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    'Framing Britney Spears’: The Long Fight to ‘Free Britney’

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyThe Long Fight to ‘Free Britney’Britney Spears hasn’t been able to fully live her own life for 13 years, stuck in a court-sanctioned conservatorship. A new documentary by The New York Times examines what the public might not know about the pop star’s court battle with her father for control of her estate.Jan. 25, 2021, 2:09 p.m. ETA new episode of The New York Times Presents, on FX and Hulu, coming Friday, Feb. 5, at 10 p.m.CreditCredit…Ting-Li Wang/The New York Times‘Framing Britney Spears’Producer/Director Samantha StarkWatch on Friday, Feb. 5, at 10 p.m. on FX and streaming on Hulu.“My client has informed me that she is afraid of her father,” Britney Spears’s court-appointed lawyer told a judge in November. “She will not perform again if her father is in charge of her career.”The career of one of music’s biggest superstars — and her life, in some ways — is at a standstill.The country was enthralled with Spears in the 1990s as she suddenly ascended to global superstardom. Then the public seemed to relish watching her personal struggles, turning her life into fodder for late-night talk show zingers, sensationalist interviewers and a thriving tabloid magazine industry.That was a long time ago. These days, Spears is enduring a stranger, and maybe even darker chapter: She lives under a court-sanctioned conservatorship, her rights curtailed. She is not in control of the fortune she earned as a performer.Spears entered the conservatorship in 2008, at age 26, when her struggles were on public display. Now she is 39, and a growing number of her fans are agitating on her behalf, raising questions about civil liberties while trying to deduce what Spears wants.A new feature-length documentary by The New York Times captures what the public might not know about the nature of Spears’s conservatorship and her court battle with her father over who should control her estate.Credit…Photos courtesy of Felicia CulottaThe documentary, “Framing Britney Spears,” features interviews with key insiders, including:a lifelong family friend who traveled alongside Spears for much of her careerthe marketing executive who originally created Spears’s imagea lawyer currently working on the conservatorshipand the lawyer Spears tried to hire in the early days of the conservatorship to challenge her fatherThe new film, on FX and Hulu, also explores the fervent fan base that is convinced Spears should be liberated from the conservatorship, and re-examines the media’s handling of one of the biggest pop stars of all time.Senior Editor Liz DayProducer Liz HodesDirector of Photography Emily TopperVideo Editors Geoff O’Brien and Pierre TakalAssociate Producer Melanie Bencosme“The New York Times Presents” is a series of documentaries representing the unparalleled journalism and insight of The New York Times, bringing viewers close to the essential stories of our time.AdvertisementContinue reading the main story More

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    Jimmie Rodgers, Who Sang ‘Honeycomb’ and Other Hits, Dies at 87

