a while.”But there’s an intensity that colors all his anecdotes about “Vengeance,” whose central premise he had been kicking around for several years.“We live in divided times, quote-unquote, because we communicate completely on our own timelines,” he said. “It was from my experience dating and being a somewhat shallow person who didn’t really know what he was missing until it was too late.”Novak added, “Every year that went by, it became a more topical film, which I didn’t ever intend it to be.”Novak, concerned about starring in the film as well as directing, had a panic attack before shooting started.Erik Tanner for The New York TimesBetween 2015 and 2018, Novak said, he took research trips to Texas cities like Abilene and Pecos, seeking to dispel his misconceptions about a part of the country he assumed would be unwelcoming.“I thought that these huge dudes with beards and pickup trucks would be very suspicious of a Hollywood blue-state guy, and I found the exact opposite,” he said. “It’s the warmest culture I ever found. I went to Easter dinners and people would show me the poetry they had written.”Novak returned from his travels with the foundation for what would become “Vengeance,” and with the intention that he would play the lead. “I wrote the role to be impossible to cast with anyone but me,” he said. “You know, superficial with a possible hidden heart, blah blah blah.”Though the movie can be equally scathing in its satirical treatment of snobbish urbanites and credulous country folk, Novak said that the “Vengeance” screenplay benefited from lessons he learned while working on “The Office.”In particular, he said the sitcom taught him “the confidence to throw away your best joke if it didn’t feel authentic or damaged the character long-term — if you play an emotional moment honestly, the laugh will be more satisfying later.”That said, Novak also had to remind himself it was OK to depict his “Vengeance” character with some positive attributes — an approach he would have never taken at “The Office,” on which he, Mindy Kaling, Paul Lieberstein and other writers portrayed its supporting miscreants.On that show, Novak said, “We were too shy to pitch anything redeeming, so we played the least redeeming characters. We were all allergic to that in the writers’ room.”The cast for “Vengeance” grew to include Issa Rae, who plays a podcast producer Ben is hoping to impress; the singer-songwriter John Mayer, who plays one of Ben’s self-centered New York friends; and Kutcher, who previously employed Novak as an on-camera accomplice for his MTV prank series, “Punk’D.”Kutcher said he was particularly impressed with a long monologue that his character delivered, about people who seem to care less about the lives they lead than the digital records of them that they leave behind.“When you look at human behavior, and the obsessive nature of chasing that dopamine hit from posting every moment we think is interesting or cool or funny, you realize his theory has merit,” Kutcher said.Also, Kutcher said, he appreciated that Novak was open to letting him play his character with a mustache. “I just saw him having a mustache. I don’t know why,” Kutcher said.But as production moved forward, Novak became increasingly anxious about feeling that he had to carry the movie as the leading man, setting off his panic attack. It was in this time that he reached out to Mayer for what Novak described as “handsomeness coaching.”Mayer has been a longtime friend of Novak’s, dating to “The Office.” (In an email, Mayer explained that he allowed the show to use his song “Your Body Is a Wonderland” in return for a Dundie Award.)Mayer said he could not remember all the suggestions he offered Novak, but one of them was to give up alcohol before he started shooting. “First and foremost, you have to put drinking away,” Mayer said. “I know people wince just hearing that stuff. But that’s the truth.”He continued, “I think I mentioned getting the right haircut, basic stuff. But how sweet and vulnerable is that, for B.J. to ask before filming what advice I could give him?”Novak had to remind himself it was OK to depict his “Vengeance” character with some positive attributes — an approach he would have never taken at “The Office.”Erik Tanner for The New York TimesA few weeks into filming, production was suspended for several months because of the pandemic. At times Novak found himself juggling duties on the film and his FX on Hulu anthology series “The Premise.”“I filmed the FX show and then I went back to filming ‘Vengeance,’” he started to say, then corrected himself. “No, I was editing ‘Vengeance’ while I was writing. It was a mess, and I had Covid.”“I took extra time, because I was writing poorly and editing poorly because my brain was bad for a few weeks,” he said. “They were both going badly at various points because I couldn’t balance them and I thought I could.”Now “Vengeance” arrives in theaters on the heels of the blockbusters “Top Gun: Maverick,” “Jurassic World Dominion” and “Thor: Love and Thunder,” at a time when many other low-budget comedies and dramas about more earthbound matters are being released directly to streaming platforms.Jason Blum, the chief executive of Blumhouse, one of the companies that produced “Vengeance,” said the film could have just as easily received a streaming release.“I can’t tell you we didn’t contemplate that during the pandemic,” he said. “We contemplated every possible distribution outlet, ever.”But, Blum said, his company has had success with films from writer-directors who blended comedy and thriller genres, like Jordan Peele’s “Get Out,” and he was hopeful that “Vengeance” might find a similar lane.“This movie is exactly the kind of movie that people say they want to see,” Blum said. “If it does well, it’ll open a path to put other original movies in theaters, too, not just movies based on existing intellectual property.”For Novak, the theatrical release is an opportunity to show “Vengeance” to the same people he hopes it captures, and to determine if they appreciate how he has depicted them.“I really want Texans to like it,” he said. “I wanted to make this Texans’ favorite movie. I even put a Whataburger in it. I remember seeing Dunkin’ Donuts in ‘Good Will Hunting.’ As a Bostonian, you just felt so seen.” More

