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      How the Cowbell Gave Latin Music Its Swing

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      When life gets loud, let the rhythm get louder.Ran-kan-kan: Long before I could name the source of my excitement, my body responded to the strident signature of Latin dance music. The cowbell strikes like a drum but rings like a horn, the high pitch piercing through salsa’s dense thicket of overlapping patterns. Just when I feel myself drifting from the dance-floor herd, the cowbell summons me back to the rhythm’s raw nerve. Musicians call this function el amarre, from the Spanish amarrar — to fasten, to moor, to seal the deal. A paradox, maybe, that the instrument that brings all the others in line should incite the most euphoric feelings of freedom. I’m already sweating through my silk, so why resist the cowbell’s erotic revelation? When the fever reaches a certain pitch, complexity must give way to relentless repetition — one just-right note, catechized precisely like a prayer. Eso es. Just like that.Prayer, I learned recently, might be the right metaphor: The cowbell we know today is a direct descendant of instruments that spread through West Africa with the early iron-making technology of the Bantu migrations, and that continue to structure the diaspora’s ritual music, from the double-mouthed agogô of Yoruba bembé ceremonies to the triangular ekón of the secret brotherhood known as Abakuá. Like a god, the bell lays down our shared timeline. The sharp attack puts you in your place — enter here, act now — amid the din of drums and dancers. The job of the bell, I’ve been told, is to stay steady.Maybe that’s how these timelines survived the apocalyptic chaos of the Middle Passage. When diverse captives converged on the Caribbean, they sought out substitutes for the instruments they no longer had the freedom to craft. In Puerto Rico, they fashioned bomba drums from rum barrels; in Cuba, they turned the humble wooden crate, used to pack salt cod, into the cajón, whose special resonance later found a place in Spanish flamenco. Soon enough, free people of color gained access to forges for smithing bells from scratch, so I sometimes wonder if it was not only necessity but sheer virtuosity that compelled musicians to play most anything: hoe blades, machetes, paint cans and, yes, ranchland cowbells, struck with the handles of decapitated hammers.In New York City, the improvisations continued: Fania’s Johnny Pacheco stalked the carts in Central Park to steal the copper cowbells hanging from the horses’ necks. Eddie Palmieri, salsa’s founding father, told me how the drummer Manny Oquendo would take his cracked cowbell to a body shop for repair: “What is it with the cowbell?” the welder, used to mending fenders, finally asked. “Well,” Oquendo grunted, “that’s what gives the swing to the band.” By the 1950s, Latin music had become big business, so it’s no surprise the cowbell was perfected and mass-produced right here in the Bronx, by a Puerto Rican auto mechanic named Calixto Rivera: first in his apartment, then, after noise complaints, in a workshop behind Yankee Stadium. If you don’t make the cowbell by hand, Rivera once told The Times, “it doesn’t go coo-coo — it goes blegh-blegh.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Austria Wins Narrow Victory Over Israel in Eurovision Song Contest

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      Austria’s entrant, JJ, took the prize after a tense count that was neck-and-neck until the last votes were revealed.Austria narrowly edged out Israel to win the Eurovision Song Contest after a tense vote count on Saturday night in which the lead switched repeatedly and the victor became clear only at the last moment.Israel received the most points in the public vote, which accounts for half of the overall tally. Last year, the competition was overshadowed by protests over Israel’s involvement because of the country’s military campaign in Gaza.Austria was represented this year by JJ, a classically trained singer, who performed “Wasted Love,” a dramatic song about heartbreak. He received 436 points to Israel’s 357.Sweden, the pre-event favorite, came fourth.Austria last won the competition in 2014, when Conchita Wurst, a bearded drag queen, triumphed with “Rise Like a Phoenix.”JJ, a 24-year-old whose real name is Johannes Pietsch, is a countertenor, meaning that his vocal range most closely matches that of a female mezzo-soprano. He sings in the choir at the Opera School of the Vienna State Opera, and in recent months has appeared onstage in the company’s productions of Mozart’s “The Magic Flute” and Benjamin Britten’s “Billy Budd.”Accepting the Eurovision winner’s trophy, a tearful JJ thanked the voters and called on them to “spread more love” in the world.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Finland’s Eurovision entry, Erika Vikman, shows her ‘sexual power.’

