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    Taylor Swift to Bring Eras Tour to Stadiums Next Year

    The singer-songwriter described her planned concerts as “a journey through all of my musical eras of my career.”For the first time in five years, Taylor Swift is going on tour.Following the blockbuster success of her latest album, “Midnights,” which sold over a million copies in its first week out and took over the entire Top 10 of the Billboard Hot 100, Swift said on Tuesday that she would be going on the road, starting in March.The Eras Tour will play stadiums across the United States through next August, with international dates to be announced. The opening acts on the American leg include Paramore, beabadoobee, Phoebe Bridgers, girl in red, Muna, Haim, Gayle, Gracie Abrams and Owenn.The “eras” theme — which she described in a taped appearance on “Good Morning America” as “a journey through all of my musical eras of my career” — solves one potential problem that had been facing Swift: picking what parts of her rapidly growing catalog to focus on. “Midnights” is her 10th studio album, and the last couple of years have been extraordinarily productive for her, with two indie-folk-style LPs recorded in the early stages of the pandemic (“Folklore” and “Evermore”) and two rerecorded versions of old albums (“Fearless” and “Red”).The last tour that Swift completed was in 2018, for her album “Reputation,” released the year before. She had planned a series of stadium shows and international festival dates in 2020, connected to her album “Lover,” but those were canceled amid the pandemic.“Midnights,” which broke streaming records on Spotify and Apple Music, opened on the latest Billboard album chart with the equivalent of 1,578,000 sales in the United States, including 549 million streams and a whopping 1,140,000 copies sold as a complete package — the biggest total for a new album in seven years, and the first time any album has sold more than a million copies since “Reputation.” More

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    Ben Platt on the Unfortunate Timeliness of His ‘Parade’ Revival

    When Ben Platt was a kid, listening to show tunes in the family car, he developed a fondness for “This Is Not Over Yet,” an optimistic and upbeat Jason Robert Brown song from the short-lived musical “Parade.”It was only years later, as Platt grew up, that he encountered the rest of the show, and realized what it was actually about — the 20th-century lynching of a Jewish Southerner, fueled by antisemitism.Now Platt is starring in a seven-performance revival of the 1998 musical at New York City Center, and says the timing is sadly perfect, given the antisemitism once again coursing through the nation’s culture. “It’s felt urgent,” he said, “in a way that is shocking to all of us.”The musical, which won Tony Awards both for Brown’s score and Alfred Uhry’s book, tells the story of Leo Frank, an Atlanta factory manager who was convicted in 1913 of murdering a 13-year-old girl. A public outcry over whether Frank was actually guilty prompted the Georgia governor to commute Frank’s death sentence, at which point Frank was lynched by a mob.Laura Dreyfuss with Ben Platt as Evan in “Dear Evan Hansen.” “It was my ultimate dream come true, to originate something,” he said in an interview, “and it inspired me to start looking inward and writing my own music.”Sara Krulwich/The New York TimesThe City Center revival, directed by Michael Arden, begins performances Tuesday and runs through Sunday; there is already talk of a possible Broadway transfer, but no firm plans.Platt, 29, vaulted to fame, and won a Tony, playing the title character in the 2016 musical “Dear Evan Hansen.” In the years since, he has been working onscreen, starring in “The Politician” for Netflix and a film adaptation of “Dear Evan Hansen,” as well as the forthcoming “The People We Hate at the Wedding” for Amazon Prime Video and a movie called “Theater Camp,” which he wrote with a group of friends. He also created a new lane for himself as a performer: writing songs, recording albums and touring.In an interview, he talked about “Parade,” the ups and downs of “Dear Evan Hansen” (the stage version was a hit; the film adaptation was panned), and his decision to drop off Twitter. These are edited excerpts from the conversation.Tell me why you wanted to do “Parade.”This was a character I related to. I recognized this guy. And I realized how much modern application there is for it. It’s a lot harder to distance from than I was hoping it would be. This show is all about not only antisemitism, but the failure of the country to protect lots of marginalized groups, and we’re all feeling that really intensely right now.How do you connect to your character?The very obvious thing is that we’re both Jewish. He’s also, similar to other characters that I’ve played, not the best at expressing his emotions. Leo learns during his journey that vulnerability does not mean you’re any less strong, and I definitely relate to that journey. Being wrongly convicted of murder, I fortunately cannot relate to. I hope I never learn that.What does this show tell us about antisemitism?I don’t necessarily want to dictate what people feel when they come away from the show. There’s a lot of gray in the show. It doesn’t make any decisions for you. Hopefully, most of all, it shows how hatred is learned. With every character, you see how they got to where they are.“Hopefully, most of all,” Platt said of the show, “it shows how hatred is learned. With every character, you see how they got to where they are.”Vincent Tullo for The New York TimesWhat’s it like being back onstage after five years away?It’s just the best. I spent my whole life doing it, pretty much nonstop, from 6 years old to 24. It just feels like a homecoming.I never fully understand why actors want to do these short-run shows. You put in all this time for a few nights.Two reasons. One is the unselfish reason, which is it’s just a story worth telling, especially right now. The selfish reason is that I carry ulterior hopes that maybe we’ll have a longer opportunity in the future.You spent so many years working on “Dear Evan Hansen.” How are you feeling about that experience?I’m feeling really grateful for it. It was my ultimate dream come true, to originate something, and it inspired me to start looking inward and writing my own music. It will always be a piece of me. I feel a simultaneous constant pride and desire to keep it in my heart at all times, but also a real readiness and excitement at having moved forward and embracing my adulthood and playing characters that live in different worlds than that. I got to live in that world for a very long time, and it was not the easiest world to live in. So I look at it fondly but I’m also happy to be moving ahead.Your boyfriend is your successor in the role, Noah Galvin. Is that weird?I don’t think about him in that way, because I knew him for three or four years before we even had that experience. There’s this lore that that’s how we met, but it’s not. But it’s nice to have that detail of him understanding deeply what that experience was. And I feel very lucky to be with him — he’s changed my perspective, and made things, in a very positive way, feel a bit smaller and more manageable.You’ve been working on a film version of “Merrily We Roll Along,” to be shot over 20 years. What’s that like?There are so many variables. The only way I’ve found to approach it is that you have to treat [each shoot] like short films, let it go, and move on and live your life, and as the next one rolls around, find your way back into it. If I constantly have it in the back of my head, it just feels so unimaginable to get to the end, that I get scared about it in a way that’s not productive. So I’m just taking each of the little gifts along the way and hoping we make it to the end of the road.Platt in “Dear Evan Hansen.” After the film version of the musical was criticized, he left Twitter. “I wasn’t getting anything positive,” he said, “and it’s been really nice to be away.”Erika Doss/Universal PicturesOne of your closest friends, Beanie Feldstein, who is also starring with you in “Merrily,” had a bumpy ride with “Funny Girl” on Broadway. I wonder what you make of how her experience went.I know more than anything, she just wants everybody to move on. So I’ll just say that I love her and I admire her strength.You had your own rough ride with the film version of “Dear Evan Hansen.”It was definitely a disappointing experience, and difficult, and it definitely opened my eyes to the internet and how horrific it can be. You’d think, after doing “Dear Evan Hansen” onstage for four years, I would have already known that. I try my best to focus on people who tell me it was moving to them and they really felt seen by it. It is very easy for the good to get drowned out by the bad.I don’t know if this is connected, but I noticed that you’re no longer on Twitter. What’s that about?I find that Twitter is almost exclusively for tearing people down. I wasn’t getting anything positive, and it’s been really nice to be away.Since “Evan Hansen” you’ve become a pop performer, recording and touring.It’s a whole different animal because it’s been the only avenue in which to express my perspective. I find that in everything else — film and TV and especially theater — as much as you’re giving of yourself, you’re also doing your best to disappear, to serve somebody else’s mission or tell somebody else’s story. I love that experience, being a cog in a larger wheel. But I also think that being afforded the opportunity to do the opposite is a very liberating and freeing experience. One makes me really appreciate the other.Do you see yourself back on Broadway?I would love to, yes. I’m very much so hoping, whether it’s this or something else, to get back there as soon as I can. More

