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      in Music

      A Hip-Hop Comic Book Star Comes to Life in Steel

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      A statue of Rappin’ Max Robot is bound for Paris. But first it’s making a stop in the Bronx.Good morning. It’s Thursday. We’ll meet a new iteration of Rappin’ Max Robot that is bound for Paris, via the Bronx. We’ll also get details on Robert Kennedy Jr.’s testimony in the court case seeking to have him removed from the November ballot in New York.Clark Ivers, Welder UndergroundRappin’ Max Robot began life as a comic book character only a few inches tall. Now he is a man of steel. He has a skin of steel plates up to an inch thick that covers an I-beam skeleton.He is on his way to Paris, to take note of breaking’s debut in the Olympics, but he will get there a little late. First he will spend some time in the Bronx, the birthplace of hip-hop.Today an 18-foot-tall statue of Rappin’ Max Robot that was fabricated in Brooklyn will be hauled to a spot outside the Hip Hop Museum in the Bronx. The museum is not scheduled to open until next year. But Marc Levin, who with his wife, Adina, runs the studio and foundry where the statue took shape, said it would be assembled for a Champagne toast on Saturday, the second day of breaking events at the Olympics.Hip-hop is a “wondrous and centerless tangle,” The New York Times critic Jon Caramanica wrote last year, so perhaps it is not surprising that the toast will not be the only hip-hop event this weekend. Sunday is the 51st anniversary of the day hip-hop is said to have gotten its start, in the rec room of the apartment building at 1520 Sedgwick Avenue in the Bronx, and a group that is not affiliated with the museum is planning a march from that neighborhood to Crotona Park, a couple of miles away.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

    • 100 Shares99 Views

      in Music

      Lincoln Center Taps Education Leader as Next President

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      Mariko Silver, a former president of Bennington College, will take the reins of the organization as it seeks to expand its audience and increase fund-raising.Mariko Silver, a prominent leader in education, government and the nonprofit sphere, will serve as the next president and chief executive of Lincoln Center, the organization announced on Wednesday.Silver, who previously led Bennington College in Vermont and the Henry Luce Foundation in New York, will succeed Henry Timms, who left last month after five years in the job.She will take the reins of Lincoln Center as it works to broaden its audience, navigate an uncertain economy and push through an ambitious plan to tear down the barriers between the center and the surrounding neighborhood. She will also help shape its programming; the center has recently shifted away from classical music in favor of genres like pop, hip-hop, social dance and comedy.“Lincoln Center is the beating heart of New York City,” Silver said in an interview. “I’m incredibly excited to get going and do the work of bringing more beauty, more joy, more art and more human feeling into the world.”The appointment is a milestone for Lincoln Center: Silver, 46, whose father is Jewish and mother is Japanese American, will be the first woman of color to serve as president and chief executive. It is also a homecoming of sorts: Silver grew up a few blocks from the center and studied dance and theater as a child.Steven R. Swartz, the president and chief executive of Hearst, who serves as chair of Lincoln Center’s board, said the organization was impressed by Silver’s record as a nonprofit executive. At Bennington, where she was president from 2013 to 2019, she oversaw the largest capital campaign in the school’s history, raising more than $90 million. She also serves as chair of the Massachusetts Museum of Contemporary Art’s board and was an official at the Department of Homeland Security in the Obama administration.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

    • 125 Shares159 Views

      in Music

      For Billy Joel Fans, a New York Night to Remember

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      Thousands of people piled into Madison Square Garden on Thursday to hear Billy Joel’s catalog of hits in the final show of his long residency at the arena.Lori Umbrino saw her first Billy Joel concert at Shea Stadium in Queens in 1990. More than three decades later, she stood with her two children outside Madison Square Garden on Thursday evening, each wearing a T-shirt from the singer’s concerts across the years.“We’ve been there with him along the journey,” said Ms. Umbrino, 51, whose shirt was from Mr. Joel’s 100th concert at Madison Square Garden on July 18, 2018, designated Billy Joel Day in New York State.That journey has led them back to Madison Square Garden, where Mr. Joel was performing the 150th and final show of his 10-year residency there.The milestone — and, for some, the devastating misunderstanding that Mr. Joel was retiring — drew veterans of his shows, first-timers, families and singles from around the city and the country. Thousands of people piled into the Garden to hear Mr. Joel glide from hit to hit.Stuart Stephenson sat outside the arena at 34th Street and Eighth Avenue, blowing into his melodica, fingering the keys to play “New York State of Mind” and “Uptown Girl.” Fans and commuters streamed by, hawkers sold T-concert shirts, and drivers planted their hands on their horns.Mr. Stephenson saw a news segment on Thursday morning about Mr. Joel’s concert, and thinking the Piano Man was closing his Steinway for good, he rushed into Midtown.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