    • 113 Shares159 Views

      in Music

      John Mayer’s Retro Moper, and 10 More New Songs

      by

      Hear tracks by Liz Phair, Billie Eilish, Sofia Rei and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.John Mayer, ‘Last Train Home’If the seamy synths and seamier guitar on John Mayer’s new moper “Last Train Home” — the first single from a forthcoming album, “Sob Rock” — are any indication, he may be just a few years away from making his version of “The End of the Innocence,” perhaps the leading post-sleaze, decaying-rock album of the 1980s. Strong approve. JON CARAMANICANoah Schnacky featuring Jimmie Allen, ‘Don’t You Wanna Know’The classic country boy seduction of the city girl, except in 2021 Nashville, the country boy sure does have the air of a city slicker. Noah Schnacky has a cinched-tight pop-friendly voice and a rhythmic approach to singing indebted to Sam Hunt, deployed here in service of smooth-talking a woman who’s left Los Angeles — and presumably thousands of men who sound just like this — behind. Jimmie Allen, one of country music’s few Black stars, arrives in the second verse and sings a few lovely and restrained bars, as if not to overwhelm. CARAMANICALiz Phair, ‘In There’On “Soberish,” Liz Phair’s first full album since 2010, she examines a divorce in all its bewilderment, ambivalence, resentment, nostalgia and tentative steps ahead. She also circles back to work with Brad Wood, who produced her three definitive 1990s albums. “In There” ticks along on electronic drums and pulsing keyboards, as Phair notes, “I can think of a thousand reasons why you and I don’t get along” but also admits, “I still see us in bed”; it’s not a clean breakup. JON PARELESWolf Alice, ‘Lipstick on the Glass’The British band Wolf Alice makes rock that’s sometimes dreamy, sometimes spiky. “Lipstick on the Glass,” from its third LP, “Blue Weekend,” falls on the woozier end of its spectrum. Over a wash of synths and an undulating riff, the singer and guitarist Ellie Rowsell sings about reconnecting with a partner who’s strayed. The bridge makes clear that it’s a road well traveled, as Rowsell lets her glowing soprano climb with each repetition of the section’s only lyrics: “Once more.” CARYN GANZBillie Eilish, ‘Lost Cause’Billie Eilish 3.0 is leaning into slowgaze R&B, croaky dismissals, modern burlesque, 1950s jazz, sentiments that smolder but don’t singe. She’s peering outward now, and her eyes are rolling: “I used to think you were shy/But maybe you just had nothing on your mind.” CARAMANICASofia Rei, ‘Un Mismo Cielo’The Argentine songwriter and singer Sofia Rei is also a professor at NYU’s Clive Davis Institute, where she created the course New Perspectives in Latin Music. “Un Mismo Cielo” — “The Same Sky” — is from her new album, “Umbral,” It’s thoroughly global world music, using looped vocals, jazzy clusters on piano, Andean panpipes, a funky bass line and a keyboard solo that hints at Ethiopian modes. Echoing the way she melds music, Rei sings about lovers who are separated, yet they still see the same sky. PARELESSeinabo Sey, ‘Sweet Dreams’In “Sweet Dreams,” a quiet gem from Seinabo Sey’s new EP, “Sweet Life,” she sings about “beautiful pain” and how she’s “longing for peace/but won’t see it soon.” Sey was born in Sweden and raised in both Sweden and Gambia, her father’s birthplace; her low voice radiates a serene melancholy with a backdrop of hovering keyboards and the barest inkling of a beat. She’s singing, perhaps, about a year of isolation and contemplation: “Maybe some things needed a break for people to change,” she muses. PARELESMndsgn, ‘3Hands / Divine Hand I’On his new album, “Rare Pleasure,” the producer, composer, keyboardist and vocalist Mndsgn enlisted a top-flight crew of L.A. improvisers, including Kiefer Shackelford on keys, Carlos Niño on percussion and Anna Wise on backing vocals. These tracks scan as a matte collage of Southern California radio moods from the past 50 years: 1970s spiritual jazz and fusion, smoother ’80s stuff, the soft rock that ran alongside all of it. But on “3Hands / Divine Hand I,” he’s mostly splitting the difference between Thundercat and Stereolab, singing affable absurdities in a distant falsetto: “Three hands is better than the two that you were born with.” GIOVANNI RUSSONELLOYendry, ‘Ya’“I want it all,” Yendry raps matter-of-factly, in Spanish, as she begins “Ya” (“Already”). Yendry was born in the Dominican Republic and raised in Italy, and “Ya” reflects musical tastes that encompass Radiohead alongside reggaeton. The beat is Caribbean; the slidey hook and puffy chords are electronic, and Yendry sings and raps about conquering fears, self-reliance and choosing to live as if she’s immortal. “Ya” is equal parts sultry and brash. PARELESCavetown, ‘Ur Gonna Wish U Believed Me’The ghostly, deliberate, double-tracked whisper and subdued acoustic guitar of Elliott Smith have been revived by Cavetown: the English songwriter Robin Skinner, who has also produced fellow bedroom-pop songwriters like mxmtoon and Chloe Moriondo. Like Smith, Cavetown cloaks self-doubt and depression in deceptive calm and hints of Beatles melody. In “Ur Gonna Wish U Believed Me,” he sings about “The fraying threads of recovery/Crushing me from above and underneath,” and eventually Cavetown makes the underlying tensions explode into noise. PARELESGerald Cleaver, ‘Galaxy Faruq (for Faruq Z. Bey)’The esteemed jazz drummer Gerald Cleaver was mostly alone when making “Griots,” an electronic album that he recorded last year during the height of the coronavirus pandemic. But he kept in close touch with his inspirations: Almost every track is titled for a mentor or collaborator. The sparse and pointillist “Galaxy Faruq (for Faruq Z. Bey)” is his dedication to a Detroit saxophonist who inspired Cleaver early in his life. But on this track and others, he’s reaching way beyond the jazz tribe, conversing with an off-the-beaten-path lineage of electronic musicians with roots in the Midwest: the D.J. Theo Parrish, the post-house musician Jlin, the pianist Craig Taborn’s Junk Magic project. RUSSONELLO More