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Who Will Win Eurovision 2021?Alex MarshallReporting on Eurovision ����[embedded content]San Marino: Remember Flo Rida, the rapper? Well, San Marino’s Senhit does, and has gotten him to travel to Rotterdam, and even quarantine, to guest on her entry. What will Eurovision fans think of an American muscling in on their contest? More
Even in a normal year, the competition’s unique traditions can be confusing to newcomers. Here’s what you need to know.LONDON — The Eurovision Song Contest is the world’s biggest music competition: a fiercely competitive, always surprising, sometimes surreal Olympics of song. Broadcast live across the world, the competition has taken place since 1956, making it one of the longest running television shows of all time. More
Hear tracks by Blk Jks, Sharon Van Etten and Angel Olsen, City Girls 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.The Linda Lindas, ‘Racist, Sexist Boy’Don’t mess with The Linda Lindas.Watch the full concert: https://t.co/Usv7HJ1lLR pic.twitter.com/pKZ5TKDdiA— L.A. Public Library (@LAPublicLibrary) May 20, 2021
It can be comforting, in times like these, to be slapped cold by undeniable truth. And so it is with the Linda Lindas, a band made up of four Asian and Latina teens and tweens — Bela, Eloise, Lucia, Mila — who this week had a clip of a recent performance at the Cypress Park branch of the Los Angeles Public Library go viral. The song is “Racist, Sexist Boy,” and it pulls no punches, switching back and forth between Eloise, 13, singing in an urgently aggrieved fashion (“You have racist, sexist joys/We rebuild what you destroy”) and the drummer, Mila, who is 10, whose sections are quick and finger-waving (“You turn away from what you don’t wanna hear”). The Linda Lindas have generated a significant wave of attention in the three years since the band was founded. A couple of the members’ parents are culture luminaries: Martin Wong, a founder of the tastemaking Asian-American cultural magazine Giant Robot; and Carlos de la Garza, a mixer and engineer for bands including Paramore and Best Coast. The band is beloved by Kathleen Hanna, who selected it to open one of Bikini Kill’s reunion shows; and it has appeared in the recent Netflix film “Moxie.” The band’s self-titled 2020 EP is sharp punk-inflected indie pop. And this new song, which Eloise said was inspired by a real-life experience, is a needs-no-explanation distillation of righteous anger. It’s severely relatable, so shout along with the band: “Poser! Blockhead! Riffraff! Jerk face!” JON CARAMANICABlk Jks, ‘Yoyo! — The Mandela Effect/Black Aurora Cusp Druids Ascending’It has been 12 years since the far-reaching South African band Blk Jks released its debut album, “After Robots”; it has returned with “Abantu/Before Humans,” which it describes, in part, as an “Obsidian Rock Audio Anthology chronicling the ancient spiritual technologies and exploits of prehistoric, post-revolutionary Afro bionics and sacred texts from The Great Book on Arcanum.” Blk Jks draw on music from across Africa, including South African choral traditions and West African guitar licks, along with psychedelia, funk, jazz and a fierce sense of political urgency. “They’ll never give you power/You’ll have to take the power” they chant to open the song, heralded by a barrage of drums and pushing into a syncopated thicket of horns and voices with a burst of acceleration at the end. JON PARELESAngelique Kidjo featuring Mr Eazi and Salif Keita, ‘Africa, One of a Kind’On Angelique Kidjo’s next album, “Mother Nature,” she collaborates across boundaries and generations. Kidjo — who is from Benin — shares “Africa, One of a Kind,” with Salif Keita, from Mali, and Mr Eazi, from Nigeria. The lyrics are multilingual, and the rhythmic mesh, with little guitar lines tickling against crisp percussion and choral affirmations, is joyfully Pan-African. PARELESSharon Van Etten & Angel Olsen, ‘Like I Used To’A full-scale Wall of Sound — by way of the glockenspiel-topped “Born to Run” — pumps through “Like I Used To” as Sharon Van Etten and Angel Olsen grapple with prospects of post-pandemic reopening and reconnecting. The sound and voices are heroic; the lyrics are more hesitant, but hopeful. PARELESCarsie Blanton, ‘Party at the End of the World’“It’s too late now to fix this mess,” Carsie Blanton observes, “So honey put on that party dress.” Blanton shrugs off impending doom in a broad-shouldered Southern rock track slathered with guitars, allowing that she’s going to miss “snow in winter, rain in summer” as well as “banging drums and banging drummers.” PARELESLil Baby and Kirk Franklin, ‘We Win (Space Jam: A New Legacy)’Three types of not wholly compatible ecstasy commingle on the first single from the forthcoming soundtrack to “Space Jam: A New Legacy.” Just Blaze’s triumphalist production finds an optimal partner in Kirk Franklin’s exhortations. Lil