      Summer Horror Movies to Send a Chill Down Your Spine

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      At the drive-in, under the stars or in your living room, there are plenty of frights to be had before fall arrives.Horror movies can be great summertime escapes because, unlike soaring temperatures and global political upheaval, their terrors are temporary and, at least for fans of the genre, a ton of fun.Here’s a look at new movies and beloved classics that will (metaphorically) scare your pants off in theaters, at home and under the stars this summer.Fresh HellsWhether it’s date night or a solo Summer Friday afternoon, movie theaters are chockablock with new scares. They include “MaXXXine,” the final entry in a slasher trilogy starring Mia Goth; “A Quiet Place: Day One,” a prequel to the hit franchise about bloodthirsty creatures with really good hearing; and “The Exorcism,” a supernatural drama starring Russell Crowe as an actor who unravels playing the role of an exorcist.For fans of oddball indie horror, there’s “In a Violent Nature,” an extravagantly gory, genre-smashing slasher film; “I Saw the TV Glow,” a darkly atmospheric meditation on youth and isolation; and “The Devil’s Bath,” a folk-horror psychodrama set in the 18th century.Classic FrightsWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares199 Views

      in Music

      Paul Sperry, Tenor Who Specialized in American Song, Dies at 90

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      He carved out a niche by singing songs by living composers from his own country, and was praised by critics at home and abroad.Paul Sperry, a tenor who championed little-known American art song and spiky contemporary works, and was praised for his incisive performances of the classics, died on June 13 in Manhattan. He was 90.His death, in a hospital, was caused by heart failure, his son Ethan said.In a discipline where his peers tended to stick to tried-and-true German and French classics from the 19th and 20th centuries, Mr. Sperry carved out a niche, singing songs by living composers from his own country. But he also took on some of the most difficult late-20th-century Europeans, like Karlheinz Stockhausen and Hans Werner Henze, who had been shunned by many singers. That boldness earned him steady work, his son recalled.Mr. Sperry, a Harvard Business School graduate who eschewed a career in real estate and turned to singing, his first love, in his late 20s, was a low-key performer who consistently earned high marks from music critics over three decades. They cited his intelligent approach to song, his understanding of texts, and his imaginative programs.“Paul Sperry is a true connoisseur’s singer — he may not have the most glamorous tenor voice imaginable, but he does some wonderful things with it, and his programing is always interesting and exploratory,” the critic Peter G. Davis wrote in The New York Times in 1975 about a recital of lieder, including by little-known 18th century composers who preceded Schubert.Mr. Sperry in 1985. After graduating from Harvard Business School, he turned to singing, his first love.via Sperry familyWhen critics found fault with his voice — Mr. Sperry was most comfortable in deeper registers — they still praised the intellect and musicianship behind it.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

    • 125 Shares189 Views

      in Television

      Where New Yorkers Start Being Polite and Stop Getting Real

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      The Portal, a video art installation connecting the city with Dublin, is open again, now with safeguards. But does changing the rules change the artwork?At 2:45 p.m. on a sunny Wednesday in a plaza near the Flatiron Building, a crowd of a few dozen was watching, and appearing in, New York City’s most infamous new reality show.On a round video screen, encased in a porthole-like structure behind a railing, they could see a livestream of onlookers across the Atlantic, in the center of Dublin. “They can see you just like you see them!” a staff member minding the exhibit told the crowd.Therein lay the attraction, and the problem. The Portal, a two-way-video art installation, opened on May 8, then promptly closed down on May 14, because of “inappropriate behavior.”On the American side, an OnlyFans model had flashed her breasts at Dublin, a stunt that, she later said, netted her a boost in subscribers worth tens of thousands of dollars. From the Irish side, people displayed images of swastikas and of the 2001 World Trade Center attack. The transgressions went viral, not the sort of global connection and sharing that the organizers were hoping for.Who, besides everyone, would have thought that some people would behave badly given access to a public live camera? When the Portal reopened on May 19, it had new hours — 6 a.m. to 4 p.m. New York time — and new safeguards, including a “proximity-based solution” that would blur the livestream if anyone or anything got too close.Today, the crowd was keeping it on, keeping it all on. At least on this side of the ocean. Onscreen in Dublin, a pair of high-spirited lads lifted their shirts and exposed their bellies to America. In a few minutes they graduated to full topless, whirling their shirts over their heads, before they were seemingly encouraged to leave by security.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares149 Views

