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    How to Pretend You’re in New Orleans Tonight

    While your travel plans may be on hold, you can pretend you’re somewhere new for the night. Around the World at Home invites you to channel the spirit of a new place each week with recommendations on how to explore the culture, all from the comfort of your home.Over the course of the decade since I first visited, I have often imagined myself at home in New Orleans. I think of the syncopated shuffle of a snare drum, the simple pleasure of an afternoon walk with a to-go beer in hand and the candy-colored shotgun houses that sink into the ground at odd angles. And so it wasn’t a huge surprise when, at the beginning of 2021, I found myself packing up my life and moving to the Crescent City for a few months. Why not be somewhere I love at this difficult time, I thought? Why not live in my daydreams for a little while?From left: Bike paraders on Frenchmen Street the week before Mardi Gras; a shotgun house; the Pete Fountain jazz funeral second line paraded during Jazz Fest in 2016.From left: Emily Kask for The New York Times; Sebastian Modak; Bryan Tarnowski for The New York TimesNew Orleans is above all else resilient. Mardi Gras parades were canceled this year, though it didn’t stop New Orleanians from finding ways to celebrate (nothing ever will). In recent months, brass bands have taken to street corners in front of masked, socially distant spectators instead of packed night clubs. Strangers still chat you up about the Saints from their front porches. My visions of this city may still be filtered through the fuzzy lens of a visitor, but I know I’ll be pretending I’m still there long after I’m gone. Here are a few ways you can, too.A brass band plays on Frenchman Street the week before Mardi Gras.Emily Kask for The New York TimesTurn up that radioNew Orleans music is a collage of sounds: it’s the birthplace of jazz, of the frenetic dance music known as bounce, popularized by superstars like Big Freedia, the call-and-response songs of Mardi Gras Indians, and so much more. For an overview of the sounds of this loud, percussive city there is no better place to start than the wonderfully eclectic WWOZ, a community-supported radio station that has been on the air since 1980. Luckily, you can listen to it from anywhere online. It’s only a matter of time before you start getting to know the various D.J.s and tuning in for your favorites.From left: musicians Big Freedia, Rebirth Brass Band and Kermit RuffinsFrom left: Bennett Raglin/Getty Images; Bryan Tarnowski for The New York Times; L. Kasimu Harris for The New York TimesPut on a curated playlist“New Orleans is not a periphery music scene,” Soul Sister, who has hosted a show on WWOZ for more than 25 years, told me. “New Orleans is the reason for it all.” Soul Sister was one of a handful of local experts I consulted in putting together a playlist that will send you straight to New Orleans. Among her recommendations are a bounce classic by DJ Jubilee and the music of Rebirth Brass Band, which brings her back to afternoons spent celebrating on the street: “It reminds me of the energy and freedom of being at the second line parades on Sundays, dancing through all the neighborhoods nonstop for three or four hours,” she said.On this playlist, you will also find some classics — the rollicking piano of Professor Longhair, for example, starts it off — recommended by Keith Spera who writes about music for the Times-Picayune/New Orleans Advocate. By the end of the playlist, you will undoubtedly agree with Mr. Spera’s assessment of New Orleans music: “There is no singular style of ‘New Orleans music’ — is it jazz? Rhythm & blues? Funk? Bounce? — but you know it when you hear it.”The Mosquito Supper Club is a Cajun restaurant in the Uptown neighborhood of New Orleans. Denny CulbertExpand your cookbook collectionJust like its music, New Orleans food contains multitudes: Creole, Cajun, African, Vietnamese and other flavors collide like nowhere else. A fine place to start is with the Dooky Chase Cookbook, the collected recipes of Leah Chase, who died in 2019, of Dooky Chase’s Restaurant, an institution that has hosted civil rights leaders, presidents and countless regulars at its location in Treme, the neighborhood where jazz was born. Next, tap into the Cajun influence on the city with “Mosquito Supper Club: Cajun Recipes from a Disappearing Bayou,” by Melissa M. Martin who oversees a restaurant of the same name in the Uptown neighborhood of New Orleans. Ms. Martin recommends making her grandmother’s oyster soup. “I can picture her stirring a pot on Bayou Petit Caillou and seasoning a broth with salty Louisiana oysters, Creole tomatoes and salted pork,” Ms. Martin said. “The marriage of three ingredients transports me to the tiny fishing village I call home, where salt was and still is always in the air.”From left: Velma Marie’s oyster soup; President George W. Bush with Leah Chase at Dooky Chase’s Restaurant in 2007; Linda Green’s ya-ka-mein.From left: Denny Culbert; Evan Vucci/Associated