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    Aaron Carter, Singer, Dies at 34

    Mr. Carter, who released his first album at age 9 and “Aaron’s Party” at age 12, was the younger brother of Nick Carter, a member of the Backstreet Boys.Aaron Carter, the singer and actor who briefly became a teenage sensation in the early 2000s and who was known for the hit song “I Want Candy,” was found dead on Saturday at his home in Southern California. He was 34.Taylor Helgeson, a representative for Big Umbrella, an entertainment management company, confirmed Mr. Carter’s death but declined to comment on the cause.The Los Angeles County Sheriff’s Department responded to a call at Mr. Carter’s home in Lancaster, Calif., on Saturday and found a person dead at the residence, according to Deputy Alejandra Parra, a spokeswoman for the sheriff’s department. Officials said they could not yet confirm that it was Mr. Carter.Mr. Carter, who released his first album at age 9 and the popular album “Aaron’s Party (Come Get It)” at age 12, became a fixture of teenage programming and magazines and made appearances on shows like “Lizzie McGuire.”“Aaron’s Party” peaked at No. 4 on the Billboard 200 list, selling some three million copies. He released five studio albums and was a contestant on the show “Dancing With the Stars.”His career later stalled, and in recent years he has been embroiled in legal trouble and has shared his struggles with addiction. In 2018, he released his first album in some 15 years, “Love,” to lukewarm reviews.Aaron Carter performing at the South Street Seaport in New York City in 2003.Stuart Ramson/Getty ImagesMr. Carter, who was described in The New York Times as a “tween heartthrob,” began performing at age 7, singing lead for the band Dead End for two years, according to an online biography.At 9, he was opening for the Backstreet Boys in Berlin for his first solo appearance. (His older brother, Nick Carter, was a member of the band.)The performance led to a record contract and then the release of his first single, “Crush on You.” He also opened for Britney Spears.Mr. Carter was also an actor, guest-starring in shows like “Sabrina the Teenage Witch” and “7th Heaven.” He also performed on Broadway, appearing in “Seussical,” the Dr. Seuss-themed musical, and “The Fantasticks,” the world’s longest-running musical.On his sophomore album, Mr. Carter also released the song “That’s How I Beat Shaq,” with a music video featuring the basketball player Shaquille O’Neal, who has said that Mr. Carter once beat him in a game of HORSE and later asked if he could make a song about it.In 2019, Mr. Carter’s brother, Nick, and sister, Angel, said they had filed for a restraining order against him. In a statement at the time, Nick Carter said his brother had confessed to having violent thoughts about his wife and that family members “were left with no choice but to take away every measure possible to protect ourselves and our family.” Aaron Carter at the time denied the allegations. The news of the restraining order came one day after he canceled his 2019 tour, according to E! News, saying he needed to put his “health first.”Mr. Carter has been open over the years about his mental health struggles. He told People magazine in 2018 that he felt he had “hit a rock bottom personally and emotionally,” and that he had sought treatment at a wellness facility.Mr. Carter, who appeared on the Nov. 2 episode of the “No Jumper” podcast, said he was focusing on selling real estate and that he had been “Cali sober” for five years, though he said that he occasionally smoked marijuana and had been prescribed anti-anxiety medication. (“Cali sober,” short for “California sober,” is loosely taken to mean avoiding addictive substances with the exception of marijuana and alcohol.)Adam Grandmaison, the host of the podcast on YouTube, said that a close friend of Mr. Carter’s told him about his death.“I just interviewed him a couple weeks ago and it was pretty clear he wasn’t in a great place,” Mr. Gandmaison wrote on Twitter. “He was a good guy despite all the demons he was battling. I’m sad to see him go.”Throughout the interview, Mr. Carter said he considered himself a rapper, a singer, a producer, an artist and an actor, and that he was especially proud of his most recent album. He also said he hoped to make a new one soon.“I cover all bases,” he said. “It means so much more to me than the stuff I did growing up because I wrote and produced it all.”Mr. Carter said he was “never going to give up” on making music and that despite the turbulence, he had enjoyed his career. He also vowed to regain custody of his son, who Page Six reported was temporarily placed in the care of Mr. Carter’s fiancée’s mother amid domestic violence and drug use concerns.“I’m about to be 35 years old,” Mr. Carter said. “I’m a grown man and it’s time to start behaving that way and doing the right thing and focusing on myself, my career, my kid and my family.” More

