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    Marcia Resnick, Whose Camera Captured New York’s ‘Bad Boys’, Dies at 74

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    Marcia Resnick, a fine arts photographer who in the late 1970s pivoted from conceptual work to capture her febrile milieu, New York City’s downtown demimonde, in a series of intimate portraits, mostly of men, including the last studio photos taken of John Belushi, died on Wednesday in Manhattan. She was 74.The cause of death, at a hospice facility, was lung cancer, her sister, Janice Hahn, said.New York City was lurching out of its fiscal crisis as Ms. Resnick began careening through Manhattan’s after-hours spots, notably Max’s Kansas City, CBGB and the Mudd Club. She was living the life, to be sure, but also scouting for subjects.Despite her madcap persona and punk-Lolita uniform — pleated schoolgirl skirts, thigh-high stockings and combat boots, beribboned pigtails and kohl-smudged eyes — she was deadly serious about her craft and her mission. Ms. Resnick was a skilled, CalArts-trained photographer determined to capture the scene that was swirling around her.Ms. Resnick’s 1979 photograph of Chris Stein and Debbie Harry, sprawled on a bed in their Manhattan apartment.Marcia Resnick/Getty ImagesShe photographed Debbie Harry and Chris Stein of the band Blondie sprawled on their bed in their 58th Street penthouse, looking like children at a sleepover.She found the infamous lawyer Roy Cohn and Steve Rubell, the Studio 54 impresario, slumped on a sofa at the Mudd Club after sharing a quaalude; in her photo, Mr. Cohn radiates malevolence, while Mr. Rubell, his head resting on the other man’s shoulder, looks joyful and beatific.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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      in Movies

      Inside the Jury Room at the Weinstein Trial, Rancor and Recrimination

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      As the panelists deliberated over whether the former Hollywood mogul should be convicted of sex crimes for a second time in Manhattan, accusations began to fly.Inside the jury room at the second New York sex crime trial of Harvey Weinstein, things were getting tense.The 12 jurors had already acquitted the former Hollywood mogul on one felony sex crime charge, and they had begun to deliberate on a second when the discussions suddenly turned pointed, and personal.One juror, who had been calm and had even prayed with the others, abruptly began accusing another of having been “bought out” by Mr. Weinstein or his lawyers.The moment, which occurred on the second day of deliberations in a case that was brought by the Manhattan district attorney’s office after its earlier sex crime conviction against Mr. Weinstein was overturned, foreshadowed the rancor and dysfunction that would ultimately consume the panel.Although it ultimately voted to convict him of the second felony sex crime, it reached no decision on the third charge in the case, deadlocking on Thursday over whether Mr. Weinstein raped an aspiring actress in a hotel room in 2013.This account of what occurred in the jury room is based on interviews with several jurors, particularly one panelist who came forward twice to voice concerns to the judge about the behavior of his fellow jurors.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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      in Music

      6 Hidden Shops in New York Worth Visiting

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      You didn’t come to New York to wander fluorescent aisles hunting for someone to unlock the fitting room. You came for the locked-door city — where nothing’s labeled, the elevator grumbles and whoever buzzes you in has already decided how the afternoon should go.You might leave with a sterling silver carabiner, a fossilized dinosaur foot or a record that makes everything else on your shelf sound flat. Or maybe it was just a book you didn’t know you were missing until it looked back at you.But don’t bother dropping by. These places don’t do foot traffic. You email. You call a landline. You wait. Maybe you DM. There’s no signage, no small talk, no piped-in jazz. What there is: hand-forged armor, prehistoric bones with six-figure price tags, music that’s never been digitized, a jewelry showroom with the logic of a toolbox, and — if you’re buzzed in — a private library (with all the books for sale) that reads like someone’s inner filing system.This isn’t retail. It’s an invitation-only obsession. And if you knock with purpose, that helps.889 Broadway, Union Square, ManhattanGlobus WashitsuA kimono-styling class at Globus Washitsu, near Union Square.Up a nondescript elevator near Union Square, through a quiet hallway and a final sliding door, is something few New Yorkers expect to find above Broadway: a Kyoto-style tatami room meticulously built by the investor and longtime Japanophile Stephen Globus. Think shoji screens, hinoki beams, seasonal scrolls — nothing here is an approximation. It’s the real deal.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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      in Music