Press; via Linda GreenCook up some noodle soup, Nola style“It is New Orleans’ best kept secret,” the chef Linda Green, better known as Ms. Linda, told me when I asked about her specialty. Festival and second line crowds come to her for ya-ka-mein, a salty beef noodle soup often eaten as a late-night snack or a next-morning cure (hence its “Old Sober” moniker). The dish’s origins are mysterious: a product of cultural exchange involving, depending on who you ask, Black soldiers returning from the Korean War or Chinese railroad workers arriving in the 1800s. Ms. Linda’s family recipe is also a mystery (she credits the globe-trotting chef Anthony Bourdain for encouraging her to keep it secret). But she has shared versions of her recipe, so you can try your hand at it at home. “That will get you pretty close to the real thing,” she said with a wink I could almost hear over the phone.First Street, in the Garden District, is lined with ornate mansions that are still lived in today. The pink Italianate mansion, above, is the Carroll-Crawford House.Sebastian ModakWalk it offNew Orleans is a city full of history and it can be hard to know what you are looking at without some guidance. You can feel like you are on your own personal walking tour thanks to Free Tours by Foot, which has transferred their expertise to YouTube. You can now stroll the grandiose Garden District, pull away the sensationalism around New Orleans’ Voodoo traditions and take a deep dive into jazz history in Treme. “New Orleans is full of painful history, and it’s also known as one of the most fun cities in the world,” Andrew Farrier, one of the tour guides, said. “I think it’s useful for all of us to know how those two things can live so close to each other.”From left: the Bywater, the Sazerac and the Brandy Crusta — all New Orleans inventions.From left: Drew Stubbs; Craig Lee for The New York Times; Melina Hammer for The New York TimesFix a drinkContrary to so many pop culture depictions of the city, New Orleans’ drinking scene extends far beyond the vortex of debauchery that is Bourbon Street. There are the classic New Orleans inventions, of course, like the Sazerac, but for something a little different, turn to one of the city’s most revered mixologists. Chris Hannah, of Jewel of the South, invented the Bywater as a New Orleanian spin on the Brooklyn. “Among the ingredient substitutions I swapped rum for rye as a cheeky nod to our age-old saying, ‘New Orleans is the northernmost tip of the Caribbean’,” Mr. Hannah said.Chris Hannah, making a cocktail behind the bar, is a revered mixologist and the co-owner of Jewel of the South. L. Kasimu Harris for The New York TimesHave a little partyWhile it’s impossible to fully channel the spirit of a New Orleans dive bar at home, combine the playlist above with your quarantine pod and a “set-up” and you might just get close. What is a set-up, you ask? It’s a staple dive bar order that will get you a half-pint of your liquor of choice, a mixer and a stack of plastic cups. It’s also an often-overlooked part of New Orleans drinking culture, according to Deniseea Taylor, a cocktail enthusiast who goes by the Cocktail Goddess. “When you find a bar with a set-up, you are truly in Nola,” Ms. Taylor said. “First time I experienced a set-up, it was paired with a $5 fish plate, a match made in heaven.”From left: a still from Lily Keber’s documentary “Buckjumping”; the cover of Sarah M. Broom’s book “The Yellow House”; Jurnee Smollett and Samuel L. Jackson in the 1997 film, “Eve’s Bayou.”Mairzy Doats Productions (far left); Trimark Pictures (far right)Wind down with a story or twoIt should come as no surprise that New Orleans, with its triumphant and tragic history, its syncretic culture and its pervasive love of fun, is a place of stories. There is a wide canon of literature to choose from. For something recent, pick up “The Yellow House,” a memoir by Sarah M. Broom, which the Times book critic Dwight Garner called “forceful, rolling and many-chambered.” Going further back in time, try “Coming Through Slaughter,” a fictionalized rendition of the life of jazz pioneer Buddy Bolden by Michael Ondaatje.If you are in the mood for a documentary, Clint Bowie, artistic director of the New Orleans Film Festival, recommends Lily Keber’s “Buckjumping,” which spotlights the city’s dancers. For something fictional, Mr. Bowie points to “Eve’s Bayou” directed by Kasi Lemmons. It’s hard to forget New Orleans is a city built on a swamp when you feel the crushing humidity or lose your footing on ruptured streets, and this movie will take you farther into that ethereal environment. “Set in the Louisiana bayou country in the ’60s, we could think of no better film to spark Southern Gothic daydreams about a visit to the Spanish moss-draped Louisiana swamps,” Mr. Bowie said.Glimpses of south Louisiana’s swampy flora can be found in New Orleans’ Audubon Park.Sebastian ModakHow are you going to channel the spirit of New Orleans in your home? Share your ideas in the comments.To keep up with upcoming articles in this series, sign up for our At Home newsletter. More

