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      Jason Aldean’s ‘Try That in a Small Town’ Hits No. 1

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      The country star’s song, now a culture war battleground, is his first all-genre chart topper. The K-pop group NewJeans’ new album edged out the “Barbie” soundtrack on the Billboard 200.Last week, Jason Aldean’s song “Try That in a Small Town,” which the country star portrays as a paean to neighborly values but critics have described as a call to racist vigilantism, opened at No. 2 on Billboard’s Hot 100 chart, after its music video became a culture war battleground.Now the song has ascended to the peak, becoming the first No. 1 single on Billboard’s all-genre singles chart in Aldean’s nearly two-decade career as a top Nashville hitmaker.Just two weeks ago, before the controversy began, the song was posting minimal numbers. But in its most recent week out, it garnered 31 million streams, sold 175,000 copies and reached a radio audience of nine million people in the United States, according to the tracking service Luminate.As the song has stirred debate, tweaks have been made to its music video, which early on was pulled without explanation by Country Music Television but remains available on YouTube. Last week, a new version appeared, six seconds shorter than the original and scrubbed of news clips showing Black Lives Matter protests in 2020.Aldean has denied that “Try That” is “a pro-lynching song,” or that race plays any part in the song’s lyrics. “These references are not only meritless, but dangerous,” he wrote on social media.On the album chart, the K-pop group NewJeans beat the “Barbie” soundtrack in a photo finish.“Get Up,” a six-track EP by NewJeans, a quintet that is part of the newest wave of K-pop acts, opens at No. 1 on the Billboard 200 with the equivalent of 126,500 sales in the United States, according to Luminate. “Barbie: The Album,” featuring Lizzo, Dua Lipa, Sam Smith, Billie Eilish and other artists, was credited with 126,000. (The service’s publicly reported figures are rounded.)The results were delayed by several days, with Billboard saying only that there was a “processing issue” in combing through the data.The breakdown of the two albums’ “equivalent” numbers — which are determined by comparing sales, streams and track downloads — illustrates the various ways music is consumed these days, and how different formats can affect the charts.“Get Up,” like many K-pop releases, came out in a variety of collectible CD packages. Of its 126,500 equivalents, 101,000 copies were sold as complete albums, with 99 percent of that on CD, according to Billboard; songs from it were also streamed 34 million times.“Barbie: The Album,” on the other hand, sold 53,000 copies as a complete package — 33,000 on vinyl — and had 94 million streams.The arrival of NewJeans and “Barbie” sent last week’s top album, Taylor Swift’s “Speak Now (Taylor’s Version),” to No. 4, while Morgan Wallen’s “One Thing at a Time” falls to No. 3, the first time in 21 weeks that it has dipped lower than second place. Also this week, “Génesis,” by the Mexican songwriter Peso Pluma, is No. 5. More

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      Popcast (Deluxe): Our Favorite Albums of the Year So Far

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      Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on their favorite albums of 2023 so far:100 gecs, “10,000 gecs” — the pounding second album from the everything-core duoSkrillex, “Quest for Fire”/“Don’t Get Too Close” — a comeback pair of albums from the big-tent dubstep pioneerYoung Nudy, “Gumbo” — a collection of slinky and slurry rhymes from the Atlanta rap underdogPeso Pluma, “Génesis” — the new album from the breakout star of the new wave of corridos tumbadosVeeze, “Ganger” — a new album of off-kilter rhymes from one of Detroit’s rising rap starsAsake, “Work of Art” — the second studio album from one of the most inventive and emotive Nigerian singersJ Hus, “Beautiful and Brutal Yard” — the third studio album from one of England’s most inventive rappersIce Spice, “Like..?” — the debut EP from the Bronx rapper specializing in crossover drillBb trickz, “Trickstar” — a new EP from Spain’s answer to Ice SpiceBailey Zimmerman, “Religiously. The Album.” — the debut album from the brightest new star in mainstream country musicBar Italia, “Tracey Demin” — the third album from the British alternative rock bandConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. More

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      Dancers Accuse Lizzo of Harassment and Hostile Work Environment in Lawsuit