      The Pint-Size Singers at the Met Opera Children’s Chorus Tryouts

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      The Metropolitan Opera Children’s Chorus has long been an elite training ground for young singers. Getting in requires grit, personality and a soaring voice.The Metropolitan Opera’s stage door, a plain entrance hidden in the tunnels of Lincoln Center, routinely welcomes star singers, orchestra musicians, stagehands, costumers and ushers. But a different bunch of visitors arrived there on a recent afternoon, carrying stuffed toy rabbits and “Frozen” backpacks.They were children, ages 7 to 10, dressed in patent leather shoes, frilly socks and jackets decorated with dinosaurs. They were united in a common mission: to win a spot in the Met children’s chorus, a rigorous, elite training ground for young singers.“This might be the biggest day of my life,” said Naomi Lu, 9, who admires pop singers like Taylor Swift and Katy Perry. She was knitting a lilac friendship necklace to stay calm as she waited in the lobby. “I feel nervous and excited at the same time,” she said. “You could say I’m nerv-cited.”Anthony Piccolo, the director of the Met’s children’s choir, auditions a group of hopefuls.Alexander Zhou waits his turn.Skye Yang.Singing in the shower or in a school choir is one thing. But these students, who came from across New York City and its suburbs, were vying for the chance to perform at the Met, one of the world’s grandest stages, a temple of opera that presents nearly 200 performances each year. Chorus members have a chance at roles like the angelic boys in Mozart’s “The Magic Flute”; the Parisian kids in Puccini’s “La Bohème”; or the street urchins in Bizet’s “Carmen,” to name a few.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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      in Music

      Charles Wadsworth, Pianist and Champion of Chamber Music, Dies at 96

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      As the founder, director and genial host of the Chamber Music Society of Lincoln Center, he helped drive the chamber music boom of the 1970s.Charles Wadsworth, a pianist who parlayed his Southern charm and his passion for chamber music into a career as the founder, director and host of important chamber series — including the Chamber Music Society of Lincoln Center in New York — and whose work helped propel the chamber music boom that began in the 1970s, died on Thursday in Manhattan. He was 96.His death, at a rehabilitation center, was confirmed by his wife, Susan.During his two decades as director of the Chamber Music Society, Mr. Wadsworth was the face of the organization, likely at any time to stride onto the stage of Alice Tully Hall with a broad grin, tousled blond hair and a boyish gait and offer folksy introductions to the music at hand.“I discovered very early that when people laugh, they relax,” Mr. Wadsworth told an interviewer in 2014. “They may be at a chamber music concert for the first time, or they may be unfamiliar with the repertory, but my feeling was that if I could get them relaxed, they would be open to listening, and to letting the music happen to them, rather than worrying about whether they understand it. And that seemed to work very well.”He also performed with the society, playing the piano, harpsichord or even the organ in staples of its repertory as well as some of the oddities he found while assembling the society’s programs — works like Anton Arensky’s Suite No. 1 for Two Pianos, François Couperin’s “Le Parnasse, ou L’Apothéose de Corelli” or Jan Zelenka’s Trio Sonata for Two Oboes, Bassoon and Continuo. But since the society’s roster included pianists who by Mr. Wadsworth’s own admission were more accomplished, he often deferred to them.His real accomplishments took place behind the scenes. Not least was the creation of the society itself, an organization meant to explore the breadth of the chamber music repertory, regardless of the instrumental (or vocal) combinations required. Mr. Wadsworth assembled a core group of “artist members” — string, wind and keyboard players with active careers, who would commit to performing with the society throughout the season — alongside guest musicians, who would expand the instrumental possibilities and bring an extra measure of star power.Mr. Wadsworth often performed with the Chamber Music Society. He played piano alongside the flutist Paula Robison, the violinist Jaime Laredo and the cellist Fred Sherry at Alice Tully Hall in 2009.JB Reed for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      There Are Problems for Sure. But ‘Étoile’ Has Humor and Heart.

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      Amy Sherman-Palladino’s new series, created with her husband, takes ballet somewhere it doesn’t usually go: the world of comedy.Like the art of ballet, “Étoile,” a television show about ballet, has its ups and downs. Sometimes you want to toss confetti in the air to celebrate how deftly it dives into the intelligence and humor of ballet culture. It lives largely in the world of comedy, which is rare for a ballet story. Yet it also shows a commitment to world-class dance, with snippets from classic works like George Balanchine’s “Rubies.” And it arrives with a narrative miracle — nary an eating disorder in sight.But then comes a scene, or sadly a dance, that makes you want to throw that confetti in the trash. The first time the show seesaws between paradise and purgatory happens in its first five minutes. “Étoile,” on Amazon Prime Video, begins on a poignant note as a young girl, alone in a dark studio, follows along to a ballet class saved on a smartphone. A cleaning woman appears in the doorway to let her know that she has only one more floor to get through. This is the dancer’s mother, who has been secretly recording company class for her.“I’ve barely gotten to frappés,” young SuSu (LaMay Zhang) says to her mom. With a heavy heart, SuSu fast forwards to petit allegro, and an overhead shot pulls back, rendering her tinier and tinier as her feet cross back and forth in springy jumps. Blondie’s “Heart of Glass,” its beat echoing her rhythm, takes over, and we’re dropped into a pulsating nightclub.A scene from “Étoile,” which often has observant, real-world details about the ballet world.Philippe Antonello/Amazon MGM Studios There, a tipsy and inane conversation about Tchaikovsky and Aaron Copland ensues: Who would win in a fight? (Who cares?) And that generates a new topic: famous composers who had syphilis.SuSu, come back! (She does eventually. And her part gets better and better especially after Cheyenne, the leading French ballerina, sees in a studio “this little girl who appears only at night like a fairy” and takes her under her wing.)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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      in Music