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    Lil Wayne and Foushee Collaborate Once Again for Her New Song 'Gold Fronts'

    The singer, who was previously featured on the New Orleans-based rapper’s latest single ‘Ain’t Got Time’, reveals that she got his verse after showing him the song in person.

    Mar 30, 2021

    AceShowbiz –
    Lil Wayne and Foushee have treated fans to a new collaboration. The New Orleans-based rapper and the “Deep End Freestyle” songstress, who previously worked together for his latest single “Ain’t Got Time”, collaborated once again for her new song called “Gold Fronts”.

    The 38-year-old MC announced the release of its music video via Instagram on Monday, March 29. Sharing a part of the clip in which he rapped his verse, he exclaimed, “Video OUT NOW!!! @fousheelive ‘GOLD FRONTS’ ft Me!!!!”

    Also celebrating the new song release was Foushee. Posting the footage on her own Instagram account, she declared, “GOLDFRONTS ft @liltunechi out now. this one special… thank you team!” She followed it up with another point of the clip by writing, “@liltunechi they can’t take our gold fronts!!!!”

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    “Gold Fronts”, which is created as if it talks about grills, narrates the experience of Black people in the United States. It also tells about how 2020 has affected many people’s mental health like depression as Foushee rhymes about self-medication. Wayne then joins in and harmonizes with the singer during her chorus.

    When opening up about her collaboration with Wayne, Foushee revealed that she got his verse after showing him the song in person. “It started with Wayne DMed me, just showing love,” she told Zane Lowe on his Apple Music’s show. “I threw out the idea to work and he was with it. And I was so shocked. This is someone that I listen to him. I was just like… This is what a lot of those moments where I’m just like… There’s nothing like…. I got my sound effects too. That was planned. Yeah. So he agreed to work.”

    “I went to Miami, I got there. It was just like, ‘What we working on?’ And I was so shocked because I’m like, ‘What? What? No, wait, wait. I’m just a bit like, can I just play some music first off?’ Played him a whole bunch of music,” the alternative artist continued. “He played me some music. And I was like, ‘Wow. Can I do something to one of your songs?’ So I ended up recording to his songs and it took me so long to write. Because I was just like sweating.”

    “I had this birthday party. And it’s just such a beautiful night. We were linking up for the first time in a long time, just very intimate birthday party. And then he just texted me. He just texted, words, right here. Whoo. I was like, ‘Wait. No, no, no.’ I was playing music. I’m like, ‘Everybody, I’m going to play this song right now.’ And we all started running and screaming,” she went on recalling. “He didn’t even start the real s**t. We’re just like, ‘Oh. Yeah.’ ”

    Foushee admitted that she was thrilled upon hearing Wayne rhyming the lyrics. “I thought it was the most beautiful verse I heard from him from a long time. I thought he really put his heart and soul into that. And it was a different side of him that we haven’t seen in a while,” she pointed out.