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      In a lawsuit filed Tuesday, three dancers claim that touring with the Grammy winner meant working in an “overtly sexual atmosphere” that subjected them to harassment.Three of Lizzo’s former dancers filed a lawsuit against her on Tuesday in Los Angeles Superior Court, accusing the Grammy-winning singer and the captain of her dance team of creating a hostile work environment while performing concerts on her Special Tour this year.The lawsuit, a copy of which was provided to The New York Times by the plaintiffs’ law firm, said the dancers had been “exposed to an overtly sexual atmosphere that permeated their workplace,” which included “outings where nudity and sexuality were a focal point,” it said. The suit was first reported by NBC.The defendants include Lizzo, using her full name Melissa Jefferson instead of her stage name; her production company, Big Grrrl Big Touring Inc.; and Shirlene Quigley, the tour’s dance captain. It does not specify whether the singer was aware of the plaintiffs’ allegations linked to Ms. Quigley.The suit alleges that Lizzo and Ms. Quigley were involved in several episodes that lawyers for the three dancers said amounted to sexual and religious harassment and weight shaming, among other allegations.The suit alleges that Ms. Quigley “made it her mission to preach” Christianity to the dancers, and fixated on virginity, while Lizzo sexually harassed them.On one occasion while at a nightclub in Amsterdam, the lawsuit says, Lizzo began inviting employees to touch nude performers and handle dildos and bananas used in their performances.Out of fear of retaliation, a dancer eventually “acquiesced” to touching the breast of a nude female performer despite repeatedly expressing no interest in doing so, the suit says.Representatives for Lizzo and her production company did not immediately respond to requests for comment on Tuesday.Dancers on Lizzo’s “Watch Out for the Big Grrrls” reality show last year. Arianna Davis, bottom right, is one of the plaintiffs in the lawsuit.Michelle Groskopf for The New York TimesTwo of the plaintiffs, Arianna Davis and Crystal Williams, began performing with Lizzo after competing on her reality television show on Amazon Prime, “Watch Out for the Big Grrrls,” in 2021. The show was an opportunity to give plus-size dancers representation, Lizzo said at the time. Ms. Davis and Ms. Williams were fired in the spring of 2023, the lawsuit says.Separately, a third plaintiff, Noelle Rodriguez, was hired in May 2021 to perform in Lizzo’s “Rumors” music video and remained on as part of her dance team. According to the lawsuit, Ms. Rodriguez resigned shortly after Ms. Davis and Ms. Williams had been fired.Some of the allegations seemed to take aim at Lizzo’s reputation for championing body positivity and inclusivity.“The stunning nature of how Lizzo and her management team treated their performers seems to go against everything Lizzo stands for publicly,” a lawyer for the plaintiffs, Ron Zambrano, said in a statement on Monday. Privately, he said, Lizzo “weight-shames her dancers and demeans them in ways that are not only illegal but absolutely demoralizing.”Some of Lizzo’s statements to the dancers gave Ms. Davis, who was diagnosed with a binge eating disorder, the impression that she had to “explain her weight gain and disclose intimate personal details about her life in order to keep her job,” the suit says.Since her breakout hit “Truth Hurts” dominated charts in 2019, Lizzo has popularized “feel-good music” and self-love and has celebrated diversity in all forms by churning out empowerment anthems, introducing a size-inclusive shapewear line and racking up millions of views on social media.She won this year’s Grammy for record of the year for “About Damn Time.”Diana Reddy, an assistant professor at the School of Law at the University of California, Berkeley, said that allegations that fall outside legally protected categories could undermine Lizzo’s body-positive message and “could certainly encourage a settlement.”Proving a hostile work environment in the unconventional entertainment industry is difficult, she said, so the plaintiffs’ lawyers could be hoping for a settlement. “Employment discrimination plaintiffs don’t fare particularly well in court,” Ms. Reddy said. More