      in Music

      Sean Combs Accused of Sexual Assault in New Lawsuit

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      A former model sued the hip-hop mogul and accused him of forcing her to perform oral sex in 2003 at his recording studio. Mr. Combs has not yet responded.A former model filed a lawsuit on Tuesday accusing the hip-hop mogul Sean Combs of forcing her to perform oral sex on him at his New York City recording studio in 2003.In the complaint, Crystal McKinney says that when she was 22, an unnamed fashion designer invited her to attend a Men’s Fashion Week event at a restaurant in Manhattan, where she met Mr. Combs, who was a well-known record label impresario and host of the MTV reality show “Making the Band.”Later that night, according to the lawsuit, Mr. Combs invited her to his recording studio, where Ms. McKinney says she was given alcohol and marijuana that she later came to believe was laced. She says Mr. Combs led her to the bathroom, shoved her head down to his crotch and, after she refused, forced her to perform oral sex on him. Soon after, the lawsuit says, she lost consciousness, later awakening in a cab and realizing that she had been sexually assaulted.Representatives for Mr. Combs did not immediately respond to requests for comment on the lawsuit.Mr. Combs, 54, has been facing deepening legal troubles since his former girlfriend, Casandra Ventura, known as Cassie, filed a lawsuit against him last year in which she accused him of sexually and physically abusing her for years. The lawsuit was settled in one day, but three more suits followed from women who accused him of rape. In March, two of Mr. Combs’s homes were raided as part of an investigation that officials said is at least in part a human trafficking inquiry.The producer and businessman, who is known as Puff Daddy and Diddy, has called the allegations against him false and “sickening,” and he has described the plaintiffs as looking for “a quick payday.”Mr. Combs’s conduct has come under intense scrutiny in recent days after CNN published footage from 2016 in which he is seen striking, kicking and dragging Ms. Ventura, corroborating part of her lawsuit filed last year. On Sunday, he apologized, saying in a video posted to Instagram, “My behavior on that video is inexcusable.”Ms. McKinney, who filed her lawsuit in Federal District Court in Manhattan, said learning of the other lawsuits against Mr. Combs led her to file her own. Because the allegations are more than two decades old, which is outside the statute of limitations, the lawsuit is bringing the claim under New York City’s Victims of Gender-Motivated Violence Act, which, for a limited period of time, allows accusers to file civil complaints involving claims after the statute of limitations has run out.A lawyer representing Mr. Combs, Jonathan Davis, argued in a separate assault lawsuit that the gender violence act should not be used to allow such suits to go forward because another state law specifically extending the statute of limitations for sexual assault had expired. More

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      in Theater

      Does a Smash Hit Like ‘Lion King’ Deserve a $3 Million Tax Break?

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      Broadway is still recovering from the pandemic. A state tax-credit program has helped, but watchdogs say it aids some shows that don’t need a boost.There is no greater success story on Broadway than “The Lion King.” It is reliably among the top-grossing stage shows in New York, where it has brought in nearly $2 billion over its 26-year run; its global total is five times that amount.The musical’s producer is the theatrical division of the Walt Disney Company, an entertainment industry behemoth that earned $89 billion in revenue during its last fiscal year.And yet, the show was one of roughly four dozen productions that have received millions of dollars in assistance from New York State under a program designed to help a pandemic-hobbled theater industry in New York City.Over the three years since the program was established, New York State has bestowed over $100 million on commercial Broadway productions.“The Lion King,” along with other juggernauts like “Aladdin,” “The Book of Mormon” and “Wicked,” each got the maximum $3 million subsidy.The program was initiated by Gov. Andrew M. Cuomo at the height of the coronavirus pandemic, as theaters were nervously preparing to reopen after being shut for a year and a half. It was later tripled to $300 million by Gov. Kathy Hochul, who is now considering whether to seek an extension when it expires next year.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