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      Billy Joel Documentary ‘And So It Goes’ Traces His Early Days

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      The first half of the HBO documentary premiered at the Tribeca Festival on Wednesday night. Joel, who is fighting a brain disorder, sent a message via its directors.The Tribeca Festival’s opening-night premiere of the upcoming HBO documentary “Billy Joel: And So It Goes” was marked, in part, by the absence of Billy Joel himself. Late last month, the musician announced that he was canceling all of his upcoming concerts because of a brain disorder called normal pressure hydrocephalus, which has led to problems with his hearing, vision and balance.After Robert De Niro called Joel “the poet laureate of New York” and helped introduce the film with a dramatic reading of some of his lyrics (“He works at Mr. Cacciatore’s down on Sullivan Street,” he intoned), one of the film’s co-directors, Susan Lacy, told the Beacon Theater audience that Joel sent his greetings — with typical wry humor: “In fact, he said, ‘Getting old sucks, but it’s still preferable to getting cremated.’” The audience roared with laughter. On a note of encouragement, Lacy said Joel “will be back.”The crowd broke out into applause throughout the screening, which included just the first part of the two-part film. It still ran nearly two and a half hours as it covered Joel’s childhood and rise to fame through his infamous 1982 motorcycle accident. (To put that in perspective: It doesn’t get to the writing of “Uptown Girl.” No Christie Brinkley yet.)There are pictures and footage of early Joel performances and stories about the surprisingly robust Long Island rock scene of the 1960s. But “Part One” is largely an intimate portrait of Joel’s relationship with his first wife, Elizabeth Weber, who would eventually become his manager, and it elevates her to a starring role in his life. It also features a host of stories about the making of some of his best-known songs, and tidbits about his Long Island obstinance. Here’s some of what we learned.As Joel’s relationship with Weber first foundered, he attempted suicide twice.Joel and Weber’s relationship began in dramatic fashion: She was married to Jon Small, Joel’s early bandmate, and had a son with him. Joel and Small first played together in a group named the Hassles, then broke off to start a Led Zeppelin-inspired metal outfit called Attila. (An album cover shoot featuring a longhaired Joel standing amid sides of raw beef, wearing fur, is something to behold.) Eventually, Joel fell in love with Weber, but when a guilt-ridden Joel shared his feelings with Small, he got punched in the nose and Weber left.Despondent, Joel overdosed on pills and was in a coma for days. His sister, Judy Molinari, who had provided the pills to help him sleep, recounts her guilt onscreen. “I felt that I killed him,” she says. Joel drank a bottle of furniture polish in another attempt on his life. After moving back into his mother’s house, he checked into an observation ward where his own struggles were put into perspective. From there he started to channel his feelings into music, and the songs that he wrote as a result of the experience would become his first solo album, “Cold Spring Harbor.” After about a year, Weber re-entered his life.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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      They Led the 2000s Indie-Rock Boom. Now They’re Vying for Oscars.

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      As Trent Reznor and Atticus Ross continue to spotlight film music, members of Dirty Projectors, Grizzly Bear, Interpol and Animal Collective have been joining the field.When Daniel Blumberg ascended the stage at the Oscars this year to accept his best original score trophy for “The Brutalist,” the bald, mild-mannered Englishman in the all-black suit read nervously from notes. “I’ve been an artist for 20 years now, since I was a teenager,” he said, perhaps jogging some music fans’ memories: This was the once curly-mopped singer and guitarist from the 2010s indie-rock band Yuck.His Academy Award put him in good company. Trent Reznor and Atticus Ross of Nine Inch Nails have won the category twice, while Radiohead’s Jonny Greenwood is a two-time nominee. And bubbling up beside Blumberg are a crop of artists from New York’s early 2000s indie boom, when idiosyncratic and ambitious bands made their careers on blog love, critically acclaimed albums, relentless touring schedules and the occasional lucrative sync deal.Two decades later, entering their midlife years, an increasing number of their members are turning to film scoring as a new creative outlet — one they can pursue from home studios — rather than rely on the millennial nostalgia industry.A scene from “Sister Midnight.” Paul Banks, the frontman of the band Interpol, recorded its propulsive score.MagnoliaDavid Longstreth, the central figure of Dirty Projectors, created the imaginative and sprawling score for the fantasy journey “The Legend of Ochi,” which A24 released in theaters this year. Paul Banks, Interpol’s frontman, recorded propulsive music for Magnolia Pictures’ deadpan satire “Sister Midnight,” which opened in New York in May and will soon expand nationally. Various permutations of Animal Collective have provided haunting sounds for small-budget projects, including the stripped-down sci-fi tale “Obex,” which Oscilloscope Laboratories will distribute later this year.“The creative conversations I find really interesting,” said Christopher Bear of Grizzly Bear, who is now a prolific film and TV composer. “You’re not necessarily talking about music references. Often it’s more interesting if you’re not, because then it’s about story and picture and just more aesthetic questions. I find myself doing creative things that I probably wouldn’t if I was just left to my own devices in my studio.”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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      Morten Harket, a-ha’s Lead Singer, Has Parkinson’s Disease