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      8 Songs About August

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      The dog days are over. Here are some tunes to celebrate.Florence + the Machine, escaping the dog days.Jose Sena Goulao/EPA, via ShutterstockDear listeners,Happy August. It’s the month of out-of-office auto replies, finally breaking heat waves, and — if the songs about August are to believed, anyway — waning summer romances.After an especially brutal July, we’re finally enjoying some pleasant summer weather here in New York. I’m celebrating by going for runs in nearby parks, venturing into parts of my apartment that are not directly in front of the air-conditioner, and, of course, putting together a playlist in honor of this lazy, hazy, hopefully milder month.Songs about August tend to be languid, wistful and suffused with the feeling that Lana Del Rey once named, with appropriate vagueness, “that summertime sadness.” Some of us look forward to summer all year, but by August that sense of too-much-dessert can set in, leaving us secretly pining for the first rustles of September — or at least that unseasonal cold wind in August that sets the scene for Van Morrison’s entry on this playlist.In addition to Van the Man, today’s selections include a weepy country standard, a detour into early psych-pop from a once and future Bee Gee and yet another Taylor Swift song about the cruelty of summer. (Not that one, though.) The dog days are over. Maybe not yet for good, but at least for now, and I’d say that’s reason enough to rejoice.Listen along on Spotify as you read.1. Carole King: “The First Day in August”“On the first day in August, I wanna wake up by your side/After sleeping with you on the last night in July,” Carole King begins this gorgeous ballad from her 1972 album, “Rhymes and Reasons.” A chill of melancholy quivers through the piano-driven song, but the resonant yearning in King’s voice provides warmth. (Listen on YouTube)2. Taylor Swift: “August”The dreamy, anguished eighth track on Swift’s 2020 album “Folklore” has become a feverishly beloved fan favorite among Swifties (and even some Swift skeptics). “August” is part of a trio of “Folklore” songs that depict a love triangle from different characters’ perspectives, and given that it’s told from the vantage point of “the other woman,” it’s the most gloriously melodramatic of the three: “So much for summer love and saying ‘us,’” Swift sings, “’cause you weren’t mine to lose.” (Listen on YouTube)3. Waxahatchee: “Summer of Love”Though Katie Crutchfield doesn’t specifically mention August on this acoustic lament from “Ivy Tripp,” her 2015 album as Waxahatchee, something about its rueful sense of nostalgia evokes the pathos of summer’s end. “I can’t make out a face in the picture of palm trees,” she sings in a keening wail. “The summer of love is a photo of us.” (Listen on YouTube)4. Rilo Kiley: “August”Now, from Crutchfield to a band that inspired her so profoundly that she has a tattoo of its second album: Rilo Kiley. Though Jenny Lewis sang many of the Los Angeles group’s best-known songs, the guitarist Blake Sennett takes the lead on the gently buoyant “August,” from its 2001 debut album, “Take Offs and Landings.” (Listen on YouTube)5. Van Morrison: “Cold Wind in August”Released to high expectations in 1977, Van Morrison’s “Period of Transition” was, as its title suggests, a bit of a departure from his more blistering, mystical albums of the early 1970s. An undeniable highlight is its closing track, the soulful “Cold Wind in August,” which features inspired piano playing from the album’s co-producer, Dr. John. (Listen on YouTube)6. Robin Gibb: “August October”In 1969, Robin Gibb briefly quit the Bee Gees and embarked upon a solo career. A year later, he released the baroque, delightfully strange album “Robin’s Reign,” his only solo LP of the 1970s. The mournful “August October,” an ode to the stasis of heartbreak, opens the album, and was later covered by a huge fan of “Robin’s Reign,” none other than Elton John. (Listen on YouTube)7. Waylon Jennings: “The Thirty Third of August”The country singer-songwriter Mickey Newbury penned this down-and-out tear-jerker, but Waylon Jennings was the first to make it more widely known, when he recorded it for his 1970 album, “Waylon.” Countless other artists have covered it since, though if you want to hear what is perhaps the most gut-wrenching rendition, check out David Allan Coe’s. (Listen on YouTube)8. Florence + the Machine: “Dog Days Are Over”Well, let’s at least hope. (Listen on YouTube)Meet me behind the mall,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“8 Songs About August” track listTrack 1: Carole King, “The First Day in August”Track 2: Taylor Swift, “August”Track 3: Waxahatchee, “Summer of Love”Track 4: Rilo Kiley, “August”Track 5: Van Morrison, “Cold Wind in August”Track 6: Robin Gibb, “August October”Track 7: Waylon Jennings, “The Thirty Third of August”Track 8: Florence + the Machine, “Dog Days Are Over”Bonus TracksPour one out for one of my first favorite movie stars, Pee-wee Herman. Preferably: “Tequila!”Speaking of movies, if you’re looking for a reason to enjoy some theater air-conditioning that is not that pair of summer blockbusters you have almost certainly heard about, I’d highly recommend “Afire,” the latest from the German director Christian Petzold, who happens to be one of my favorite working filmmakers. “Afire” is like a bleaker and more biting Éric Rohmer movie — just as many enviable summer-vacation vibes, plus some dark twists. (The Times’s chief film critic, Manohla Dargis, liked it too.) More

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      Why Are Dave Matthews Band Fans So Loyal?