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    Monica Responds to Fan Theory Saying 'The Boy Is Mine' Fight With Brandy Is Real

    That aside, the two powerhouse RnB singers are set to reunite for a collaborative project between Peloton and ‘Verzuz’ as they launch their new Peloton Verzuz Artist Series.

    Mar 30, 2021

    AceShowbiz –
    Even years after Monica and Brandy released their hit “The Boy Is Mine”, people are still talking about the iconic track. Apparently, one fan thought that the singers were fighting over a man for real with the song and that prompted Monice to clear up the misunderstanding.

    ” ‘The Boy is Mine’ gives me such secondhand embarrassment,” the fan wrote in a tweet over the weekend. “@4everBrandy and @MonicaDenise fighting over a MAN when they’re both goddesses? makes me sick.”

    Monica caught wind of the post and didn’t hesitate to clap back at the fan. “I think she and I both are more concerned that 20 + plus years later you’ve still not come to grips with it not being real [laughing and crying emojis] GTFOS Sincerely from the 90s,” she told the fan.

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    Monica clapped back at fan.

    Fans were amused by the interaction as one replied, “That girl was born in the 2000s. She don’t know no better.” Someone else tweeted, “Lmfaooo got her a** together.” One person added, “This is what happens when you’re too woke, your a$$ get the wrong one. Get some sleep, this woke stuff aint fuh everybody.”

    “Oop!!!! The secondhand embarrassment i have for her right now….,” another fan said. “Did she think y’all was beefing over and man and then decided to hop on a diss track together?!?” one user wrote. However, someone thought the first user was just joking. “I could be wrong, but I don’t think she was being serious,” the person noted.

    That aside, Monica and Brandy are set to reunite for a collaborative project between Peloton and “Verzuz”. Announcing the project, Monica wrote to her Twitter followers, “Peloton just launched their new Peloton Verzuz Artist Series. It’s me vs. Brandy. Join me on the Peloton Bike, Tread or App and get ready for all my hits. This is fitness like you’ve never seen it before. Download the Peloton App and check it out today!”

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    Lil Nas X Admits 'MONTERO' Backlash Takes Emotional Toll on Him

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    While he appeared to be defiant in his previous responses to the criticism over the music video of his latest single, the ‘Old Town Road’ hitmaker claims his ‘anxiety is higher than ever’ now.

    Mar 30, 2021

    AceShowbiz –
    Lil Nas X does have concerns after his “MONTERO (Call Me By Your Name)” music video sparked backlash. Despite his seemingly defiant responses to the criticism, the rapper has now admitted that the whole controversy surrounding the clip and his “MONTERO”-inspired shoes has taken a toll on him emotionally.

    “i’ll be honest all this backlash is putting an emotional toll on me,” so he tweeted on Monday, March 29. “i try to cover it with humor but it’s getting hard,” he confessed, before revealing, “my anxiety is higher than ever.”

    Still, he included a promotion for his latest single as he concluded his tweet with, “and stream call me by your name on all platforms now!”

    Lil Nas X admitted ‘MONTERO’ backlash has taken emotional toll on him.
    Lil Nas’ tweet was met with supportive messages from his fans and famous pals, including YouTube stars James Charles and Nikita Dragun.

    James Charles responded to Lil Nas’ tweet.

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    Nikita Dragun also sent supportive message to the rapper.

    Lil Nas came under fire following the release of the “MONTERO” music video on Friday, March 26. While many praised the clip’s prominent LGBT themes, others took issue with the overt sexuality and invocation of religious imagery.

    Speaking with Genius, the Grammy-winning artist explained what it is he wanted to say with the provocative new song. “I was like, ‘It’s about time I say something out of pocket in a song,’ ” he said of the openly sexual lyrics in the song. “Let’s normalize having these f**king lines in songs, the same way somebody might talk about f**king a girl or f**king a guy.”