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    Taylor Swift’s Smash ‘Midnights’ Sells More Than 1 Million in a Week

    The singer-songwriter’s latest album is a blockbuster, debuting with the biggest weekly total for any LP since Adele’s “25” in 2015.Taylor Swift’s latest album was always going to be a hit.She’s Taylor Swift, first of all. And “Midnights,” which was released on Oct. 21, is her first new pop album since 2019, after an extremely productive couple of years in which she released two indie-folk-style LPs and two rerecorded versions of old records.Yet even for a superstar like Swift, the scale of her latest success has stunned the music industry.In its first week out, “Midnights” had the equivalent of 1,578,000 sales in the United States, according to the tracking service Luminate — the biggest weekly take for any album in seven years, since Adele’s “25” arrived with a boom of nearly 3.5 million (and with the full album then absent from streaming).On the Hot 100 chart for songs, Swift benefits from her strong streaming numbers, currently occupying every spot in the Top 10, a Billboard first.Streaming has so rewritten the math of the music business that in recent years it had become practically an article of faith that no record would ever again cross a time-honored threshold of blockbuster sales: moving more than a million copies in a single week, as artists like ’N Sync, the Backstreet Boys and Eminem did multiple times in the old days. The last record to hit this mark was Swift’s “Reputation,” in 2017. Since then, both Swift’s “Lover” (2019) and Adele’s “30” (2021) failed to reach the magic seven digits.But “Midnights” has easily crossed that line, and not only in “equivalent sales,” a composite number used by Luminate and Billboard to reconcile the various ways fans consume music now, counting streaming, sales and track downloads. Of the 1,578,000 “equivalents” for “Midnights,” 1,140,000 were copies sold as a complete package — in other words, purchases of the album as a whole. It is Swift’s fifth album to sell at least a million copies in a single week, and no album by any artist has had better weekly sales since “Reputation” opened with 1,216,000.The Cultural Impact of Taylor Swift’s MusicNew LP: “Midnight,” Taylor Swift’s 10th studio album is a return to the pop pipeline, with production from her longtime collaborator Jack Antonoff. Here is what our critic thought of it.Millennial Anti-Hero: On her latest album, Swift probes the realizations and reckonings of many 30-something women around relationships, motherhood and ambition.Fight for Her Masters: Revisit the origin story of Swift’s rerecordings of her older albums: a feud with the powerful manager Scooter Braun.Pandemic Records: In 2020, Swift released two new albums, “Folklore” and “Evermore.” In debuting a new sound, she turned to indie music.How did she do it?That is always the question for Swift, who is not only one of the most vital creative forces in 21st-century pop but also perhaps its greatest marketer. In a year of many disappointing releases, with albums by Drake, Post Malone, Kendrick Lamar and other big names posting surprisingly low numbers, Swift promoted her release cleverly online, with cheeky TikTok videos and drip-drip revelations, and advertised an array of product variations that got fans reaching for their credit cards.“She can create an event record,” said Keith Caulfield, Billboard’s senior director of charts. “She’s done that with ‘Midnights.’”The biggest factor ended up being physical media. Those formats, like CD, vinyl and cassette, now make up just 10 percent of all recorded music revenue in the United States — streaming is 84 percent — but they are often embraced by fans eager to own something tangible by their favorite artists, and can play an important role in a new record’s chart position.The standard CD and LP versions of “Midnights” came in four forms, with variant artwork, and Target sold additional variations, with lavender-colored vinyl or three extra tracks on its CD. Swift also sold autographed versions through her website, and three hours after “Midnights” came out she released an expanded “3am Edition,” with seven extra tracks. In the most commented-upon gimmick, the back covers of the four vinyl versions, when arranged in a grid, form the numbers of a clock, and, for $49, Swift’s website even sold the parts of a wall clock to bring it all together. “Collect all 4 editions!” Swift’s website said when promoting the releases.It worked. “Midnights” sold 575,000 copies on vinyl, along with 395,000 on CD and even 10,000 on cassette. There were also 161,000 copies of the album sold as a digital download.Collectible CD and vinyl versions are nothing new. K-pop groups like BTS and Blackpink have been releasing new albums with elaborate CD packaging for years. Two weeks ago, the Red Hot Chili Peppers released a new album, “Return of the Dream Canteen,” in 10 vinyl variations.Yet Swift’s success with the strategy is as extraordinary as you might expect. Her 575,000 vinyl sales are the most any album has sold on that format since at least 1991, when SoundScan, a predecessor of Luminate, began keeping reliable data on music sales. It is more than three times as many as the previous record, when Harry Styles’s “Harry’s House” notched 182,000 vinyl copies in May.The success of “Midnights” is not just a vinyl or CD phenomenon. It also had 549 million streams, the third-best weekly total for any album. Drake has the two best showings in that metric, with “Scorpion” (746 million in 2018) and “Certified Lover Boy” (744 million, 2021). So far this year, the only other album to come close was Bad Bunny’s “Un Verano Sin Ti,” which opened with 357 million streams back in May. (For now, “Un Verano” is still the year’s biggest album, with the equivalent of 2.9 million sales, largely from streaming.)“Midnights,” of course, opened at No. 1 on Billboard’s latest album chart. It is Swift’s 11th album to reach the peak, tying her with Bruce Springsteen, Barbra Streisand and Drake. Only Jay-Z (with 14) and the Beatles (with 19) have had more titles at No. 1.Also this week, Lil Baby’s “It’s Only Me,” last week’s chart-topper, falls to No. 2, and Bad Bunny’s “Un Verano” slips to No. 3 in its 25th week out — its first time dipping lower than second place, including 13 times at No. 1.Morgan Wallen’s “Dangerous: The Double Album,” now in its 94th week out — all but one in the Top 10 — holds at No. 4, and “The Highlights,” a hits compilation by the Weeknd, is No. 5. More