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      On an afternoon in June while wildfire smoke enveloped Manhattan, people lined up outside Irving Plaza — some before dawn, some sporting face masks, some fresh off red-eye flights — to see Dave Matthews. That night, the 56-year-old balladeer was playing a rare solo gig celebrating his namesake band’s new album, “Walk Around the Moon.”Josh Roberts, 42, a special-education teacher in Las Vegas, who has seen the Dave Matthews Band, or DMB, 523 times, stood in that line. Mr. Roberts estimates that he has spent $100,000 on tickets and travel since discovering the band as a struggling high school junior in 1995. “This band has songs about love, depression, sex, things that you connect to,” he said.Mr. Matthews is the first to admit he doesn’t always get it right. “I’ve written lots of terrible lyrics,” he declared at the Four Seasons hotel in TriBeCa the next day, scanning a printout of a song generated by ChatGPT in the style of DMB. He cringed and added, “I would never say, ‘Grab my guitar, strumming with all my might.’”Still, plucking his guitar with abandon is exactly what Mr. Matthews has done since 1991, when DMB established itself in Charlottesville, Va. DMB is the second-largest ticket-seller in the world, according to the trade publication Pollstar, which tracked the top touring artists of the last 40 years. Mr. Matthews believes that curiosity “about how to write a good song” may be one reason his band has stayed in the spotlight for more than three decades, attracting hundreds of thousands of concertgoers on their 45-stop summer 2023 tour.Yet, the band’s ardent fan base contrasts with its paradoxical pop-culture standing: In 2020, the Dave Matthews Band was nominated by the Rock & Roll Hall of Fame for induction and was entered into a public voting contest, which the group won. The band, however, did not garner enough support from the organization’s voting committee and was not included in the nominees list for the next three years.With more than 30 years in the music industry, Dave Matthews knows you can’t please everyone. “If you make stuff, some people will like it, and some people won’t,” he said.Clark Hodgin for The New York TimesFor a certain set of music enthusiasts born between 1970 to 2000, DMB is synonymous with summer. “When this time comes, I can’t wait for it. It’s the kid in me,” Mr. Roberts said on a follow-up call during a 17-hour drive from Wisconsin to New Hampshire to see two more DMB shows. “I have more friends through DMB than I do through high school and college.”Since 1992, the band, or some iteration of it, has toured relentlessly from Memorial Day to “Labor Dave Weekend” and beyond (except in 2020, because of the pandemic). Superfans routinely follow DMB around for regional legs of tours. Many have seen hundreds of shows, displaying a band-as-religion level fandom with tattoos, license plates and jewelry professing their piety.Coupled with DMB’s taping-friendly policy (fans are allowed to audio record shows with professional equipment) and its hippie reputation, the band’s music frequently gets lumped together with the Grateful Dead and Phish.A lot of “Deadheads,” as the Grateful Dead fans affectionately call themselves, either gravitated toward DMB or Phish when the band’s lead songwriter, Jerry Garcia, died in 1995, said Jeff Travitz, 61, a franchise development manager in Downingtown, Pa., who has taped over 100 DMB concerts. The bands are each unique, he said, but they filled the same “major void” to meet up with friends, tape shows and trade recordings.“I don’t think too much about what we replaced,” Mr. Matthews said. Still, he understands the Phish comparison. In general, he thinks ’90s music critics dismissed improvisation, which, as far as he is concerned, is the only quality these groups share. “We all got thrown into the same category, even though we’re all different,” he said. “What do they call it? Jam bands?”Whatever it’s labeled, fans have gone to great lengths for DMB. In 1998, the band launched the Warehouse, its official fan association, which allows members to pre-order tickets before the public, enter contests and access a message board. “I literally stole my mom’s credit card to join,” Mr. Roberts, the teacher, said. He now spearheads a Facebook group of about 850 DMB followers. Multiple times a tour, he will buy extra pit tickets, which cost about $50 to $150, with his own money and distribute them among the group at face value to combat scalping. (Mr. Matthews, too, laments the current business of ticketing: “I think half the profits that the ticket brokers make should be given back to the theaters, artists or charity, because they make so much money, and they’re really just scalpers.”)Lisa Treat has seen 308 shows, owns a tattoo parlor called Dreaming Tree Ink (named after one of the band’s songs) and tattooed her neck with the band’s fire dancer logo.Clark Hodgin for The New York TimesA fan wearing a custom Dave Matthews Band T-shirt.Clark Hodgin for The New York TimesRidge Richter, a 35-year-old airline-ramp agent in Columbus, Ohio, who has seen 160 shows, doesn’t have any tattoos himself but runs in a crowd of DMB-saturated limbs. “A lot of people, if they’re crazy enough, if Dave signs their arm at a show, they’ll get a tattoo that day,” said Mr. Richter, who also moonlights as a DMB party planner. For each tour, he has organized six or seven tailgates complete with DMB cover bands.Such fanaticism invites detractors. Many stereotype the fans as pot-smoking, tie-dye touting former fraternity bros fawning over craft beers in parking lots between cornhole games. The pop-culture mockery is especially palpable with DMB. See the “Trepidation of the Dave Matthews Fan” bit from the comedian Marc Maron; the cool factor of Anthony Bourdain snarking their fan base odium; and “Saturday Night Live” skits imitating Mr. Matthews’ distinct warble. (Mr. Matthews says that “Bill Hader might be the best one.”)“I feel like his music is just elevator music” said Jody Harper, 44, a technology executive at an arts nonprofit in Manhattan. “The way I see it, everybody hanging out together at DMB concerts are just a bunch of people that want to hang out in an elevator together.”With more than 30 years in the music industry, Mr. Matthews knows you can’t please everyone. “If you make stuff, some people will like it, and some people won’t,” he said. “I don’t have to prove anything to anyone.” He divulged that even his beloved grandfather didn’t understand his music.He continued: “For people that hate me, I would just say, ‘Ignore me. Don’t waste your time!’”