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    Selena Gomez’s Boldly Revealing Ballad, and 9 More New Songs

    Hear tracks by Yves Tumor, Yo La Tengo, Sipho 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.Selena Gomez, ‘My Mind & Me’Selena Gomez has spoken openly of her mental-health struggles — bipolar disorder, depression, psychosis — in recent years. Her new song, “My Mind & Me,” arrives as the title track of a documentary that reveals some of her low points. The music moves from fragility to determination, from lone, echoey piano notes to a supportive march and a mission statement, as she sings, “All of the crashing and burning and breaking I know now/If somebody sees me like this then they won’t feel alone.” It’s self-exposure in service of empathy, and it tapers back to the hesitant solitude of those piano notes. But the video squanders some of its good will by ending with a product endorsement. JON PARELESLucius, ‘Muse’“Muse,” a one-off single from the indie-pop group Lucius, pairs a cool, clarion arrangement with Jess Wolfe and Holly Laessig’s impassioned vocals — a tension of opposites that gives the song its spark. “I’m calling out your name, a desert that needs the rain,” they sing together on the chorus, a kind of prayer for divine inspiration and, as they put it, “the wild and holy window to the truth.” LINDSAY ZOLADZTiësto featuring Tate McRae, ‘10:35’On the sleek “10:35,” the rising Canadian pop star Tate McRae teams up with longtime EDM mainstay Tiësto (the D.J. whose remix of Calum Scott’s “Dancing on My Own” cover has turned into the Philadelphia Phillies’ victory anthem). McRae’s crystalline vocals are a fitting match for Tiësto’s gleaming, synthesized production, and the song is propelled by an effective push and pull between the anxieties of daily life and the blissful comforts of love. “The TV make you think the whole world’s about to end,” McRae sighs, before a lover’s embrace causes time to stop: “All I know, it’s 10:35 and I can feel your arms around me.” ZOLADZIbrahim Maalouf featuring De La Soul: ‘Quiet Culture’Ibrahim Maalouf, a Lebanese-French trumpeter, composer and producer, surrounds himself with guests — the Cuban musician Cimafunk, the New Orleans band Tank and the Bangas, the jazz singer Gregory Porter — on his new album, “Capacity to Love.” De La Soul makes its latest reappearance on “Quiet Culture,” counseling perseverance and relief from noise: “The quieter we become, the more that we can hear.” Maalouf’s track eases between a jazz ballad and unhurried funk, framing and counterpointing the rhymes with his Arab-inflected melodies. PARELESYves Tumor, ‘God Is a Circle’“Sometimes it feels like there’s places in my mind that I can’t go,” Sean Bowie, who records as the gothic glam-rocker Yves Tumor, begins on the haunting single “God Is a Circle.” Rhythmic, shallow breathing provides the percussive backbone of the track and adds a visceral chill to its nightmarish atmospherics. The song suddenly turns revealing, though, when it dredges up memories of a repressive past: “My mama said that God sees everything/My daddy always taught me to say ‘thank you,’ ‘yes ma’am,’ ’no, sir,’ ‘yes, please.’” The whole thing sounds like an exorcism, or maybe the antic, demonic moment just before one is deemed necessary. ZOLADZAlgiers featuring Zack de la Rocha, ‘Irreversible Damage’Irreversible Damage” is an exercise in seething, sputtering tension from the Atlanta-based rock-hip-hop-electro group Algiers. With a nagging electric guitar loop, a pullulating electronic bass, ominous synthesizer chords and programmed drums that keep disrupting their own beat, the song is an onslaught of abstract lyrics — “No rehab for my jihad/A rapture in a grief storm,” Zack de la Rocha (from Rage Against the Machine) raps — hurtling toward some dire but unknown outcome. When the words are done, the song shifts into a six-beat furor that feels both tribal and apocalyptic. PARELESYo La Tengo, ‘Fallout’In February, the New Jersey indie-rock legends Yo La Tengo will release their 16th album, “This Stupid World,” a place from which the calming, immersive first single “Fallout” offers a brief escape. “I wanna fall out of time,” Ira Kaplan sings on the chorus. “Reach back, unwind.” The band self-produced “This Stupid World” and recorded much of it while jamming together live; as a result, “Fallout” sounds as sumptuously shaggy and comfortingly loose as a favorite autumn sweater. This is the sort of timeless Yo La Tengo song that could have reasonably appeared on any of their albums across the last three decades, but something about its combination of prickly frustration and hard-won serenity feels especially appropriate right now. ZOLADZSipho, ‘Arms’The English songwriter and producer Sipho Ndhlovu revels in drama and desperation, with a voice that regularly leaps between grainy declamation and a tearful falsetto. “Arms” is one long crescendo of regrets overwhelmed by desire. He admits to being “led astray” and implores, “Can’t we share the blame?,” but by the end he’s unconditionally enthralled, brought to his knees by lust. Nearly the entire song uses just two chords but brings in massive reinforcements: strings, drums, voices, electronics and an arena-rock lead guitar, all pushing him closer to the brink. PARELESquinnie, ‘Itch’The 21-year-old songwriter Quinn Barnitt, who records as quinnie, has picked up the mixture of tentativeness and bold declaration, bedroom-pop intimacy and multitrack craftsmanship, that has paid off for Clairo and Olivia Rodrigo. In “Itch,” she juggles desire and fidelity, wondering, “What if I never scratched another itch for the rest of my life?/Would I die satisfied, knowing it can always get better than this?” The production often harks back to Simon and Garfunkel’s pristine guitars and the Beatles’ string ensembles, but her frank self-questioning is new. PARELESOld Fire featuring Bill Callahan, ‘Corpus’John Mark Lapham, a composer from Texas who records as Old Fire, called his 2016 album “Songs From the Haunted South,” a succinct self-description for his suspended-time blends of electronics and roots-rock instruments; his new album is “Voids.” On “Corpus.” he has the songwriter Bill Callahan, whose own extensive catalog is generally much folkier, intoning a few enigmatic lines — “I’ve got a child in Corpus/Hey Mac, can you bring that boat back” — in his somber baritone. Instruments and electronic tones gather around him like darkening storm clouds, and there’s no deliverance. PARELES More