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    Jerry Lee Lewis, a Rock ’n’ Roll Original, Dies at 87

    With his pounding piano, his impassioned vocals and his incendiary performing style, Mr. Lewis lived up to his nickname, the Killer.Jerry Lee Lewis, the hard-driving rockabilly artist whose pounding boogie-woogie piano and bluesy, country-influenced vocals helped define the sound of rock ’n’ roll on hits like “Whole Lotta Shakin’ Goin’ On” and “Great Balls of Fire,” and whose incendiary performing style expressed the essence of rock rebellion, died on Friday at his home in DeSoto County, Miss., south of Memphis. He was 87. His death was announced by his publicist, Zach Farnum. No cause was given, but Mr. Lewis had been in poor health for some time.Mr. Lewis was 21 in November 1956 when he walked into Sun Studio in Memphis and, presenting himself as a country singer who could play a mean piano, demanded an audition.His timing was impeccable. Sun Records had sold Elvis Presley’s contract to RCA Records a year earlier and badly needed a new star to headline a roster that included Carl Perkins, Johnny Cash and Roy Orbison.Mr. Lewis more than filled the bill. His first record, a juiced-up rendition of the Ray Price hit “Crazy Arms,” was a regional success. With “Whole Lotta Shakin’ Goin’ On,” released in April 1957, he gave Sun the breakout hit it was looking for.Although initially banned by many radio stations for being too suggestive, “Whole Lotta Shakin’” reached a nationwide audience after Mr. Lewis performed it on “The Steve Allen Show.” It rose to No. 3 on the pop charts and sold some six million copies worldwide, making it one of the biggest hits of the early rock ’n’ roll era.Overnight, Mr. Lewis entered into direct competition with Presley. As Mr. Lewis saw it, there was no contest.“There’s a difference between a phenomenon and a stylist,” he told the record-collector magazine Goldmine in 1981. “I’m a stylist, Elvis was the phenomenon, and don’t you forget it.”Mr. Lewis was a country singer who played a mean piano. Sun Records needed a new star to replace Elvis Presley.Michael Ochs Archives/Getty ImagesIn November 1957, Sun released “Great Balls of Fire,” a high-octane sexual anthem written by Otis Blackwell, whose other songs included the Presley hits “All Shook Up” and “Don’t Be Cruel.”The song again featured Mr. Lewis’s distinctive barrelhouse piano style, with the left hand insistently beating the keys and the right executing rippling glissandos, while he gave a leering swoop to lines like “Kiss me, baby — mmmm, feels good.” The record reached No. 2 on the pop charts, selling more than five million copies in the United States alone.His scorching performing style suited his material. Mr. Lewis, sometimes called by his childhood nickname the Killer, discovered that audiences loved it when he kicked his piano bench aside and attacked the keyboard standing up. Possessed by “the Devil’s music,” as he called it, he writhed and howled, raked the keyboard with his right foot and tossed his wavy blond hair until it looked like a fright wig.“Nobody had a more creative approach to the music or a more incendiary approach to performing it,” Peter Guralnick, the author of the definitive two-volume Presley biography, said in an interview for this obituary. “He had the ability to put his stamp on every kind of material he recorded.”Mr. Lewis in performance in New York in 1958.Bettmann/Getty ImagesBut Mr. Lewis fell as quickly as he had risen. In 1958, as his third hit, “Breathless,” rose to No. 2, he embarked on what was meant to be a triumphal tour of Britain. Reporters discovered that the young girl traveling with him, Myra Gale Brown, was his 13-year-old bride — and his cousin — and that Mr. Lewis had still been married to his second wife when he recited the vows for his third marriage.Asked by reporters if 13 wasn’t a little young to be married, Mr. Lewis’s wife said: “Oh, no, not at all. Age doesn’t matter back home. You can marry at 10 if you can find a husband.”The revelations caused a scandal on both sides of the Atlantic. Mr. Lewis cut his tour short and returned to the United States, where he quickly discovered that his career as a rock star was over. His recording of “High School Confidential,” from the movie of the same name, eventually came out — Sun feared to release it after the scandal broke — and reached No. 21. But his subsequent records failed miserably.Sun, which Mr. Lewis would leave in 1963, was reluctant to promote him. Many radio stations refused to play his music. Concert dates dried up. Mr. Lewis seemed mystified by the response. “I plumb married the girl, didn’t I?” he said to one reporter.A New PathReduced to performing in small clubs for a few hundred dollars a night, Mr. Lewis found redemption in country music. At Smash Records, which signed him in 1963, a string of failures led producers to suggest that he return to his roots and record some purely country songs.It was a natural fit. Both of his biggest rock ’n’ roll hits had topped the country charts, and his soaring, resonant voice, in the vein of Jimmie Rodgers and Hank Williams, lent itself equally to up-tempo honky-tonk numbers and cry-in-your beer laments.His first country release, “Another Place, Another Time,” reached No. 4 on the Billboard country chart in 1968, and he scored Top 10 country hits that year with “What’s Made Milwaukee Famous (Has Made a Loser Out of Me),” “She Still Comes Around (to Love What’s Left of Me)” and “To Make Love Sweeter for You.”His hot streak continued into the 1970s. He would eventually record nearly two dozen Top 10 country singles, ending with “39 and Holding” in 1981, and nearly as many Top 10 country albums. He even managed to creep onto the pop charts in 1972 with a recording of the Kris Kristofferson song “Me and Bobby McGee” and a cover version of the Big Bopper hit “Chantilly Lace.”Years of heavy drinking and drug abuse began to take their toll, however, and his life for much of the 1970s and ’80s was a sad catalog of family catastrophes, health crises and run-ins with the I.R.S. and the police.His troubled son Jerry Lee Jr. died in a car crash in 1973.In September 1976, while watching television at his wife’s house, Mr. Lewis accidentally shot his bass player, Norman Owens, in the chest with a .357 Magnum handgun after announcing, “I’m going to shoot that Coca-Cola bottle over there or my name ain’t Jerry Lee Lewis.” Mr. Owens survived and filed a lawsuit.Two months later, Mr. Lewis drove his Lincoln Continental into the front gates of Graceland, Presley’s mansion in Memphis, just hours after being arrested and jailed on a drunken-driving charge. A guard later told the police that Mr. Lewis, waving a pistol, had demanded to see Presley and refused to leave.Repeat visits to hospitals and rehabilitation centers ensued. Internal bleeding from a tear in his stomach lining almost killed him in 1981.His fourth wife, Jaren Pate, drowned in a friend’s swimming pool