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      Harket, best known for his band’s infectious 1985 synth-pop hit “Take on Me,” revealed his illness in an interview on a-ha’s website.Morten Harket, the lead singer of the Norwegian synth-pop band a-ha, best known for its 1985 hit single “Take on Me,” said Wednesday that he had Parkinson’s disease.Harket, 65, revealed his illness in an interview with Jan Omdahl, a-ha’s biographer, on the band’s website. Harket did not say when he received the diagnosis.“I’ve got no problem accepting the diagnosis,” he said. “With time I’ve taken to heart my 94-year-old father’s attitude to the way the organism gradually surrenders: ‘I use whatever works.’”His announcement comes days after the 40th anniversary of the release of a-ha’s first album, “Hunting High and Low,” on June 1, 1985. The first single from the album, “Take on Me,” became a global hit that year, reaching No. 1 on the Billboard Hot 100 in the United States on the basis of the song’s infectious synthesizer hook and innovative video that mixed animation with live action.In the interview, Harket said he took medicine to manage his symptoms. Last June, he traveled to the United States, where surgeons at the Mayo Clinic implanted, inside the left side of his brain, electrodes that receive electrical impulses from a small pacemaker-like device in his upper chest. He underwent the same procedure in December for the right side of his brain.The treatment, known as deep brain simulation, is an established treatment for Parkinson’s. Omdahl writes that the treatment has helped keep Harket’s symptoms in check.Still, problems with his voice “are one of many grounds for uncertainty about my creative future,” he said. The dopamine supplements that he takes affect his voice, but his underlying symptoms become more pronounced if he doesn’t take them, he said.Parkinson’s is a progressive and incurable disease that affects the central nervous system and causes tremors, muscle stiffness, impaired balance and other symptoms. More than 10 million people worldwide are estimated to be living with Parkinson’s, according to the Parkinson’s Foundation.Harket, who has released six solo albums, said he has worked on songs in recent years.A-ha formed in Oslo in 1982. Harket and his two bandmates, Paul Waaktaar-Savoy and Magne Furuholmen, spent their early days playing in London before they eventually landed a contract with Warner Bros.Though a-ha is largely known as a one-hit wonder in the United States for “Take On Me,” its second single, “The Sun Always Shines on TV,” cracked the Top 20 of the Billboard Hot 100 singles chart in 1985. The band went on to sell millions of copies of its albums worldwide, and has performed before audiences in 38 countries. Its most recent studio album, “True North,” was issued in 2022. More

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      Taylor Swift Never Rerecorded ‘Reputation.’ Thank God.