    He added that the song’s title was inspired by 2017’s film “Call Me by Your Name” starring Armie Hammer and Timothee Chalamet. “That was one of the first gay films that I had watched, and I thought the theme was so dope of calling somebody by your own name,” he said. “The way everything is shot, the way the dialogue goes on, the way the background sounds are used, everything about it is so artsy.”

    Lil Nas previously seemed to poke fun at the controversy over his “MONTERO” music video by posting a “bathroom of hell” edit version. The video’s title describes the scene that features bathroom stall as “MONTERO but ur in the bathroom of hell while lil nas is giving satan a lap dance in the other room.”

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    Mick Fleetwood Dreams of Holding Special Concert Series With All Fleetwood Mac Members

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    The rock band co-founder makes the confession about revisiting every incarnation of his group line-up weeks after revealing he has reconciled with former bandmate Lindsey Buckingham.

    Mar 30, 2021

    AceShowbiz –
    Veteran rocker Mick Fleetwood dreams of one day bringing together every member of Fleetwood Mac, past and present, for a big reunion tour.

    The “Landslide” hitmakers have undergone a series of line-up changes over the years, and the music icon would love to revisit every incarnation of the group for a special concert series.

    Asked who will be joining him on the road for the next Fleetwood Mac tour, he told the Los Angeles Times, “I hope the whole f**king lot of them! I’m not done. And if I can get John McVie off his boat, he’s not done either!”

    “My English pipe dream, sitting on top of a mushroom, would be that everyone who’s ever played in Fleetwood Mac would be welcome,” Mick shared. “That’s what would drive me, because this is all about a collective.”

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    Mick’s comments emerge weeks after revealing he has reconciled with his friend and former bandmate Lindsey Buckingham, who was dumped by the band in 2018.

    “I’ve really enjoyed being re-connected with Lindsey, which has been gracious and open,” he shared. “And both of us have been beautifully honest about who we are and how we got to where we were.”

    And when asked if he thinks Lindsey could rejoin the group, Mick added, “Strange things can happen. I look at Fleetwood Mac as a huge family. Everyone plays an important role in our history, even someone like [early ’70s] guitarist Bob Welch, who was huge and sometimes gets forgotten.”

    “Lindsey’s position in Fleetwood Mac will, for obvious reasons, never been forgotten, as it should never be forgotten [sic].”

    “My vision of things happening in the future is really far-reaching. Would I love to think that [a reunion] could happen? Yeah. I’d love to think that all of us could be healed, and also respect the people who are in the band, Neil Finn and Michael Campbell.”

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    Johnny Depp Likely to Come Up With Interesting Songs Amid Libel Trial, Alice Cooper Suggests

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    Calling the ‘Pirates of the Caribbean’ actor one of his best buddies, the Hollywood Vampires member looks forward to reunite in concert with him and fellow bandmate Joe Perry.

    Mar 30, 2021

    AceShowbiz –
    Johnny Depp is continuing to use his Hollywood Vampires songwriting as therapy amid his bitter legal battles linked to his split from ex-wife Amber Heard, according to his bandmate Alice Cooper.

    The “Pirates of the Caribbean” star was most recently denied an appeal in his U.K. libel trial after objecting to editors at The Sun calling him a “wife beater”, following prior allegations of domestic abuse made by Heard.

    Depp has vehemently denied the claims, and is also suing the “Aquaman” actress in a separate legal case in the U.S., accusing her of defamation for referring to herself as a victim of domestic abuse in a Washington Post article.

    Cooper previously revealed Depp had channeled his “anger” over the messy situation into his work with the Hollywood Vampires, with songs from the rock supergroup’s 2019 album, “Rise”, filled with his “venom”, and their next release appears to be heading in a similar creative direction.