“I have more friends through DMB than I do through high school and college,” said Josh Roberts, who has seen the band 523 times. Mr. Roberts estimated that he has spent $100,000 on tickets and travel since discovering the band.Clark Hodgin for The New York TimesMr. Matthews attributed the band’s enduring allure, in part, to offering fans a singular experience every night. “I think about people that love our music but aren’t crazy fans,” he said. “I want them to have the best time. And then I want to play music for people that love us deeply. I want to play for everyone.”The group has about 1,100 titles in their catalog and a core rotation of about 275 songs. Set lists vary substantially, and there are guest musicians for a night or two throughout the tour, including Warren Haynes and Brandi Carlile, as well as lesser-known local acts.Mr. Travitz, the manager in Pennsylvania, appreciates that the band covers songs and interpolates snippets of others into its tunes. Some covers include Pink Floyd’s “Money,” Talking Heads’ “Burning Down the House” and Neil Young’s “Hey Hey, My My.” “It always makes the show fun when they play a song you’re totally not expecting,” Mr. Travitz said.Mr. Matthews said the rapport among members of the band and crew was paramount to DMB’s longevity. When the band is crafting set lists, Mr. Matthews said he prioritized giving “everyone a moment to shine.”The band members’ different ages and backgrounds may also explain their long-lasting appeal, added Mr. Matthews, citing his upbringing in New York, England and South Africa. “We all experienced different versions of the world,” he said. “Great friendships often come from people that have very different experiences.”To broaden his perspective, Mr. Matthews often leans on his children. His 21-year-old twin daughters are either “full of praise where they think it’s deserved” or “they’ll tell me as quickly, ‘This is not a good song’ or ‘I don’t buy those lyrics.’” Mr. Matthews recurrently finds himself asking them and his 16-year-old son about his place in the world from their Generation Z perspective.The band performing in New York this summer.Clark Hodgin for The New York TimesMeghan Brennan, a 24-year-old customer service manager in Boston, is part of a crop of new admirers and has seen some 50 shows. “I’m definitely one of the younger big fans,” she said, adding that her peers “think that I’m insane for doing what I do, which I am.” Her sister, 18 months her junior, in particular, doesn’t get the obsession. She “just hates how much I like them,” Ms. Brennan said.Traveling to see the band has marked what Ms. Brennan calls a transitional life stage of college and living on her own for the first time. She appreciates the friends she has made at tailgates and preshow meetups from Nashville to Hartford, Conn. Her DMB friends are older and can offer advice from a different perspective, she said.Mr. Matthews’ values also resonate: “He really is vocal about the environment,” Ms. Brennan said. (They are the first band to be designated as a Goodwill Ambassador by The United Nations Environment Programme.)Rob Bokon, a 48-year-old technology consultant in Cincinnati and a co-founder of DMBAlmanac.com, an encyclopedia website for the band, has attended 154 shows in 18 states and 44 venues. For Mr. Bokon, his DMB concert experience is a reflection of his entire career trajectory. When he was young, working as a pizza delivery boy and making minimum wage, Mr. Bokon said he could only afford local shows. He eventually made enough money to attend destination shows, but he and his friends couldn’t afford hotel rooms, so they would often drive six hours back home after concerts, “sometimes in the snow, sometimes on two-lane roads,” he said. Of course, DMB poured out of the car’s tinny speakers the entire way home. “It was the best.”Mr. Bokon’s fascination began when he started collecting cassettes of the band’s concerts in 1998. He initially tracked DMB’s set lists in spreadsheets but after one of the band’s concerts in Washington in 2001, he and his friend Matías Niño, who is a programmer, decided to build a fan site. That fan site became the Almanac, which is known as, among fans, the band’s de facto encyclopedia.Alexa Miller Hall, a 48-year-old sales executive in Pittsburgh who has seen 164 shows, is used to telling naysayers about the band’s global impact and defending the magic of a DMB show. It never gets old, said Ms. Miller Hall, who saw her first show in 1992, after becoming a passionate tape trader in college. She guesses she has traveled over 100,000 miles and spent nearly $200,000 to see the band, at least $60,000 of that on tickets alone. Coordinating tickets “is like a part-time job,” she said.Karissa Nash wearing a hat with the fire dancer logo.Clark Hodgin for The New York TimesA tattoo of Mr. Matthews on the calf of Lisa Treat.Clark Hodgin for The New York TimesIn 2012, Ms. Miller Hall met a bassist in a DMB cover band called Grux in the pit at a DMB concert in New Jersey. “We started holding hands” during the show, she said. In 2015, they married. (Meeting partners through message boards, tailgates or concerts is not uncommon; Ms. Miller Hall knows another married couple that met at that same show.)Ms. Miller Hall said the most extreme thing she ever did for the band was camp out during a snowstorm with a group of friends before the band headlined “The Night Before” performance in Minnesota during the Super Bowl in February 2018. To get close to the stage, the group had planned to sleep outside the arena in the freezing temperatures. “Thankfully by the grace of a security guard,” she said, “they let us into the foyer area, and we spent the night with the cigarette butts and gum.”As for Mr. Matthews, his desire to make the best of whatever muck or gold life throws his way can be traced to his father (a scientist he described as “brilliant beyond my understanding”), who died of cancer when he was 10. This is why, he said, “I feel it’s necessary to remind myself of our temporary nature.” While he is unsure whether his father would have liked his music, he thinks he would have appreciated that attitude.Though Mr. Matthews can’t pinpoint exactly why the band has remained so popular, he believes that luck may have played some kind of role. “It’s just what has happened to us, as much as we’ve done it,” he said. “Some worms end up in beautiful, rich, wet soil, and some worms end up on the sidewalk on a hot, sunny day.” More