    AdvertisementContinue reading the main storySupported byContinue reading the main storyJimmie Rodgers, Who Sang ‘Honeycomb’ and Other Hits, Dies at 87His crossover appeal landed him on the charts often in the 1950s and ’60s, but a violent incident in 1967 derailed his career.The singer Jimmie Rodgers in a 1958 publicity photo. He was was a regular presence on the pop, country, R&B and easy listening charts for a decade.Credit…Bettmann ArchiveJan. 22, 2021, 5:21 p.m. ETJimmie Rodgers, whose smooth voice straddled the line between pop and country and brought him a string of hits — none bigger than his first record, “Honeycomb,” in 1957 — died on Monday in Palm Desert, Calif. He was 87.His daughter Michele Rodgers said that the cause was kidney disease and that he had also tested positive for Covid-19.Mr. Rodgers was a regular presence on the pop, country, R&B and easy listening charts for a decade after “Honeycomb,” with records that included “Oh-Oh, I’m Falling in Love Again” (1958) and “Child of Clay” (1967), both of which were nominated for Grammy Awards.He might have continued that run of success but for an ugly incident in December 1967, when he was pulled over by a man who, he later said, was an off-duty Los Angeles police officer and beat him severely.Three brain surgeries followed, and he was left with a metal plate in his head. He eventually resumed performing, and even briefly had his own television show, but he faced constant difficulties. For a time he was sidelined because he started having seizures during concerts.“Once word gets out that you’re having seizures onstage, you can’t work,” he told The News Sentinel of Knoxville, Tenn., in 1998. “People won’t hire you.”Mr. Rodgers was found to have spasmodic dysphonia, a disorder characterized by spasms in the muscles of the voice box, a condition he attributed to his brain injury. Yet he later settled into a comfortable niche as a performer and producer in Branson, Mo., the country music mecca, where he had his own theater for several years before retiring to California in 2002.James Frederick Rodgers was born on Sept. 18, 1933, in Camas, Wash., in the southwest part of the state. (Four months earlier, a more famous Jimmie Rodgers, the singer known as the father of country music, had died; the two were unrelated.) His mother, Mary (Schick) Rodgers, was a piano teacher, and his father, Archie, worked in a paper mill. Jimmie started out singing in church and school groups.After graduating from high school, he briefly attended Clark College in Washington State but left to enlist in the Air Force, serving in Korea during the Korean War. In a 2016 interview with The Spectrum, a Utah newspaper, he recalled one particular evening near Christmas 1953.“I bought a beat-up old guitar from a guy for $10 and started playing and singing one night and all the guys joined in,” he said. “We were sitting on the floor with only candles for light, and these tough soldiers had tears running down their cheeks. I realized if my music could have that effect, that’s what I wanted to do with my life.”Back in the States and stationed near Nashville, he started performing in a nightclub for $10 a night and free drinks before returning to Washington after mustering out. In 1957 he traveled to New York to perform on a TV talent show and also snagged an audition for Roulette Records, singing “Honeycomb,” a Bob Merrill song he had learned off a recording by Georgie Shaw and had been performing in the Nashville club.“They basically said, ‘Don’t go any further, that’s great,’” he said in an interview with Gary James for classicbands.com.Mr. Rodgers in performance in 1969, two years after a violent incident in Los Angeles temporarily ended his career.Credit…Jim McCrary/RedfernsMr. Rodgers was taken to a studio to record what he thought would be a demo with musicians he had only just met.