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    Cooper told The Daily Beast, “I know Johnny was writing all last year, when that whole thing [libel trial] was going on with him. But you know, that’s not going to stop him from going home and writing. In fact, it probably helped. I’m expecting some pretty interesting songs.”

    And despite his personal woes, Depp is eager to get back out on the road when it’s safe enough to do so. “There’s no drama [with his work in the band],” Cooper insisted. “[Depp] said, ‘Hey, that’s another world. That has nothing to do with what I’m doing in the band.’ He’s like, ‘I can’t wait to get back onstage.’ He’s one of my best buddies.”

    Cooper also cannot wait to reunite in concert with Depp and bandmate Joe Perry, after recently having to cancel their summer European tour due to COVID-19 concerns. “It’ll be great when we all get together,” he smiled.

    “You know, the crazy thing about that band is you’ve got eight guys in the band, and you’ve got three alpha males leading it, but there’s never been one argument. Nobody’s ever even raised their voice to anybody in that band. It’s really cool.”

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    Macy Gray Admits Fear of Having to Continue Touring in Her 60s

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    Aside from explaining why she wants to earn as much as she can in the next 10 years, the ‘I Try’ hitmaker spills on why she thinks it is important for her to find love.

    Mar 30, 2021

    AceShowbiz –
    Singer Macy Gray is aiming to bulk up her bank balance with as many live shows as possible over the next few years because she doesn’t want to be touring in her 60s. The “I Try” star admits her main career goal at present is to earn as much as she can through her concerts so she can comfortably retire from the road within the next decade.

    “What’s driving me at this point is money,” she candidly confessed to the Observer magazine. “I want to have a lot of money so when I get older I’m not running around touring and trying to make another ‘I Try’. In 10 years from now I don’t want to have to hustle. I don’t want to be on the road. That scares the s**t out of me.”

    Macy isn’t just focused on her professional life – the 53-year-old also wants to find lasting love so she has someone by her side in her twilight years. She shared, “I want to find love. I’ve not been in love for a while and I don’t want to grow old by myself. That’s important. I mean, you need that in life. You need a partner.”

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    However, Macy, who shares three adult kids with her ex-husband Tracy Hinds, admits socializing isn’t her strong point. “I’m not a people person. It’s not my gift,” she said. “People disappoint you, and I’m over being disappointed by people. The only thing I’ve ever really been afraid of is people.”

    And while Macy doesn’t want to grow old alone, she has really embraced ageing. “I like being in my 40s and 50s,” she mused. “You develop this natural cockiness – you’re a little bit better than everybody now, because you’re a little bit older, you’ve lived.”

    “People can’t tell you s**t any more. You’re like, ‘F**k you, I did that already!’ You know, it’s kind of cool.”

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    The Unstoppable Merry Clayton