in 1982. His fifth wife, Shawn Michelle Stephens, died after taking an overdose of methadone in 1983.In 1985, after doctors removed half his stomach to correct a bleeding ulcer, Mr. Lewis slowly began to settle down.His marriage to Kerrie McCarver ended in divorce in 2004. He is survived by his wife, Judith Coghlan Lewis; his children, Jerry Lee Lewis III, Ronnie Lewis, Phoebe Lewis and Lori Lancaster; his sister, Linda Gail Lewis, who is also a singer and pianist; and many grandchildren.Myra Lewis’s book “Great Balls of Fire: The Uncensored Story of Jerry Lee Lewis,” published in 1982, inspired the 1989 film “Great Balls of Fire!,” with Dennis Quaid playing Mr. Lewis. The film and book, as well as Nick Tosches’s biography “Hellfire: The Jerry Lee Lewis Story,” also published in 1982, contributed to a renewed interest in the singer. (“Jerry Lee Lewis: His Own Story,” by Rick Bragg, was published in 2014.)His recordings were repackaged by Rhino Records in “Jerry Lee Lewis: 18 Original Sun Greatest Hits” and “The Jerry Lewis Anthology: All Killer No Filler!,” a compilation of 42 of his rock and country hits. The German company Bear Family reissued virtually every note he ever recorded for Sun and Smash in the boxed sets “Classic Jerry Lee Lewis: The Definitive Edition of His Sun Recordings” and “Jerry Lee Lewis: The Locust Years.”Mr. Lewis performing in 1989 at a party for the opening of the movie “Great Balls of Fire!,” which starred Dennis Quaid as Mr. Lewis. He found that audiences loved it when he played standing up or raked the keyboard with his shoe.Todd Lillard, via Associated PressSure Yet WildJerry Lee Lewis was born on Sept. 29, 1935, in Ferriday, La., to Elmo Lewis, a carpenter, and Mamie (Herron) Lewis. When he was a boy, he and two of his cousins, the future evangelist Jimmy Swaggart and the future country singer Mickey Gilley (who died this year), liked to sneak into a local dance hall, Haney’s Big House, to hear top blues acts perform.He showed an aptitude for the piano, and his father borrowed money to buy him one. “The more he practiced, the surer the left hand and wilder the right hand became,” Mr. Tosches wrote in “Hellfire.”At 14, he was invited to sit in with a band performing at a local Ford dealership, which was celebrating the arrival of the 1950 models. He played “Drinkin’ Wine Spo-Dee-O-Dee” — the tune, a hit for Sticks McGhee in 1949, would be a minor pop hit for Mr. Lewis in 1973 — and took home nearly $15 when someone passed the hat.He soon became a regular at clubs in Natchez, just across the Mississippi River, and on the radio station KWKH in Shreveport, La. His deeply worried mother, a Pentecostal Christian, enrolled him in the Southwestern Bible Institute in Waxahachie, Texas.“I didn’t graduate,” he told The New York Times in 2006. “I was kind of quit-uated. I was asked to leave for playing ‘My God Is Real’ boogie-woogie style, rock ’n’ roll style. I figured that’s the way it needed to be played.”After selling sewing machines door to door, Mr. Lewis tried his luck in Nashville, without success. “I remember it very well,” he told Colin Escott and Martin Hawkins, the authors of “Sun Records: The Brief History of the Legendary Record Label” (1980). “I was turned down by every label in town.”A hardscrabble life on the road ensued. “My father would load that old piano onto the back of his truck, we’d drive somewhere, unload it, I’d give a show, we’d pass the hat, he’d load it back on again, and we’d go home and see what we’d got,” he said.In desperation, he and his father sold 33 dozen eggs and, with the proceeds, headed for the studios of Sun Records. Initially he planned to sing country music, but the producer Jack Clement urged him to try rock ’n’ roll. The label on his first single billed him as “Jerry Lee Lewis With His Pumping Piano.”Mr. Lewis performing in New York in 2010. Late in his career he often recorded with younger artists eager to work with one of rock ’n’ roll’s founding fathers.Chad Batka for The New York TimesThe Sun period was brief but eventful. After cutting his first record, Mr. Lewis worked as a studio musician for the label.He was in the studio on Dec. 4, 1956, when Presley dropped by for a friendly visit, sat down at the piano and began singing rhythm-and-blues songs and hymns with Johnny Cash, Carl Perkins and Mr. Lewis in an informal session later released as the album “Million Dollar Quartet.” The session inspired a popular musical of the same name, by Floyd Mutrux and Mr. Escott, which opened on Broadway in 2010, ran for a year, and then played Off Broadway for another year.With the success of “Whole Lotta Shakin’,” Mr. Lewis’s performance fee rose from $50 to $10,000 in a matter of months. He was invited on “American Bandstand” and appeared in “Jamboree,” a 1957 rock ’n’ roll film that also featured performances by Frankie Avalon, Fats Domino, Mr. Perkins and others.From left, Mr. Lewis, Carl Perkins, Elvis Presley and Johnny Cash in the Sun Records studio in Memphis on Dec. 4, 1956. Their informal session was later released as the album “Million Dollar Quartet.”Michael Ochs Archives/Getty ImagesLater in his career, despite his success as a country singer, Mr. Lewis sometimes confessed to hankering after the old rock ’n’ roll days. “You know, if I could just find another like ‘Whole Lotta Shakin’,’” he told Mr. Guralnick in a 1971 interview. “Some records just got that certain something. But I ain’t gonna find another. Just like I was born once into this world and I ain’t gonna be born again.”In 2019 he suffered a serious stroke that left him unable to play the piano. A year later, however, he recorded an album of gospel songs in Nashville and, during the session, found that his right hand had begun moving, allowing him to pound the keys. (That album has yet to be released.)Before then he had been recording sporadically, often with younger artists eager to work with one of rock ’n’ roll’s founding fathers. On albums like “Last Man Standing” (2006), “Mean Old Man” (2010) and “Rock & Roll Time” (2014), he performed with the likes of Mick Jagger, Keith Richards, Eric Clapton, Willie Nelson, Jimmy Page, Neil Young and Kid Rock.The idea that the greatest names in rock should come to him struck him as perfectly natural. “I’m the only one left who’s worth a damn,” he told Goldmine in 1981. “Everyone else is dead or gone. Only the Killer rocks on.”In 2022 — 36 years after he was one of the first inductees in the Rock & Roll Hall of Fame — Mr. Lewis was inducted into the Country Music Hall of Fame. He was too ill to attend the ceremony; Mr. Kristofferson accepted his award in his stead and presented it to him at his home.In a statement the day his induction was announced, Mr. Lewis said, “To be recognized by country music with their highest honor is a humbling experience.” He added, “I am appreciative of all those who have recognized that Jerry Lee Lewis music is country music and to our almighty God for his never-ending redeeming grace.” More