“They brought in four players and three singers and we recorded it in about two hours — no charts, no music,” he said in a 2010 oral history for the National Spasmodic Dysphonia Association.A week or two later, he was surprised to hear the song on the radio. It reached the top of the Billboard pop and R&B charts.Later that year he had another success with his version of a song that had been a hit for the Weavers, “Kisses Sweeter Than Wine,” giving it an up-tempo kick and injecting key changes similar to what he had used in “Honeycomb.”“I was told that they won’t sell — records that change keys, people can’t sing along with them,” Mr. Rodgers recalled in an oral history recorded in 2002 for the National Association of Music Merchants. The public disagreed.His early songs, released as Elvis Presley was shaking up the music scene, were a sort of comfort food, jaunty yet melodic and not too earthshaking. In 1959 his quick popularity earned him his own television variety show, which ran for one season.“If his singing style calls for more emphasis on beat than lilt,” Jack Gould wrote of its premiere in The New York Times, “at least it has the virtue of being well this side of rock ’n’ roll.”Mr. Rodgers’s short-lived acting career included a lead role in the 1964 war movie “Back Door to Hell.” Also in the cast was a young Jack Nicholson.Credit…ImdbMr. Rodgers in concert in 2012. He had his own theater in Branson, Mo., the country music mecca, for several years before retiring to California in 2002.Credit…John Atashian/Getty ImagesMr. Rodgers dabbled in acting in the 1960s, including a leading role in “Back Door to Hell,” a 1964 war movie whose cast also included Jack Nicholson. In 1965, “Honeycomb” found new life when Post introduced a cereal by that name, repurposing the song to advertise it, the jingle sung by Mr. Rodgers. He also sang a SpaghettiOs jingle that riffed on his “Oh-Oh, I’m Falling in Love Again.”Mr. Rodgers said he was under consideration for a featured role in the 1968 movie musical “Finian’s Rainbow” when the encounter on the freeway derailed his career. In his telling, he was driving home late at night when the driver behind him flashed his lights. He thought it was his conductor, who was also driving to Mr. Rodgers’s house, and pulled over.“I rolled the window down to ask what was the matter,” he told The Toronto Star in 1987. “That’s the last thing I remember.”He ended up with a fractured skull and broken arm. He said the off-duty officer who had pulled him over called two on-duty officers to the scene, but all three scattered when his conductor, who went looking for Mr. Rodgers when he hadn’t arrived home, drove up.The police told a different story: They said Mr. Rodgers had been drunk and had injured himself when he fell. Mr. Rodgers sued the Los Angeles Police Department, prompting a countersuit; the matter was settled out of court in his favor to the tune of $200,000.During his long recovery Mr. Rodgers got another shot at a TV series, a summer replacement variety show in 1969.“I looked like a ghost,” he admitted in a 2004 interview.His marriages to Colleen McClatchy and Trudy Ann Buck ended in divorce. In 1978, he married Mary Louise Biggerstaff. She survives him.In addition to her and his daughter Michele, he is survived by a son, Michael, from his first marriage; two sons from his second marriage, Casey and Logan; a daughter from his third marriage, Katrine Rodgers; five grandchildren; and two great-grandchildren.AdvertisementContinue reading the main story More