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    ‘Selena Gomez: My Mind and Me’ Review: An Honest Portrait of Stardom

    Sincere and soul-baring, the documentary, directed by Alek Keshishian, captures Gomez’s challenges with mental illness, lupus and fame.“My Mind & Me,” a new documentary about Selena Gomez, doesn’t feel like a publicity device. Sincere and soul-baring, the film captures Gomez’s challenges with mental illness, lupus and fame. Watching it is like eavesdropping on a 95-minute therapy session with the artist.It opens with Gomez out of sorts. “I have to stop living like this,” she says, as we jump from 2019 back to 2016. Backstage at one of her concerts, she cries, yearning to shed her child-star image and stand on her own as a solo artist. She fears she’s a disappointment.The documentary doesn’t show her forgetting her past as much as confronting it. A road trip to Grand Prairie, Texas, where she reunites with old neighbors and visits her childhood home, is a turning point for Gomez. In contrast is a scene where she’s answering interviewers whose flippant questions leave her feeling, she says, like “a product.” She craves genuine connection, something fame hasn’t yet afforded her.As a subject, Gomez is in the trustworthy hands of the veteran director Alek Keshishian. In 1991, he worked the same kind of magic on Madonna for “Truth or Dare.” Capturing an artist’s fearlessness, as he does in both films, isn’t just up to him, of course; like Madonna, Gomez is boldly unguarded. But “My Mind & Me” also looks outward, framing struggle as the human condition. An honest portrait study of stardom and mental illness, the film offers a hopeful catharsis: How, when we reveal our hardest truths, we can heal together.Selena Gomez: My Mind and MeRated R for language. Running time: 1 hour 35 minutes. Watch on Apple TV+. More

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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