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    Jerry Lee Lewis: Listen to 10 Songs From a Rock ’n’ Roll Pioneer

    From “Great Balls of Fire” to “Over the Rainbow,” whether the songs were brash or tearful, Jerry Lee Lewis was indomitable.He never mellowed.Jerry Lee Lewis, who died on Oct. 28, was an unrepentant pioneer of rock ’n’ roll: a white Southerner who steeped himself in Black music, a two-fisted boogie-woogie piano player, a blues growler, a country yodeler, a devout gospel singer and a performer who might slam his foot onto the keyboard or set his piano on fire. His personal life was turbulent, marked by barnstorming, excess, addiction and divorce. And his music, even when he was making it within the Nashville country establishment in the 1960s and 1970s, chafed at confinement. His piano erupted with tremolos and glissandos; his voice leaped, curled, soared and whooped.His most indelible songs were the early bombshells he recorded for Sun Records in the 1950s: music that reflected and melded the church music he grew up on, the country music he heard on Grand Ole Opry broadcasts, and the blues and the rhythm and blues he soaked up by sneaking into Haney’s Big House. He didn’t write many songs, but once he made his name, songwriters geared material to him. And once he chose to perform something, he showed it little respect and no mercy.Here are 10 memorable Jerry Lee Lewis songs from a recording career that spanned nearly 60 years:‘Whole Lot of Shakin’ Goin’ On’ (1957)Brash ambition defines Lewis’s first hit, with its pounding boogie-woogie beat, its cocky dance instructions — “All you gotta do, honey, is kinda stand in one spot and wiggle around just a little bit” — and its sudden, volcanic piano solo.‘Great Balls of Fire’ (1957)The definitive Jerry Lee Lewis song, written by Otis Blackwell, is a two-minute lesson in bedrock virtuosity and rowdy freedom. Lewis’s left hand nails down the beat while his right flings syncopated chords against it or sweeps down in sudden glissandos. His voice is unbound by anything his fingers are doing; it quavers, rattles off quick syllables and trampolines into falsetto. When he sings, “Kiss me baby — mmm, feels good!,” it’s pure self-satisfied bravado.‘High School Confidential’ (Live, 1964)Recording at the Star-Club in Hamburg, Germany, where the Beatles had woodshedded, Lewis’s youthful energy was stoked by a screaming, whistling crowd. It sounds like he’s willing to smash every note on the keyboard, and the song starts fast and only accelerates from there.‘She Was My Baby (He Was My Friend)’ (1964)Lewis’s Louisiana roots are unmistakable in this swaggering bit of New Orleans-style R&B, complete with horn section and showy right-hand filigree. Lewis seems more amused than forlorn as he sings about a stolen girlfriend and — adding insult to injury — a stolen car.‘Another Place Another Time’ (1968)By the late 1960s, Lewis was being marketed as a country performer, and he proved his honky-tonk bona fides with songs like “Another Place Another Time.” The tight quaver in his voice and his frayed tone as he sings about “sleepless nights” are classic country, but the way he stretches some words and holds back others until the last moment is still his own.‘I Can Still Hear the Music in the Restroom’ (1975)Tom T. Hall wrote this song, talk-sung by a hard-drinking honky-tonk patron who’s driven to tears by a song: “Jerry Lee did all right until the music started,” Lewis sings, dropping his name into the song as he often did. But even as he wallows in heartbreak, he still lets loose some yodels and splashy piano in the chorus.‘That Kind of Fool’ (1975)In a country song tailored to Lewis’s wild man reputation, he sings about a faithful, temperate life. “Old Jerry Lee should have been that kind of fool,” he yodels, after explaining that he’s incorrigible; years later, he’d sing it with Keith Richards.‘Who Will the Next Fool Be’ (1979)Written by Charlie Rich, “Who Will the Next Fool Be” had been widely covered by soul singers before Lewis recorded it on his self-titled 1979 album, with a studio band that included Elvis Presley’s guitar mainstay, James Burton. Lewis sings to bring out the resentful streak behind the bluesiness of the song; after spotlighting band members, he takes an assertive piano solo, then whistles nonchalantly through the outro.‘Over the Rainbow’ (1980)Lewis turned a standard from “The Wizard of Oz” into a country waltz, using the scratchiness in his road-worn voice to make that rainbow seem very distant. But with a string section playing it straight, his piano was still irrepressible, strolling casually behind the beat and cascading through his solos.‘Rock and Roll’ featuring Jimmy Page (2006)On “Last Man Standing,” his triumphant, million-selling 2006 album of all-star duets, Lewis carries Led Zeppelin’s “Rock and Roll” back to Louisiana with ad-libbed lyrics as well as his piano style. He trades licks with Jimmy Page himself, easily holding his own. “I’m not quite as young as I used to be,” Lewis said when I interviewed him in 2006. “But I can still play pretty good.” More

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    Rihanna’s ‘Black Panther’ Ballad, and 8 More New Songs