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      Sinead O’Connor, Prince and the Thrill of ‘Nothing Compares 2 U’

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      O’Connor, who was found dead this week, was catapulted to fame when she covered the song written by Prince on her sophomore album.Sinead O’Connor and Prince, passionate singer-songwriters who both died in their mid-50s, were tied together by the plaintive song “Nothing Compares 2 U,” which catapulted O’Connor to fame when she recorded it for her sophomore album.Prince had composed the song in 1984, deciding to give it to the Family, a side project featuring the singers Susannah Melvoin and Paul Peterson. But the track never gained much recognition when the band released its self-titled album in 1985.The response was considerably different when O’Connor, working with the Japanese jazz musician Gota Yashiki and the producer Nellee Hooper, recorded a stripped-down version for her 1990 album “I Do Not Want What I Haven’t Got.”“Nothing Compares 2 U” became a No. 1 hit in 17 countries, topped the Billboard Hot 100 for four straight weeks and helped win O’Connor a Grammy (which she later refused to accept). The track’s popular music video, featuring a close-up of O’Connor’s shaved head and piercing gaze, was itself nominated for a Grammy.“As far as I’m concerned, it’s my song,” O’Connor told The New York Times in 2021.Prince was pleased to see O’Connor’s version become so popular, Melvoin said in an interview this week.“When it hit and it was doing remarkably well, he had a big smile on his face about it.” Melvoin said. “He loved it. At one point later in his life, he was known to say, ‘Thank you for all the beautiful houses, Sinead.’”Peterson said he was so shocked when he first heard O’Connor’s cover over the car radio that he had to pull over.“I didn’t know who she was, and I felt like I had ownership in that song even though I didn’t write it,” he said in an interview. “So I think I was a little disappointed that our version didn’t get out there at the incredible rate that hers did.”At the same time, Peterson said, he feels thrilled that O’Connor’s cover has been so influential. “It’s incredible the amount of people’s lives that song has touched,” he said. “I was just thrilled to be a small part of that”Melvoin said Prince wrote the song both about herself and his housekeeper, Sandy Scipioni, who left the role after her father died. Melvoin and Prince had been intimately involved for years, she said, but were encountering difficulties in their relationship when he wrote “Nothing Compares 2 U.”It took only a short time for Prince to draft the song at his Eden Prairie warehouse studio, Susan Rogers, Prince’s sound engineer, said in Duane Tudahl’s book “Prince and the Purple Rain Era Studio Sessions.”“I was amazed how beautiful it was,” Rogers told Tudahl. “He took his notebook and he went off to the bedroom, wrote the lyrics very quickly, came back out and sang it.”O’Connor wrote in her memoir, “Rememberings,” that she felt a particular resonance with the lines, “All the flowers that you planted Mama/In the backyard/All died when you went away.”“Every time I perform it, I feel it’s the only time I get to spend with my mother and that I’m talking with her again,” wrote O’Connor, who was 18 when her mother died in a car crash. “There’s a belief that she’s there, that she can hear me and I can connect to her.”Although “Nothing Compares 2 U” was vital to O’Connor’s career, she grew conflicted about Prince, writing in her memoir about a distressing encounter at his Los Angeles residence.They had first met at a club around the time of O’Connor’s debut album in 1987, she wrote, but did not interact again until after her version of “Nothing Compares 2 U” became a hit in America.When O’Connor arrived at Prince’s residence, she wrote, the singer criticized her for swearing in interviews. Prince then suggested the two engage in a pillow fight, she wrote, and began hitting her with a pillowcase containing a pillow and some hard object.O’Connor fled and Prince pursued her in his car, she wrote, until she escaped to a nearby home. (A spokeswoman for Prince’s estate did not respond to requests for comment.)“I never wanted to see that devil again,” O’Connor wrote. More