      AriAtHome Walks the Streets, Making Beats (and New Friends)

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      On the SoHo corner where Prince and Elizabeth Streets meet, dog walkers, errand runners and lunch breakers squinted through the April sun at the part man, part beat-emanating automaton approaching them.Ari Miller, 25, known by his artist name AriAtHome, is a New York-based wayfaring musician who turns heads with his mobile beat-making rig. Donning a get-up that looks like a cross between a Ghostbusters proton pack and a ballpark-vendor tray, he dishes out on-the-spot hip-hop, neo-soul, funk and house beats throughout the city’s streets, all created entirely from scratch without breaking stride.“I built the rig with New York City in mind,” Miller said. “When you make a good song with a stranger in the street it’s like, ‘Whoa, did we just become best friends?’”Ari Miller (a.k.a. AriAtHome) at work, with his videographer Dylan Goucher capturing the scene and livestreaming. Miller making his way up subway stairs wearing 55 pounds of gear.The guts of the machinery Miller and a friend assembled for his mobile music project.Crammed with keyboards, a looper, six speakers and a controller with dozens of knobs and faders, Miller’s Frankenstein instrument offers a buffet of drum, keyboard and bass sounds, interfaced through the music software Ableton. In the back, a mess of cables hides a Mac Mini M4, a modem and the hot-swappable camera batteries that power it all.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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      in Music

      Joel Krosnick, Longtime Cellist of Juilliard String Quartet, Dies at 84

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      Widely admired for his intense and precise playing, Mr. Krosnick stayed with the quartet for over 40 years, longer than either of his cellist predecessors.Joel Krosnick, the admired longtime cellist of the Juilliard String Quartet, who helped shape its championing of new American music as much as its commitment to the classics, died on April 15 at his home in Hastings-on-Hudson, N.Y. He was 84.His death, from pancreatic cancer, was announced by the Juilliard School in New York City, where Mr. Krosnick was head of the cello department and had taught for 50 years.Mr. Krosnick’s playing combined the two hallmarks of the Juilliard String Quartet’s renowned style: intensity and precision. He was ideally suited to inherit the mantle of his two cellist predecessors in one of the world’s longest-lived string quartets — and he was with the quartet, known as the Juilliard, longer than either, from 1974 until his retirement in 2016.Mr. Krosnick, third from left, performing with the Juilliard String Quartet in 2013.Ruby Washington/The New York TimesFrom its start, 70 years before Mr. Krosnick’s departure, the Juilliard committed to playing new music with the same devotion it brought to the classical repertoire, and to playing the classics as if they were new. Mr. Krosnick went right along, as at home with the searing abstract intensity of the cello cadenza in Elliott Carter’s String Quartet No. 2 as with the soulful meditations of Beethoven’s Quartet No. 16 in F (Op. 135) or the spiky turbulence of Bartok’s quartets.He recorded the complete quartets of all three composers with his fellow players, and they won Grammy Awards in 1977 and 1984 for their recordings of Schoenberg and Beethoven.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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      in Movies

      When Taxpayers Fund Shows Like ‘Blue Bloods’ and ‘S.N.L.,’ Does It Pay Off?

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      Gov. Kathy Hochul of New York has proposed an increase in the film tax credit to stay competitive with New Jersey and other states.New Yorkers — and residents of many other states — have paid more for entertainment in recent years than just their Netflix or Hulu subscriptions.Each New York household has also contributed about $16 in taxes, on average, toward producing the drama series “Billions” since 2017. Over that period, each household has also paid roughly $14.50 in production incentives for “Saturday Night Live” and $4.60 for “The Irishman,” among many other shows and movies.Add it all up, and New York has spent more than $5.5 billion in incentives since 2017, the earliest year for which data is readily available. Now, as a new state budget agreement nears, Gov. Kathy Hochul has said she wants to add $100 million in credits for independent productions that would bring total film subsidies to $800 million a year, almost double the amount from 2022.Other states also pay out tens or hundreds of millions each year in a bidding war for Hollywood productions, under the theory that these tax credits spur the economy. One question for voters and lawmakers is whether a state recoups more than its investment in these movies and shows — or gets back only pennies on the dollar.New York has one of the largest tax credit programs and makes most of its data public, so we totaled its spending to see which productions benefited the most. More