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      After buying back her master recordings, the superstar says she has no plans to finish remaking her sixth album — her most inventive, shocking and risky yet.“Reputation,” Taylor Swift’s rowdy and sly 2017 document of exasperation and recrimination followed by blooming love, is, in a deep catalog of very fine albums, her finest. It is profoundly and disorientingly effective — sinister and hilarious and almost lighthearted in its viciousness — and also an experimental release from a superstar who had previously largely steered clear of formal risk.“Reputation” broke all of Swift’s formulas, taking her from an underdog prodigy who treated every win as an unexpected thrill to a pop star willing to play in the mud (and hurl it at her enemies). It may not be her most representative work, but it demonstrates her versatility and her ability to engage with the predominant sound of the moment, and reveals a snarl that had previously gone unseen.Last Friday, Swift announced that she would not be making a new recording of “Reputation” to join her Taylor’s Versions of “Fearless,” “Speak Now,” “Red” and “1989.” Those releases are the result of a long-running battle over the ownership of the master recordings of her first six albums. Swift has now acquired those assets — in a deal reportedly worth about $360 million, according to Billboard — so she no longer needs to produce an alternate version to draw fan interest away from the originals.Which means she no longer needs to tinker with memory, either. The Taylor’s Version projects were foundationally ahistoric, grand-scale curios that muddied the place Swift’s originals held in the public consciousness. They also implied, via force, that Swift’s original artistry was somehow insufficient. And it relegated old recordings to relic status, largely in the interest of commercial concerns.What they succeeded at, however, was acknowledging that for an artist with several generations of fans, some older material might benefit from a refresh and a reintroduction. The commercial and chart success of these albums — her remake of “1989” had a larger opening week than the original, the equivalent of 1,653,000 sales in the United States — suggested that old work, rethought and repackaged, could be as lucrative as new songs.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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      15 Surprising Show-Tune Covers for Broadway’s Big Night

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      Get ready for the Tony Awards with songs from Sylvester, Diana Ross & the Supremes, Queensrÿche and more.“One Night Only” originated in “Dreamgirls” and was later covered by Sylvester.Richard Creamer/Michael Ochs, via Getty ImagesDear listeners,This is Scott Heller, the former theater editor (now I’m on The New York Times Book Review). With the Tony Awards this Sunday, I’m serving up show tunes to Amplifier readers — but not the usual fare.There are no deathless standards here, like Judy Collins singing “Send in the Clowns” or anything from Barbra Streisand’s “Broadway Album.” And if you’re the kind of person who saves your Playbills, you’ve already listened to the Pet Shop Boys version of “Losing My Mind” — a lot.Rather, I’m hoping this edition of The Amplifier is full of surprising covers, and covers of show tunes you may not know as theater songs in the first place. I’ve mostly stayed away from pop albums designed to market the shows themselves, though I couldn’t resist opening with one, from well before “Hamilton” got into that game. And, alas, one of my favorites — Jill Sobule’s “Sunrise, Sunset,” recorded for the “Fiddler” tribute compilation “Knitting on the Roof” — doesn’t seem to be streamable. But you can find it on her website.Laden with happiness and tears,ScottListen along while you read.1. Diana Ross & the Supremes: “If a Girl Isn’t Pretty”Who knew? This delightful curiosity comes from a 1968 Motown album on which the trio performed 11 songs from “Funny Girl,” a tie-in released just as the movie version reached theaters. Take away the ugly duckling story line and the Brooklynese and it doesn’t exactly add up. But who cares when greeted with brash horns, sunny vocals and a group cheer after the unforgettable rhyme, “When a girl’s incidentals / are no bigger than two lentils.”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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      TikTok Made Addison Rae Famous. Pop Made Her Cool.

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      A couple of years ago, when Addison Rae went to pitch herself for a deal with Columbia Records, pop stardom was not a guarantee. She was best known as one of TikTok’s breakout stars, someone who had used the app to catapult from anonymity to ubiquity, but as a dancer and personality — not a musician. And some early demo recordings she didn’t love had recently leaked online, and she wanted to distance herself from them.So instead of presenting a set of sonic ideas, she came into the meeting with a mood board in a binder.First there were the descriptors: words like “intentional,” “intense,” “loud,” “dance,” “glitter.” Then there were the colors: aquamarine, hot pink, purple, yellow. And then the screen grabs of superstar live-show touchstones: Britney Spears’s “I’m a Slave 4 U” at the 2001 MTV Video Music Awards, Madonna’s Girlie Show tour, and so on.It worked — she landed the deal. But what came next was a conundrum, Rae said in an interview last month on Popcast, The New York Times’s music podcast: “I was like, I know what I want people to feel when they hear my music, but what does that sound like? And what am I going to say?”Those questions set Rae on a year-plus mission of refining her public image, one that was forged in the relentless algorithmic fires of TikTok and that has lately seen her remade as a savvy pop ingénue. This week, she’ll release “Addison,” her debut album and one of the year’s signature pop releases. (Its original title was, in fact, “Mood Boards.”) It’s a breathy, sweaty, urgent album — more a throwback to the sonics of three decades ago than a conversation with contemporary pop.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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      Tribeca Festival: Music and Movies Make for a Successful Mix