    Hear tracks by Ice Spice, Iggy Pop, SZA and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Rihanna, ‘Lift Me Up’Rihanna, who hasn’t released a solo song since her album “Anti” back in 2016, returns to music on the soundtrack for “Black Panther: Wakanda Forever.” The title of “Lift Me Up” has a gospel resonance, and the song is a hymnlike call for intimacy and security: “Keep me close, safe and sound.” Harp plucking — perhaps from a West African kora — and a string section support Rihanna and an African duet partner, the Nigerian star Tems (Temilade Openiyi). For all its structural clarity, the song doesn’t try to be a banger; it’s a prayer and a plea. JON PARELESSZA, ‘Shirt’“In the dark right now, feeling lost but I like it,” SZA sings on the moody, mid-tempo “Shirt,” a long-awaited single produced by Rodney “Darkchild” Jerkins. Fans have been clamoring for a follow-up to SZA’s landmark 2017 album “Ctrl” with such intensity that a snippet of “Shirt” actually went viral on TikTok in 2020; last year SZA admitted that she followed fans’ lead in titling the song. The wildly cinematic, Dave-Meyers-directed music video features SZA and LaKeith Sanfield killing a bunch of people and a plot as jam-packed as an entire feature film, but perhaps the most exciting part is the wittily lyrical, acoustic-guitar-driven new song SZA previews over the clip’s credits. LINDSAY ZOLADZNakhane featuring Perfume Genius, ‘Do You Well’The South African crooner Nakhane and the American indie darling Perfume Genius have each crafted plenty of ballads that express the pathos of queer desire, but here, on the ecstatic “Do You Well,” they choose joy. “Stay in the light so I can see your face,” they sing together on the thumping disco number, that lyric serving as both a potent metaphor and a subtle joke about the deceptive lighting of the dance floor. Produced by Emre Türkmen with an assist from none other than Nile Rodgers, “Do You Well” is an immersive evocation of the mystery, romance and kinetic sweatiness of the club. ZOLADZIce Spice, ‘Bikini Bottom’The sub-two-minute “Bikini Bottom” is another brisk missive from the rising New York rap star Ice Spice, who sounds characteristically unbothered: “How can I lose if I’m already chose, like?” she raps in that already-signature flow that’s somewhere between a taunt and a whisper. RiotUSA’s beat is effectively minimalist; its only embellishment is a sped up, noodly riff that vaguely conjures — what else? — Squidward’s clarinet. ZOLADZIggy Pop, ‘Frenzy’At 75, Iggy Pop would be fully entitled to continue the kind of cranky, sepulchral, jazz-tinged musings he offered on his 2019 album, “Free.” Instead, he’s back to flat-out, buzz-bombing, hard-riffing rock with a new single, “Frenzy,” backed by a credentialed band including the producer Andrew Watt on guitar, Duff McKagan from Guns N’ Roses on bass and Chad Smith from Red Hot Chili Peppers on drums. Proudly foul-mouthed and convincingly irate, Pop lashes out in all directions, fully aware of his standing: “I’m sick of the freeze, I’m sick of disease/So gimme me a try before I [expletive] die.” PARELESFeeble Little Horse, ‘Chores’What’s up with all these young, equine-monikered bands totally nailing the sound and spirit of Gen X indie rock? Like Chicago’s precocious Horsegirl (who, true to form, released an endearingly reverent cover of the Minutemen classic “History Lesson Part 2” this week), the Pittsburgh quartet Feeble Little Horse know exactly how much noise belongs in their noise-pop, a balance they strike with ease on the shaggily infectious “Chores.” The vocalist Lydia Slocum sings, charismatically, of the in-house tensions of group living, like sparring over refrigerated leftovers and passive-aggressively asking roommates to pull their weight: “You need to do your chores, you need to clean the floors,” she sings on the chorus before adding, “Sorry.” The pigpen squall of guitars makes a gloriously greasy mess, but Slocum’s vocals cut through like vinegar. ZOLADZNatalia Lafourcade, ‘Mi Manera de Querer’The Mexican songwriter Natalia Lafourcade offers pure, innocent, gender-neutral love in “Mi Manera de Querer” (“My Way of Loving”) from her new album, “De Todas las Flores.” It’s a retro-flavored, big-band arrangement rooted in bossa nova and Cuban son, and she sings it with teasing confidence. Lafourcade promises love without makeup or filters, “as innocent as the chords of this song,” in a vintage setting that holds a modern outlook: “It doesn’t matter to me if you’re a man or a woman,” she lilts. “I see you as a being of light.” PARELESHolly Humberstone, ‘Can You Afford to Lose Me?’With stately, reverential keyboard chords and a whispery voice, Holly Humberstone delivers an ultimatum: “Go ahead and pack your bags/But once you’re gone you can’t come back.” As a choir musters behind her, she enumerates her partner’s failings and points out all that she’s done — “I was always there to pick up the pieces when you were a full-blown catastrophe.” Then quietly — probably against her better judgment — she offers one last chance. PARELESCaroline Rose, ‘Love/Lover/Friend’Caroline Rose has traversed multiple styles since her 2012 debut album, from countryish roots-rock to gleaming electronic pop. None of them forecast the ghostly and then overwhelming “Love/Lover/Friend.” Her lyrics start by listing what she’s not — someone’s mother, keeper, debt collector, puppeteer, rag doll — in a diaphanous tangle of acoustic-guitar arpeggios. Then, as she announces “I am your love,” a string orchestra surges in, and further avowals — “I am your lover,” “I am your friend” — summon massed, Balkan-tinged vocals, as if that revelation is both ecstatic and humbling. PARELES More

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    Robert Gordon, Punk Rocker Turned Rockabilly Revivalist, Dies at 75