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      Taylor Swift-Quake: Fans Cause Seismic Activity at Seattle Concert

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      Seismometers can pick up many types of ground vibrations but this drew comparisons to the “Beast Quake” of 2011, when Seattle football fans roared in celebration of a last-minute Seahawks touchdown.“I shake it off, I shake it off,” Taylor Swift sang. And boy did her fans deliver.A Taylor Swift concert in downtown Seattle last weekend shook the ground so hard, it registered signals on a nearby seismometer roughly equivalent to a magnitude 2.3 earthquake, seismologists said.“It’s certainly the biggest concert we’ve had in a while,” said Mouse Reusch, a seismologist at the Pacific Northwest Seismic Network, which monitors earthquake activity in the Pacific Northwest. “We’re talking about 70,000 people and all the music and paraphernalia associated with the concert.”The so-called “Swift Quake” recorded a maximum ground acceleration of roughly 0.011 meters per second squared, said Jackie Caplan-Auerbach, a seismologist at Western Washington University.Seismologists use acceleration to measure ground vibrations, which are then converted to the more conventional Richter scale, the common measurement for earthquakes.Seismometers can pick up ground vibrations of all types — including from cars and stampeding cattle — but the magnitude of the “Swift Quake” has drawn comparisons to the pro football “Beast Quake” of 2011. That seismic activity was triggered when Seattle Seahawks fans roared in celebration following a last-minute touchdown by Marshawn Lynch, the running back whose nickname is “Beast Mode.”Reusch of the Pacific Northwest Seismic Network said that the activity at the time was close to a magnitude 2.0 earthquake. The “Swift Quake” was recorded by the same seismic station, located just outside Lumen Field.The readings occurred throughout both of Taylor Swift’s concerts on the nights of July 22 and 23 and was sustained throughout. The shaking of the ground was more than “twice as hard” as at the 2011 Seahawks game, Caplan-Auerbach said. While this was 0.3 magnitude greater than in 2011, that’s a twofold difference under the Richter scale, which is logarithmic.A comparison of ground vibrations recorded by a seismometer near Lumen Field in Seattle for the pro football “Beast Quake” of 2011 and the Swift Quake, which shook the earth twice as hard.Jackie Caplan-AuerbachThe likely cause was a combination of the music from the concert’s sound system and Taylor Swift’s fans — sometimes known as Swifties — dancing in sync with it, seismologists said.The pop megastar is currently four months into her Eras Tour, a sold-out 52-date national tour that has drawn immense crowds of Swifties to hear her perform songs spanning her 10-album career.Her opening Arizona show in March drew about 70,000 fans. Ticket prices for her show in Santa Clara on Friday were selling for up to $20,000 on Vivid Seats, a secondhand ticket exchange.The two back-to-back concerts in Seattle logged a near-identical pattern on the seismometer, Reusch said, which suggested the sets were nearly identical as well.“That was surprising to me, that we’re able to see something so coherent,” she said. “One was offset by about 26 minutes because it was late.”The shaking at both shows reached a maximum peak twice, first around 7:30 p.m., and the second around 9:30 p.m., according to data shared with The Times.It was not immediately clear which Taylor Swift songs caused the peaks. Besides “Shake It Off,” the set list included “Love Story,” “Bad Blood,” and “Anti-Hero,” all songs guaranteed to get Swifties on their feet.While the concerts shook the ground exceptionally hard, Caplan-Auerback said, it is important to understand that seismometers pick up signals from “anything that shakes the ground,” including cars, trains and even wind.Nor are Taylor Swift’s earthshaking abilities unique to the music world.The seismometer also recorded signals when The Weeknd played at Lumen Field on Aug. 25, 2022, Caplan-Auerback said, though they were not as strong.Beyoncé will be playing there on Sept. 14, she said. “I’ll be looking at that for sure.”As for Reusch, she was encouraged by the public attention.“Maybe there’s some young Swifties out there that will some day become seismologists or earth scientists,” she said. “That would be a real happy ending.” More