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    Billie Eilish and Rosalía Join Eccentric Forces, and 12 More New Songs

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    Palberta Blend Big-Tent Pop and Art-Rock on ‘Palberta5000’

    AdvertisementContinue reading the main storySupported byContinue reading the main storyAlbum ReviewPalberta Blend Big-Tent Pop and Art-Rock on ‘Palberta5000’The New York trio remains gleefully odd on an album recorded in just four days.Nina Ryser, Ani Ivry-Block, Lily Konigsberg of Palberta trade instruments and sing in tight harmonies.Credit…Chloe CarrascoJan. 21, 2021, 11:26 a.m. ETPalberta is a three-piece rock band without a guitarist, a bassist or a drummer. Or, to put it another way, Palberta is a band with three of each of those things: Onstage and on its records, Ani Ivry-Block, Lily Konigsberg and Nina Ryser trade instruments between nearly every song and harmonize with a near familial tightness that makes the very notion of a frontperson seem absurd. “It kind of feels like we share a brain in a lot of ways, at this point,” Konisberg said in 2018. It kind of sounds like that, too.Palberta is hardly the first group to treat its lineup like a self-contained revolving door — the Olympia indie legends Beat Happening did something similar in the early 1980s, about a decade before any member of Palberta was born — but the approach fits well with the hermetic and playfully disorienting feelings evoked by Palberta’s sound. Plus, onstage in particular, it’s a handy way to scramble one-dimensional expectations about women playing music: Before anyone can try to make sense of them within stale, familiar stereotypes — oh, so she’s the extroverted lead singer; that must be the cool, detached bass player — the members of Palberta have moved onto their next configuration.Since meeting at Bard College nearly a decade ago, Ivry-Block, Konigsberg and Ryser have gradually built a reputation as one of the most dynamic live acts in New York’s D.I.Y. scene (and one of the most woefully missed during the pandemic). Listening to one of its early records evokes eavesdropping on a group of friends with a shared, secret language, but seeing them live is like having at least some of its inside jokes explained. Its latest album, “Palberta5000,” though, is a welcoming entry point for those not previously clued into this insular world: It’s an attempt to balance Palberta’s art-rock influences with its earnest love of more mainstream music (Avril Lavigne, Ariana Grande and Justin Bieber alongside more niche influences), and is emblematic of a generation of underground musicians that no longer draws such clear lines between punk and pop artistry.[embedded content]That’s not to say any of these songs are polished or populist enough to be Hot 100-bound — Palberta remains elementally odd, in its compositional approach as much as its subject matter. On “Palberta5000” songs about animals (“Red Antz,” “The Cow”) nearly outnumber songs about other people, while “Eggs n’ Bac’” is a hard-rocking ode to — you guessed it — hot breakfast.Some of the most effective moments on this album arise from hooks that at first seem straightforwardly catchy and thematically abstract before repetition transforms them into something haunting and resonant. “Yeah, I can’t pretend what I want,” they sing jauntily on “Big Bad Want,” an imagistic daydream in which the mute eyes of a horse reflect back the narrator’s own anxiety. The standout “Fragile Place” pushes this uncanny feeling even further, as the band members harmonize around a repeated phrase that indicates mental unease: “Hey, in a fragile place.” Palberta uses the tricks of pop structure here to a destabilizing effect: These are the kinds of hooks that implore you to sing along before you quite realize what you’re singing about.Previous Palberta albums had sharp edges and proud imperfections: Guttural grunts, occasional bust-up laughter, and some of the strangest covers of the Bee Gees’ “Stayin’ Alive” and Hall & Oates’ “Rich Girl” ever recorded. At their most meta, it was sometimes difficult to know if the members of Palberta were playing in a rock band or making fun of playing in a rock band, though their best songs — like “The Sound of the Beat” and “Gimme Everything You Got Girl,” both from their anarchic 2018 release “Roach Going Down” — were the ones that somehow managed to do both at once.“Palberta5000,” the first album it recorded with the producer Matt Labozza, has a newfound lucidity and oomph without sounding over-rehearsed, likely because the band recorded it in just four days and never attempted more than three takes for each song. It is also worth mentioning that the studio where they recorded the album is “in the original home and family lamp store” of “Pee-wee” actor Paul Reubens, a detail that — being at once funny and faintly cursed — is perfectly Palberta.“Palberta5000” is animated by the tension of contrasts — between pop catchiness and punk sensibility; between clarity and confusion; between quaking disorder and a foundational solidarity. The careening riffs and tumbling percussion of “Fragile Place” makes the song sound like it’s being recorded in a house that’s collapsing around them. But at the center of it all are those intertwined voices, so locked in friendly harmony that they seem ecstatically oblivious to, and safe from, the chaos around them.Palberta“Palberta5000”(Wharf Cat)AdvertisementContinue reading the main story More