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      Reporting from from the St. Jakobshalle arena in BaselLouane singing “Maman,” a song addressed to her mother, who died of cancer.Fabrice Coffrini/Agence France-Presse — Getty ImagesWhen Louane was offered the chance to represent France at Eurovision, she immediately knew what she wanted to sing about: her mother.As a child growing up in a small town, Louane, whose real name is Anne Peichert, watched Eurovision with her parents and five siblings while gathered around the TV eating pizza. Even when it wasn’t Eurovision season, Louane recalled in an interview, her mother would put on videos of Celine Dion’s winning performance from 1988, and they would watch together, mesmerized by the Canadian singer’s voice.Those happy Eurovision sessions ended abruptly in 2014 when Louane’s mother died from cancer.A star in France with five hit albums, Louane, now 28, said that over the past decade she had written and sung many songs expressing grief and anger over her mother’s death.Her Eurovision track, a powerful ballad called “Maman,” has an altogether different message, however. “It’s a letter to my mother saying: ‘I’m finally fine. I’m finally good in my life. I am, myself, a mother,’” Louane said. “It’s a super special song to me.”Louane makes that transformation clear when she sings in French: “I’m better now / I know the way / I’m done walking down this memory lane.”Louane said the track had a secondary message that went beyond her own story. “What I’m going to try and make everyone understand,” she said, “is that even through the deepest pain, deepest sadness, you can find a way to be better, to finally be well.” More

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      Yuval Raphael, Israel’s Eurovision Entrant, Survived the Hamas Attacks of Oct. 7

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      Not long after the attacks, Yuval Raphael said, she resolved to follow her long-held dream of becoming a professional singer.When Hamas attacked the Nova music festival in Israel on Oct. 7, 2023, Yuval Raphael went from dancing with friends to hiding in a bomb shelter.After attackers broke into the shelter and started shooting partygoers, Raphael played dead, then lay beneath bodies for eight hours until she was rescued.That experience, Raphael told the Israel Hayom newspaper earlier this year, changed her outlook on life. “When I was there, I realized that everything could be over in a moment, and you don’t want your life to end without experiencing it,” she said. Not long after the attacks, Raphael said, she resolved to follow her long-held dream of becoming a professional singer.Now, Raphael, 24, is representing Israel at Eurovision with “New Day Will Rise,” a ballad in which she sings, over twinkling piano, “New day will rise / Life will go on / Everyone cries / Don’t cry alone.”As Israel’s retaliation to the Oct. 7 attacks grinds on, some Eurovision fans have called on the competition organizers to expel Israel from the contest over the country’s conduct in the war.At last year’s final, some audience members booed Israel’s singer as she performed, though others cheered her. Raphael told the BBC this week that she was expecting a hostile reception during her performance and that she had been rehearsing with distracting sounds playing in the background. Indeed, on Thursday in Basel, a small group of protesters blew whistles and waved flags to disrupt one of Raphael’s public rehearsals.But, she told the broadcaster, she was trying to avoid the furor and stay focused on winning. Eurovision’s slogan is “United by music,” she said, adding, “That’s what we are here for.” More

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      Estonia’s entry, ‘Espresso Macchiato,’ brewed trouble in Italy.

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      When Tommy Cash, a rapper and singer from Estonia, won his country’s Eurovision selection with “Espresso Macchiato,” he barely had time to celebrate before a backlash began.In the song, Cash sings in a cheesy Italian accent that he is “sweating like a Mafioso” from working so hard, and just wants a coffee. “Me like mi coffee,” he says: “Very importante.”Cash’s riff on Italian clichés did not go down well in some parts of Italy. Gian Marco Centinaio, a lawmaker with Italy’s far-right League Party, posted on Instagram that Eurovision should ban the song. “Is this the idea of ​​European brotherhood that the organizers of the Eurovision Song Contest have in mind?” he wrote.The flap also made headlines because Codacons, an Italian consumer rights organization, complained that the song “conveys a message of a population tied to organized crime.”In a recent interview, Cash said that he found the reaction over the top. He hadn’t meant to insult Italians, he said: “I love Italy. I love the people. I’m drawn to them because they’re so passionate.”In earlier songs, he rapped in English with his own heavy Eastern European accent, he said, and he also made a track with a German-accented chorus. His comedic Italian voice in “Espresso Macchiato” was no different than those, he said.Cash — who has made several tracks with Charli XCX — has many fans in Europe who love his left-field vibe and provocative videos, but he’s never been close to a household name. But in Italy, at least, he is now a star. Cash said that he had performed on Italian TV many times since “Espresso Macchiato” blew up. On a recent trip to Milan, he added, fans chased him down the street.He had a simple message for anyone who still felt insulted. “Drink a coffee,” he said: “Chill!” More

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      Which act is the safest bet?