    One of music’s greatest backup singers is releasing “Beautiful Scars,” her first new album in over 25 years, after surviving an accident that proved that her incredible strength isn’t only in her voice.In 1962, an excited 14-year-old Merry Clayton turned up for her first big recording session. After entering the storied Capitol Studios in Hollywood, she took her place among the other young women who had been called to sing backup for a Bobby Darin record. Soon after they started to sing their part of the song, however, Darin stopped the session cold.“There’s somebody really loud in there and we don’t know who is it,” Clayton recalled him saying. Because the other women knew exactly who it was, “they asked me to back up a bit from the microphone,” she said. “Then we started again and Mr. Darin stopped us and said, ‘That voice is still so loud!’ So the girls asked me to back up even more. Before I knew it, I was almost out the door. Finally, Mr. Darin recognized who it was and beckoned me to the booth to ask me my name. When I told him, he said, ‘My God, Merry, you sure can sing!’”The strength of Clayton’s voice so impressed Darin that he moved the teenager up front where she delivered an incredibly mature vocal on a duet with him, “Who Can I Count On?”The Rolling Stones provided Clayton with her most famous platform, a ferocious duet with Mick Jagger on “Gimme Shelter.”GAB Archive/Redferns, via Getty imagesFive decades later, another event in the singer’s life would make it abundantly clear that Merry Clayton’s voice is far from the only strong thing about her. After a half-century as one of music’s most in-demand backup singers — during which she had several shots at becoming a star in her own right — Clayton suffered a tragedy that has tested the limits of both her physicality and her faith.At the time, she was enjoying one of her highest-profile moments via her central role in the Oscar-winning documentary “20 Feet From Stardom,” which threw a light on the undervalued and mainly Black backup singers who helped define popular music in the last half-century. But just four months after the film won the award, in June 2014, Clayton was in an automobile accident near her home in Los Angeles that ended so violently, she had to have both of her legs amputated below the knee. She would spend the next five months in the hospital, followed by years of rehabilitation.The singer, 72, recalls nothing of the accident itself. But last month, she spoke with surprising humor and grace about its aftermath in a long video interview. Resplendent in a shimmering azure-blue dress, Clayton sat in her electric wheelchair in the chic Malibu office of the record producer and label owner Lou Adler. “Uncle Lou,” as Clayton calls him, has served as her advocate since 1969, when he signed her to his label, Ode, resulting in several roiling rock ’n’ roll solo albums.Now, along with Terry Young, Adler has co-produced a new album for Clayton, “Beautiful Scars,” her first in over 25 years, arriving April 9. It stresses songs of overcoming, several of which were written by pop artists like Diane Warren and Coldplay’s Chris Martin. The others tap into the deep well of gospel music Clayton has been singing since she was a toddler in the church of her minister father.Because he believed music would be crucial to her recovery, Adler started asking Clayton about singing in the studio again just weeks after she regained consciousness. “I said, ‘Excuse me? I’m laid up in the hospital and you’re telling me I’m supposed to be singing?’” she recalled asking him incredulously.“If there was a space in the market that Aretha Franklin had brought about, I felt she could be in that space,” the producer Lou Adler said of Merry Clayton.Michael Ochs Archives/Getty ImagesOn the day she learned what had happened to her, Clayton said her family sat by her bedside crying profusely while a team of doctors came into the room. “I wondered, ‘What the heck is going on?’” she said. The doctor delivered the news about her legs. “They thought I was just going to fall out at that point. But I just asked them, ‘Did anything happen to my voice?’ When they said no, I started singing, ‘I Can Still Shine,’ a song Valerie Simpson and Nick Ashford wrote for me. Once I did that, my sister said, ‘Let’s get out of here. If she’s singing, she’s fine.’”The response shocked a nurse who had been standing behind Clayton with a large needle at the ready, “just in case I got riled up,” the singer said with a laugh. “I told her, ‘Honey, I’m not going to get riled up. It’s in God’s hands. He hasn’t failed me yet!’”Clayton’s unshakable belief has been the ballast of her recovery. In the interview, she mentioned God no fewer than 19 times. She first made the connection between faith and music at the age of 3 when she sang the spiritual “I’m Satisfied” in her father’s church. Located in her birth city of New Orleans, the congregation drew stars of the gospel world from Sam Cooke and the Soul Stirrers to Mahalia Jackson. “They called me ‘little Mahalia,’” Clayton said.Her parents — who gave her the name Merry because she was born on Christmas Day — saw no separation between sacred and secular music. So, after the family moved to Los Angeles when Clayton was 8, they encouraged her desire to pursue a career in pop. By 