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    Olivia Rodrigo’s ‘Drivers License’ Hit No. 1 in a Week. Here’s How.

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyOlivia Rodrigo’s ‘Drivers License’ Hit No. 1 in a Week. Here’s How.The debut single from the 17-year-old Disney actress became a TikTok smash, broke Spotify records and topped the Billboard chart thanks to a “perfect storm” of quality, gossip and marketing.“Drivers License” by Olivia Rodrigo debuted at No. 1 on the Billboard Hot 100 singles chart following a record-breaking first week across streaming services.Credit…Erica HernandezJan. 19, 2021Updated 3:14 p.m. ETThe music industry’s first runaway hit single of the year is at once a time-tested model — a Disney actress pivoting to pop with a catchy and confessional breakup ballad — and also an unprecedented TikTok-era smash by a teenager.“Drivers License” by Olivia Rodrigo, 17, debuted at No. 1 on the Billboard Hot 100 singles chart on Tuesday, following a record-breaking first week across streaming services like Spotify and Amazon Music. Along the way, the autobiographical song kicked up tabloid and social media speculation as listeners tried to piece together its real-life parallels as if it were a track by Rodrigo’s hero, Taylor Swift. TikTok videos led to blog posts, which led to streams, which led to news articles, and back around again. The feedback loop made it unbeatable.“It’s been the absolute craziest week of my life,” Rodrigo, who really did get her driver’s license last year, said in an interview. “My entire life just, like, shifted in an instant.”At a shaky and uncertain time for the music business, amid the pandemic and civil unrest, “Drivers License” was released across platforms and with a broody music video on Jan. 8 by Geffen Records. The song was then streamed more than 76.1 million times in the United States for the week, according to Billboard, the highest total since “WAP,” by Cardi B and Megan Thee Stallion, in August (93 million). On Spotify, “Drivers License” set a daily record for global streams for a non-holiday song on Jan. 11, and then beat its own number the next day, eventually setting the service’s record for most streams in a week worldwide.The track reached No. 1 in 48 countries on Apple Music, 31 countries on Spotify and 14 countries on YouTube, Rodrigo’s label said. It also sold 38,000 downloads in the United States, the most for the week, and earned 8.1 million radio airplay audience impressions, Billboard reported.“We definitely had no idea how big it was going to be,” said Jeremy Erlich, the co-head of music at Spotify. “It just ballooned into this monster, unlike anything I’ve ever seen before. And I think unlike anything anyone’s seen before.”The company, which accounted for more than 60 percent of the song’s global streams in its first week, responded to initial interest by increasing its promotion of the track, which now sits on 150 official Spotify playlists. “It’s definitely not slowing down,” Erlich said. “It’s the topic around the company and around the industry.”The song, written by Rodrigo and produced by Dan Nigro, starts straightforward enough: “I got my driver’s license last week,” Rodrigo sings over a basic piano part, “just like we always talked about.” But by the end of the first verse, she’s “crying in the suburbs,” and the music swells until a cathartic bridge that hits with a type-breaking curse word. The song “successfully balances dark yet crisp melodrama with bold tunefulness, softly pointed singing with sharp imagery,” the critic Jon Caramanica wrote. “It is, in every way, a modern and successful pop song.”“Drivers License” may represent Rodrigo’s proper debut as a solo artist, but she came with a built-in audience thanks to her Disney roles. Born and raised in Southern California, she became a belting talent-show regular by the age of 8 and was cast first on “Bizaardvark,” which ran for three seasons on the Disney Channel between 2016 and 2019. Rodrigo, who learned to play guitar for the role, starred as Paige Olvera, a teenager who makes songs and videos for an online content studio.She currently stars as Nini Salazar-Roberts on the Disney+ series “High School Musical: The Musical: The Series.” Last year, a song written by Rodrigo, “All I Want,” became the show’s most successful track so far.But like Miley Cyrus, Selena Gomez and Demi Lovato before her — and Britney Spears, Justin Timberlake and Christina Aguilera before them — Rodrigo took her experiences within the Disney machine and attempted to translate them for a broader, more adult audience. Fans have speculated that “Drivers License” is about Rodigro’s “High School Musical” co-star Joshua Bassett, who released his own single — and car-centric video — on Friday.Erlich, the Spotify executive, said that there was “a ton of X-factor that made this the perfect storm” for Rodrigo, including the gossip, the quality of her song, the marketing plan prepared in advance by her label and support from celebrities like Swift. “It did align perfectly and quicker than anything we’ve ever seen,” he said. “We’ve seen alignment like that, but typically it’s spread over three to six months — this happened in a day and a half.”Rodrigo called the song “a little time capsule” of a monumental six months she experienced last year. Acknowledging the “archetype” of the Disney star-turned-pop star, she said that she had been nervous about the collision of reactions from “people who have never heard my name before and people who have kind of grown up with me on TV.” But she was thrilled to find both groups interested.“The cool thing about ‘Drivers License’ is I’ve seen so many videos of people being like, ‘I have no idea who this girl is, but I really love this song,’ which has been really interesting for me, because for so long I’ve really just been attached to projects and to characters, and that’s how people know me,” she said. “It’s really cool to be introduced to people for the first time through a song that I feel really passionate about.”AdvertisementContinue reading the main story More

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    Phil Spector: Listening to 15 Songs From a Violent Legacy

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    Phil Spector, Famed Music Producer and Convicted Murderer, Dies at 81

    #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesVaccine InformationF.A.Q.TimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyPhil Spector, Famed Music Producer and Convicted Murderer, Dies at 81Known for creating the ‘Wall of Sound,’ he scored hits with the Crystals, the Ronettes and the Righteous Brothers and was one of the most influential figures in popular music.Since 2009, Phil Spector had been serving a prison sentence for the murder of Lana Clarkson, a nightclub hostess he took home after a night of drinking in 2003.Credit…Pool Photo Al Seib/Getty ImagesPublished More

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    Sylvain Sylvain of the Proto-Punk Band New York Dolls Dies at 69

    AdvertisementContinue reading the main storySupported byContinue reading the main storySylvain Sylvain of the Proto-Punk Band New York Dolls Dies at 69He was a core member of a group that had limited commercial success in the early 1970s and didn’t last long but proved hugely influential.The New York Dolls — Jerry Nolan on drums; Sylvain Sylvain, center; Arthur Kane, at back; and Johnny Thunders, right — performing in 1974 with the Stillettos (from far left, Elda Gentile, Debbie Harry and Amanda Jones). Not pictured is the Dolls’ lead singer, David Johansen.Credit…Bob GruenPublished More