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      Kaj, representing Sweden with the song “Bara Bada Bastu,” is most likely to win according to most gambling companies.Sebastien Bozon/Agence France-Presse — Getty ImagesFor all the singing competition’s silliness, one aspect of Eurovision is serious business: the betting.Gambling companies expect Eurovision fans to wager about $265 million on the contest’s outcome, said Sam Eaton of Oddschecker, a British company that aggregates odds for major events.Eaton said that Eurovision was usually “the biggest market of the year” for online bookmakers, after sports events and elections.This year, gambling companies predict that Kaj, Sweden’s representative, is most likely to win. The comedy group will be singing “Bara Bada Bastu,” a catchy, if somewhat silly, track about the joys of taking a sauna.Kaj’s only serious rival, Eaton said, is JJ, an opera singer representing Austria with “Wasted Love.”How can bookmakers be so sure that this year’s Eurovision is a two-horse race? Eaton says the answer lies in data, especially the numerous Eurovision fan websites that run polls asking which song should win.A poll run by Eurovisionworld.com, for instance, had received over 220,000 votes as of Saturday. Kaj topped that poll with 17 percent, and JJ was second with 15 percent. Erika Vikman, representing Finland, and Shkodra Elektronike, Albania’s representative, were together in a distant third with 6 percent. The fans who voted in those polls were also likely to participate in Eurovision’s public vote to decide the winner, Eaton said.In seven of the past nine years, Eaton added, the act that topped those fans poll had gone on to win. “Eurovision is one of the easiest events to bet on,” Eaton said: “The information’s all there.” More

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      Michael Flynn, a Trump Ally, Sponsors Beethoven at the Kennedy Center

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      Following the president’s overhaul of the center, Mr. Flynn, the former national security adviser, has made a substantial gift to the National Symphony Orchestra.The list of donors to the National Symphony Orchestra, one of the Kennedy Center’s flagship ensembles, is usually filled with financiers, socialites, corporations and foundations.But the name of a sponsor of this week’s performances of Beethoven’s “Missa Solemnis” stood out. It was Michael T. Flynn, the general and former national security adviser during President Trump’s first term. He was listed, along with his nonprofit, America’s Future Inc., as “performance sponsors” for the National Symphony Orchestra’s concerts from May 15 to 17.Mr. Flynn said on social media that his nonprofit was “thrilled to sponsor a spectacular three-night performance at the John F. Kennedy Center for the Performing Arts!”“This performance is filled with a vibrant celebration of music, culture, and the unyielding spirit uniting all Americans,” he wrote in a post on X. “The Kennedy Center shines as a proud symbol of our nation’s legacy!”Mr. Flynn’s gift to the National Symphony Orchestra totaled $300,000, according to two people familiar with the donation who were granted anonymity because details of the gift were not publicized.Officials at the Kennedy Center said they did not have details of the gift.“We didn’t know how much but we welcome all sponsorships,” the center said in a statement.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Broadway Best of Charles Strouse

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      The composer’s musicals, including “Annie” and “Bye Bye Birdie,” captured essential elements of American culture. Here are five of his most memorable songs.“Bye Bye Birdie” and “Annie,” the composer Charles Strouse’s most popular musicals, were not just big hits that are regularly revived on professional and amateur stages. They captured essential elements of American culture, including a yearning for escape from an older generation’s shackles and a can-do spirit to overcome adversity.Strouse, who died Thursday at 96, wrote jingles, pop songs and movie scores, but he remains famous for his Broadway shows. In addition to those two blockbusters, three others help make up his career peaks.Here are five numbers that illustrate Strouse’s suppleness as a composer and his knack for instantly hummable melodies.1960‘Bye Bye Birdie’Few musicals showcase as many great numbers as this hit about the Elvis Presley-like star Conrad Birdie, who, as a publicity stunt, visits a Midwest family before shipping off to the Army. The movie version, from 1963, is one of Hollywood’s best musicals of that decade, even though it made big changes to the show. The most egregious was casting Janet Leigh in the role of Rose Alvarez, played by Chita Rivera on Broadway. But it is hard to nitpick with the focus being shifted to Kim, a teenager discovering her sultry side, because she was played by Ann-Margret in an explosive performance that made her a star — she was particularly electric in the number “A Lot of Livin’ to Do.”Bonus video: In 2024, Vanessa Williams performed that song at the annual Miscast event, keeping the pronouns originally sung by Conrad Birdie intact.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