    Weary of the angry and aggressive sound of New York’s musical underground of the late 1970s, he returned to rock’s roots and seeded a rockabilly revival.Robert Gordon, a 1950s-influenced rocker with a silky baritone and towering pompadour who emerged from the New York punk underground of the 1970s to help stoke a rockabilly revival, died on Oct. 18 in a hospice in Manhattan. He was 75.His sister Melissa Gordon Uram said the cause was acute myeloid leukemia.Mr. Gordon had been the frontman for the buzzy CBGB-era band Tuff Darts when he traded his punk attitude for a tin of Nu Nile pomade and released his first album, a collaboration with the fuzz-guitar pioneer Link Wray, in 1977. At the time, 1950s signifiers like ducktail haircuts and pink pegged slacks had scarcely been glimpsed for years outside the set of “Happy Days” or the Broadway production of “Grease.”But, turning his back on both the pomp of ’70s stadium rock and the rock ’n’ roll arsonist ethos of punk, Mr. Gordon helped seed a rockabilly resurgence that would flower during the 1980s, with bands like the Stray Cats and the Blasters hitting the charts and punk titans like the Clash and X also paying their respects.Neo-rockabilly became the soundtrack to a broader wave of ’50s nostalgia during the Reagan years, marked by Buddy Holly-esque Wayfarer sunglasses, James Dean haircuts and ubiquitous images of tail-fin Cadillacs in music videos, in retro-themed malt shops and at the Hard Rock Cafe.With a look and sound that seemed to travel by time machine from Sun Studio circa 1956, Mr. Gordon was a curious presence in an era when the rock world seemed split between Fleetwood Mac-type rockers with feathered tresses and Sex Pistols-style punks with spiked locks. Lester Bangs, the gonzo rock critic, once said of Mr. Gordon’s neo-hepcat look that he could be a museum display labeled “Bopcatus Americanus.”Mr. Gordon never achieved the fame of the musicians who followed in his wake, but his influence was felt. “Many fans and music historians believe that, had he been recording in the ’50s, he might have become a rockabilly legend,” the music journalist Mark McStea wrote in Guitar Player magazine last year. “Instead, he kick-started the worldwide rockabilly revival.”He never scored a hit on the level of the Stray Cats’ “Stray Cat Strut” or another ’50s-nostalgia chestnut, Los Lobos’ cover of Richie Valens’ “La Bamba,” which hit No. 1 on the Billboard singles chart in 1987.Mr. Gordon, left, with his band backstage at the Lone Star Cafe in New York in 1981. From left: the guitarist Chris Spedding, the drummer David Van Tieghem and the bassist Tony Garnier.John Kisch Archive/Getty ImagesBut, with Mr. Wray — who carved his place in rock history with the ’50s instrumental classics “Rumble” and “Raw-Hide” — he hit No. 83 on the Hot 100 with “Red Hot,” a cover of a 1955 R&B song by Billy “The Kid” Emerson that became a rockabilly staple when Billy Lee Riley and the Little Green Men covered it two years later. If it was too early for him to reap a windfall from the rockabilly wave he had helped begin, Mr. Gordon also had the misfortune of coming in early with songs that would become hits for other artists. His 1981 solo album, “Are You Gonna Be the One,” included the single “Someday, Someway,” a Gene Vincent-inspired number written by his fellow retro-rocker Marshall Crenshaw, which peaked at No. 76 a year before Mr. Crenshaw’s version hit the Top 40.His 1978 album, “Fresh Fish Special,” which featured the Jordanaires, a vocal group famous for backing Elvis Presley, included the song “Fire,” written by his friend Bruce Springsteen, with Mr. Springsteen himself on piano. The song became a smash for the Pointer Sisters, climbing to No. 2 on the Hot 100. Later in his career, Mr. Gordon bristled at the rockabilly pigeonhole, referring to his sound as “roots music” and citing his forays into country and other genres. Still, rockabilly was in his bones, and he said that his life changed the first time he heard Presley’s “Heartbreak Hotel.”“I just remember hearing that one as a kid, I guess I was 9 years old, and it just opened new horizons,” Mr. Gordon recalled in a 2010 Australian radio interview. “The sound of that echo, and of course his smoldering delivery, was great. For a little kid, it was just amazing.”Robert Ira Gordon was born in Washington on March 29, 1947, the second of four children of Samuel Gordon, an antitrust lawyer and later a judge, and Arline (Rose) Gordon, a painter who did sets for regional theater companies.Growing up in the Bethesda-Chevy Chase area of Maryland, Mr. Gordon lived in a house where a record player or radio was usually blaring, Ms. Uram said in an interview. Their parents had a huge record collection, heavy on jazz and opera, and the children cranked up the volume on everything from rockabilly to Motown to British Invasion bands.But Mr. Gordon set his sights on a different retro genre when he turned to a singing career. “He fashioned himself after crooners like Frank Sinatra and Jack Jones,” Ms. Uram said. “He could sing ballads like the best of them.”He moved to New York in the early 1970s to pursue a career in music, starting out in a folk trio called Reunion. But when punk hit, with its stripped-down sound and frenetic energy, an echo of early rock ’n’ roll, he joined the fray.His band Tuff Darts became a fixture in the scene centered on CBGB, the Bowery punk cauldron where future industry game-changers like Talking Heads, Blondie and the Ramones were launching careers.But Tuff Darts never broke out like the others, and Mr. Gordon left the band before it recorded its first album in 1978.“I left that group because, I’ll tell you the truth, because it was pretty sadistic,” he said on “The It’s Only Rock ’n’ Roll Podcast” in 2020. “The lyrics were pretty chauvinistic. I was into more of the roots thing.”With the pouty good looks and Eisenhower-era attire of an old-school Brooklyn street tough, Mr. Gordon also tried his hand at acting. He played a killer in a 1976 film, “Unmade Beds,” which also featured Blondie’s Debbie Harry, and a greaser thug in “The Loveless,” a low-budget “Wild Ones”-style motorcycle-gang movie from 1981 starring Willem Dafoe and co-directed by Kathryn Bigelow.Mr. Gordon in performance at a festival in Spain in 2020.Juan Naharro Gimenez/RedfernsIn addition to Ms. Uram, Mr. Gordon is survived by his wife, Marylee, whom he married in 1995; his son, Jesse, from a previous marriage; and another sister, Jackie Gordon Spalding.Over the course of a half century, Mr. Gordon continued to churn out albums, collaborating with influential musicians like Chris Spedding, who has played guitar with Elton John and Paul McCartney, and Danny Gatton, the guitarist known for what he called “redneck jazz.” His final album, “Hellafied,” with Mr. Spedding, is set to be released by Cleopatra Records in November.“I always thought that Rob never had the stardom that he should have had,” Ms. Uram said. “He was incredibly handsome and photogenic and his voice was amazing, and his choice of musicians to play with was always spot on.”Still, Mr. Gordon played an important role as a bridge between eras, helping keep a treasured American music genre alive. He recorded his first album in April 1977. His idol, Elvis Presley, died four months later. More

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    Lucy Simon, Singer and Broadway Composer, Is Dead at 82