15, she had the chance to cut a single under her own name — the first version of “It’s in His Kiss,” a song that later became a smash by Betty Everett. Clayton said she didn’t mind that her version didn’t click. “What mattered to me was that I sounded good,” she said.In 1966, she realized a dream by joining Ray Charles’s backing group, the Raelettes. “I was the youngest, but I was their lead singer,” Clayton said. There she met her husband, the saxophonist Curtis Amy, who was Charles’s musical director. They remained married until his death in 2002. By the late ’60s, Clayton branched out to become one of the go-to backup singers for the superstars of rock. “We didn’t sing behind them,” she said. “We sang alongside them.”Ray Charles with the Raelettes, from left: Alexandra Brown, Merry Clayton, Gwendolyn Berry and Clydie King.Gary Null/NBCUniversal, via Getty ImagesHer collaborations included classic recordings with Joe Cocker (whom she calls “Ray Charles in another color”) and the Rolling Stones, who provided her most famous platform, a ferocious duet with Mick Jagger on the ultimate anthem of ’60s fear and loathing, “Gimme Shelter.” “At first, I told them ‘I’m not trying to do no ‘rape’ and no ‘murder,’” Clayton said, quoting from the song’s famous refrain. “Then it hit me that we’re talking about Vietnam and racism and police killing people. It’s just a shot away. I felt like I was screaming out from my ancestors to give us shelter from this world.”The authority of the recording led Adler to sign her. “She had all the qualities you look for when you’re about to put time and money into an artist,” he said. “If there was a space in the market that Aretha Franklin had brought about, I felt she could be in that space.”Clayton’s early solo albums featured songs written by rock and pop artists, including James Taylor’s “Country Road” and a revelatory version of Neil Young’s “Southern Man.” Her enraged and righteous reading of Young’s lyrics about “bullwhips cracking” and “crosses burning” went fathoms deeper than the original possibly could. “The lyrics are what got to me,” Clayton said. “My father said the world needs to hear you sing this song.”Ironically, Clayton had sung backup on Lynyrd Skynyrd’s “Sweet Home Alabama,” whose lyrics clapped back at Young for “Southern Man.” By singing on the Skynyrd song, Clayton felt that she was bringing her understanding of Alabama’s racist history as a private protest. Still, she never mentioned to the band that she had also cut Young’s song. “I didn’t think it was wise,” she said.Despite the power of her solo albums, they didn’t sell well. Adler believes that had partly to do with the resistance of radio to a Black woman singing rock. “Commercially, it probably would have been right for Merry to sing rhythm and blues,” he said, before describing the albums’ sales as “one of my great disappointments.”Over the years, Clayton released several other solo records, most recently “Miracles” in 1994, but she never wanted for backup work. Stars hired her not only for her vocal ability but for the full history and culture her voice brings to a recording. “They don’t say ‘Merry, we want you to come sing,’” she said. “They say, ‘we want your spirit. We want you.’”“Of course, there were times my heart broke,” Clayton said. “But I never said, ‘Why me?’”Joyce Kim for The New York TimesAfter the accident, the first person to hire her for backup work was Martin, resulting in two guest spots on Coldplay’s “A Head Full of Dreams” in 2015. Martin wasn’t aware of her accident at the time, hiring her purely for her track record and for his belief in what she could bring to the music. “It needed someone who could go free in an amazing way, which she could do,” he said. “Her voice is so full of experience and life lessons.”Several years later, when Clayton’s team asked Martin if he had any songs for her album, he offered “Love Is a Mighty River,” inspired by his experience performing with the Soweto Gospel Choir. “When I heard her version, I thought, thank goodness she’s singing this and not me!” he said. “She did it way better.”When Adler contacted Diane Warren to see if she might have a piece for the album, she hadn’t heard about the accident either. “But when Lou told me her incredible story, I thought of a song I had: ‘Beautiful Scars,’” Warren said. “It’s about someone who not only survives but thrives. That song was born for her to sing.”Still, the piece that made the deepest impression on Clayton was Leon Russell’s “A Song for You,” a version of which she had cut back in 1971. For the new take, Adler elected to retain the sax solo from the original that had been performed by Clayton’s husband. Adler didn’t tell her that he added it before she listened to the playback. “When I heard it, I just lost it,” the singer said.While recording the album, Clayton said she thought about the loss of her husband as often as she did about her accident and ongoing rehabilitation. “Of course, there were times my heart broke,” she said of the physical and psychological adjustments that she has made. “But I never said, ‘Why me?’ I never questioned God. I didn’t realize how strong I was until I went through my situation. But I had to go through all that to get to where am I now, which is living.”“I am alive!” she declared. “Alive!” More