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      Randy Meisner, Founding Member of the Eagles, Dies at 77

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      The group’s original bass player, he was with the band from 1971 to 1977 but was uncomfortable with fame.Randy Meisner, a founding member of the Eagles whose broad vocal range on songs like “Take It to the Limit” helped catapult the rock band to international fame, died on Wednesday at a hospital in Los Angeles. He was 77.The cause was complications of chronic obstructive pulmonary disease, the band said on its website.“Randy was an integral part of the Eagles and instrumental in the early success of the band,” the group said.Mr. Meisner, the band’s original bass player, helped form the Eagles in 1971 along with Glenn Frey, Don Henley and Bernie Leadon. He was with the band when they recorded the albums “Eagles,” “Desperado,” “On the Border,” “One of These Nights” and “Hotel California.”“Hotel California,” with its mysterious, allegorical lyrics, became among the band’s best-known recordings. It topped the Billboard Hot 100 in 1977 and won a Grammy Award for record of the year in 1978.But Mr. Meisner was uncomfortable with fame.“I was always kind of shy,” he said in a 2013 interview with Rolling Stone, noting that his bandmates had wanted him to stand center stage to sing “Take It to the Limit,” but that he preferred to be “out of the spotlight.” Then, one night in Knoxville, he said, he caught the flu. “We did two or three encores, and Glenn wanted another one,” he said, referring to his bandmate, the singer-songwriter who died in 2016.“I told them I couldn’t do it, and we got into a spat,” Mr. Meisner told the magazine. “That was the end.”He left the band in September 1977 but was inducted with the Eagles into the Rock & Roll Hall of Fame in 1998. An essay by Parke Puterbaugh, published by the Hall of Fame for the event, described the band as “wide-eyed innocents with a country-rock pedigree” who later became “purveyors of grandiose, dark-themed albums chronicling a world of excess and seduction that had begun spinning seriously out of control.”The Eagles sold more records than any other band in the 1970s and had four consecutive No. 1 albums and five No. 1 singles, according to the Hall of Fame. Its “Greatest Hits 1971-1975” album alone sold upward of 26 million copies.Before joining the Eagles, Mr. Meisner was briefly the bassist for Poco, another Los Angeles country-rock band, formed in 1968. He left that band shortly afterward and joined Rick Nelson’s Stone Canyon Band.A list of survivors was not immediately available. His wife, Lana Meisner, was killed in an accidental shooting in 2016.Randall Herman Meisner was born in Scottsbluff, Neb., on March 8, 1946, and started practicing music at a young age.He got his first acoustic guitar when he was around 12 or 13 and, shortly after, formed a high school band, according to a 2016 interview with Rock Cellar magazine. “We did pretty good, but we didn’t win anything,” he said.He was still a teenager when he joined another band and moved to Los Angeles in 1964 or 1965, he told Rock Cellar.“We couldn’t find any work because there were a million bands out here,” he said.Years later, Mr. Meisner would find plenty of work with the Eagles.“From Day One,” he told Rock Cellar, “I just had a feeling that the band was good and would make it.”A full obituary will appear shortly. More