    She and her sister Carly Simon were a folk duo in the 1960s. Years later, she wrote the Tony-nominated music for “The Secret Garden.”Lucy Simon, who with her sister Carly began performing and recording as the Simon Sisters during the folk revival of the 1960s, and who then almost three decades later became a Tony Award-nominated composer for the long-running musical “The Secret Garden,” died on Thursday at her home in Piermont, N.Y., in Rockland County. She was 82.Her family said the cause was metastatic breast cancer.Ms. Simon was the middle of three musical sisters. Her younger sister, Carly, became a best-selling pop star after their folk-duo days, and her older sister, Joanna, was an opera singer with an international career. Joanna Simon, at 85, died in Manhattan a day before Lucy Simon’s death.Lucy and Carly started singing together as teenagers. Their father, Richard, was the “Simon” of Simon & Schuster, the publishing house, so a heady list of guests came through the household, including Richard Rodgers and Oscar Hammerstein II. Their mother was Andrea (Heinemann) Simon.“We would go to cocktail parties and bring our guitar and sing,” Lucy Simon told The New York Times in 2015. “And people loved it.”Eventually, she added, they said to each other, “Let’s see if we can pay our way by singing.”Carly was a student at Sarah Lawrence College and Lucy was studying at the Cornell University-New York Hospital School of Nursing in New York in the early 1960s when, during summer break, they took a bus to Provincetown, Mass. (They had wanted to hitchhike, but their mother squashed that plan.) They quickly landed a gig at a bar called Moors, whose musical act had just been drafted. They arrived for their first show in carefully selected matching blouses.“Only later did we learn that the Moors was a gay and lesbian bar,” Carly Simon wrote in her 2015 memoir, “Boys in the Trees.” “What the mostly uncombed, ripped-jeans-and-motorcycle-jacketed audience made of these two sisters is lost to time. Lucy and I had taken our wardrobe at the Moors pretty seriously, and in return the audience probably thought we were twin milkmaids from Switzerland, or escapees from a nearby carnival.”They called themselves the Simon Sisters, even though, as Carly Simon wrote, “Lucy and I agreed that our stage name sounded schlocky and borderline embarrassing, plus neither of us wanted to be labeled — or dismissed — as just another novelty sister act.”In that book, Ms. Simon recalled the sisterly dynamic during that first foray into performing.“Anyone paying close attention would have seen how hard I, Carly, the younger sister, was trying to look and act like Lucy, the older sister,” she wrote. “I was now taller than Lucy, but emotionally speaking, Lucy was still the high-up one, the light, the beauty, the center of it all. Then as now, my sister was my grounding influence, my heroine, my pilot.”Soon they had a contract with a management company and were booked into the Bitter End, the Greenwich Village club that gave numerous future stars their start. An appearance on the musical variety television show “Hootenanny” in the spring of 1963 (along with the Chad Mitchell Trio and the Smothers Brothers) further boosted their profile. They appeared on the show again in early 1964.Some years earlier, Lucy Simon had composed a setting of the Eugene Field children’s poem “Wynken, Blynken, and Nod,” and the song became a staple of the Simon Sisters’ performances. Released as a single in 1964, titled “Winkin’, Blinkin’ and Nod,” it reached No. 73 on the Billboard chart. It also anchored one of the two albums they quickly recorded.The two sisters toured for a time, but after her marriage in 1967 to Dr. David Y. Levine, a psychiatrist, Lucy Simon pulled back from performing to focus on their two children. In 1975, she released a solo album, titled simply “Lucy Simon,” followed in 1977 by another, “Stolen Time.” But she found she had lost her zeal for performing.In the early 1980s, she and her husband produced two compilation albums featuring James Taylor, her sister Carly, Linda Ronstadt, Bette Midler and other stars singing children’s songs. The albums, “In Harmony: A Sesame Street Record” and “In Harmony 2,” both won Grammy Awards for best children’s album.In the 1980s, Ms. Simon took a stab at musical theater, working on an effort to make a musical out of the “Little House on the Prairie” stories. That project never bore fruit, but a connection provided by her sister Joanna led her to one that did.Joanna Simon was for a time the arts correspondent for “The MacNeil/Lehrer NewsHour” on PBS, and in 1988 she interviewed the playwright Marsha Norman. She asked Ms. Norman what she was working on, and the playwright mentioned an adaptation of “The Secret Garden,” the Frances Hodgson Burnett children’s novel, and said that she and the producer Heidi Landesman were looking for a composer.Lucy, left, and Carly Simon singing in Shubert Alley along Broadway in 1982. Lucy Simon was later nominated for a Tony Award for best original score, for the hit musical “The Secret Garden.”Nancy Kaye/Associated PressLucy Simon proved to be a good fit for Ms. Norman’s lyrics. The show opened on Broadway in April 1991. Reviews were mixed — Frank Rich, in The Times, said that Ms. Simon’s music was “fetching when limning the deep feelings locked within the story’s family constellations” but not always successful — yet the show was a hit, giving 709 performances over almost two years. Ms. Simon earned a Tony nomination for best original score. (The award went to Cy Coleman, Betty Comden and Adolph Green for “The Will Rogers Follies.”)Ms. Simon reached Broadway again in 2015 as composer of the musical “Doctor Zhivago,” but the show lasted just 23 performances.Lucy Elizabeth Simon was born on May 5, 1940, in Manhattan.“We all came out singing,” she once said of herself and her sisters. “And we kept on singing. At dinner we wouldn’t just say, ‘Please pass the salt, thank you.’ We’d sing it. Sometimes in the style of Gershwin. Sometimes as a lieder.”Carly Simon wrote in her book that the pass-the-salt singing started as a way to help her — Carly — with a vexing stammer. Their mother had suggested that instead of speaking the phrase, Carly try singing it. With Joanna and Lucy joining in to encourage their sister, it worked.Lucy and Carly Simon during an interview with The New York Times in 2015 at Carly Simon’s home on Martha’s Vineyard, Mass.Ryan Conaty for The New York TimesLucy Simon’s greatest hit as a folk singer, the “Winkin’” song, had a self-help element to it. At 14, she was given a school assignment to memorize a poem, but dyslexia made it difficult. She found that she could memorize the Eugene Field poem by setting it to music. Her version was later recorded by numerous artists.Ms. Simon’s credits also included composing the music for a wild 1993 HBO movie, “The Positively True Adventures of the Alleged Texas Cheerleader Murdering Mom,” which won Emmy Awards for Holly Hunter and Beau Bridges.Ms. Simon’s brother, Peter, a photographer, died in 2018. In addition to her husband and her sister Carly, she is survived by two children, Julie Simon and James Levine, and four grandchildren.In 1985, Ms. Simon was in the hospital for surgery. She told a reporter that her two sisters had turned up to give her support.“When the stretcher came to take me to the operating room, we sang three-part harmony,” she said. “It lifted me.” More