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      The festival has more than 20 music events this year — its highest number yet — including documentaries, music videos and podcasts.Metallica, Billy Idol, Miley Cyrus and Depeche Mode — they are just a few of the music acts participating in the Tribeca Festival this month. The Korean rock band the Rose, Eddie Vedder of Pearl Jam, Wizkid and Anderson .Paak are also part of the mix.These artists are either the subject of documentaries or have a hand in creating films premiering at the event, which starts Wednesday and runs through June 15. Following their screenings, some musicians, like Billy Idol and Eddie Vedder, are taking the stage to perform in intimate settings compared with their usual mass crowds. Others, including Depeche Mode and Metallica, are sitting for conversations with audiences.Music has been a part of the event since its inception, according to the festival’s director and senior vice president of programming, Cara Cusumano. In its first edition in 2002, the festival partnered with MTV for a free community concert in Battery Park City with Sheryl Crow, Counting Crows, Wyclef Jean and David Bowie. “We have always considered Tribeca a storytelling festival, so music fits in alongside the other forms of storytelling we celebrate like games, immersive, TV, podcasts and, of course, film at the center,” Cusumano said in an email interview.Much like the festival itself, the amount of music at Tribeca has only grown over the years, she said. The increased presence of musical programming is driven by its popularity with audiences. Cusumano said that the music events saw the highest number of attendees compared with the number of attendees at any other part of the festival. Tribeca is hosting more than 20 music events this year — the highest number yet — including documentaries, music videos and podcasts.“Anecdotally, we often hear audiences speak about how special the experience was since they have usually just seen a doc about the artist, which puts the show and the artist themselves in a unique context,” Cusumano saidIn 2011, Tribeca opened with “The Union,” a documentary about making the eponymous album from Leon Russell and Elton John. In his performance for audiences after the premiere, John dedicated his love ballad “Your Song” to New York. The film and John’s concert set the precedent for Tribeca opening with a music documentary whenever possible, Cusumano said.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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      Miley Cyrus Told Us to Ask Her Anything

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      Miley Cyrus’s entire life has been shaped by fame. Born at the height of her father Billy Ray Cyrus’s celebrity, she spent her childhood at his sold-out country concerts. At 13, she became a star herself — and an important part of the Disney machine — as the titular lead in “Hannah Montana,” playing a regular girl by day and a pop star by night and becoming a cultural touchstone for millennial kids.By the time Cyrus left the show, she already had dozens of Billboard Hot 100 hits, but industry and tastemaker respect was harder to come by. As with many former female child stars, her transition to adulthood in the public eye was marked by controversy (twerking with Robin Thicke at the 2013 Video Music Awards) and judgment (the Parents Television Council condemned the performance), which she looks back on today with some bitterness at how she was treated.Now 33, Cyrus is one of pop’s reigning female queens, a status cemented by her first Grammy win for her 2023 megahit “Flowers.” Her ninth studio album, “Something Beautiful,” has just been released, and she says it’s her attempt to reimagine what “beautiful” means — her beloved grandmother’s death, for instance, or the emotion of rage, which she told me is beautiful because “it lets you know you’re alive.” We also spoke at length about her close relationship with her mother, Tish Cyrus-Purcell, her repaired relationship with her father and how she has learned to protect herself in a world that is still fascinated by everything she does. But we started by talking about the first time I interviewed her, when her candor and openness quite honestly freaked me out.The Grammy-winning singer on overcoming child stardom, accepting her parents and being in control.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppYou know, I’ve interviewed you before. You look really familiar to me.No, we never saw each other because I was at NPR. The voice!I was a new host back then. I hadn’t done a lot of celebrity interviews, and you came on and said: “Ask me anything. Anything at all.” And I had no idea what to do with that. I just froze and thought, I don’t know what to ask Miley Cyrus if she’s saying, “Ask me anything.” Would you say something like that now? I think I would say something like that now, but maybe paying a little closer attention. But yeah, you can ask me anything. I’ve learned that I’m in control. The worst that happens is I just leave the room — say, “I’ll be right back,” and then don’t come back. More