Baby’s sinuous, reedy raps are perhaps not as sturdy, though — they feel like light filigree atop an arresting mountain peak. CARAMANICAJaimie Branch, ‘Theme 001’“Fly or Die Live” feels of a piece with the two studio recordings that Jaimie Branch — a trumpeter and composer, loosely definable as jazz, but with a punk musician’s disregard for musical pleasantry — has released in the past few years with Fly or Die, her cello-bass-drums quartet. That’s mostly because those records already had a rich, gritty, textural, semi-ambient vibe: They felt pretty much live already. But “Fly or Die Live,” which is full of long excursions by individual band members and intense, forward-pushing sections driven forward by Chad Taylor’s drums, finds the band clicking in and lifting off in a way that feels different. It’s especially palpable on “Theme 001,” originally a highlight from the band’s debut record, this time with new textures thanks to Lester St. Louis’s reverb-drenched cello. GIOVANNI RUSSONELLOCity Girls, ‘Twerkulator’Look, it’s just TikTok-era sweaty talk over “Planet Rock,” which is, in the current pop ecosystem, is really all it takes. CARAMANICAOneohtrix Point Never & Rosalía, ‘Nothing’s Special’Daniel Lopatin, a.k.a. Oneohtrix Point Never, traded up with his new remake of “Nothing’s Special,” the closing track from his 2020 album “Magic Oneohtrix Point Never.” He replaced his own processed vocal, which blurred into the track, with Rosalía in her latest unexpected collaboration. She sings a Spanish translation of the lyrics, with thoughts about staring into nothingness after losing one’s best friend. The original electronic track has been tweaked and transposed upward, with its misty descending chords, sampled voices and a hammered dulcimer. Rosalía’s voice is fully upfront: gentle, mournful, tremulous and humbled by grief. Now the song is unmistakably an elegy. PARELESLil Nas X, ‘Sun Goes Down’Less than two months after gleefully stirring up a moral panic with “Montero (Call Me by Your Name),” Lil Nas X returns in an unassailably benevolent guise: fighting off suicidal thoughts in “Sun Goes Down.” In a reassuring low purr of a melody, cushioned by kindly guitars, voluminous bass tones and a string section, he acknowledges old wounds and self-destructive impulses, and then determinedly rises above them: “I know that you want to cry/But there’s much more to life than dying over your past mistakes.” PARELESRalph Peterson Jr. featuring Jazzmeia Horn, ‘Tears I Cannot Hide’The drummer Ralph Peterson Jr., who would have turned 59 on Thursday but died earlier this year, was known for the propulsion of his swing feel, and the sheer power of his playing. But he was given to forbearance and tenderness, too, when the circumstances called for it, and on “Raise Up Off Me,” his final studio album, it’s his subtlety that sends the album’s message of frustration and dignity home. That’s true on the semiabstract title track, which opens the album, and on “Tears I Cannot Hide,” a contemplative Peterson-penned ballad, to which the rising star Jazzmeia Horn adds lyrics and vocals. RUSSONELLO More
Listen and follow Still ProcessingApple Podcasts | Spotify | StitcherWhen the three opening notes of the song hit, there’s only one thing to do: Find your people and dance. Today, we’re talking about “Before I Let Go,” by Maze featuring Frankie Beverly, and the song’s unique ability to gather and galvanize. It wasn’t a huge hit when it came out in 1981, but it has become a unifying Black anthem and an unfailing source of joy. We dissect Beyoncé’s cover, and we hear from friends, listeners and the Philadelphia DJ Patty Jackson about their memories of the classic song.Frankie Beverly performs with Maze at the New Orleans Jazz and Heritage Festival in 2019.Amy Harris/Invision, via Associated PressOn Today’s Episode‘Before I Let Go’ (1981)“If you are of the African-American persuasion and alive and have movement in your body, you need to be up and dancing,” said Joy, a friend of Still Processing, about what happens whenever she hears “Before I Let Go.”The song has a special place in the Black American psyche.“It’s a great way to find out who’s Black in your town,” Wesley joked. “If you move somewhere new, you just hold up your phone and start playing it — people will just come running.”“We run toward it, literally and psychically, when we hear it,” Jenna added. “The song to me definitely feels like a protective bubble, and it allows for that five minutes to just exist in this space of joy and optimism.”When Jenna and Wesley asked listeners to share their memories of the song, they heard stories of cookouts, weddings, funerals and car rides with the radio on. Uninhibited joy was a unifying thread.“I’m instantly transported to my grandmother’s backyard in the summer,” Lindsay said. “And I’m smelling crabs and beer, and I’m hearing laughter and I’m just seeing jubilation.”Another listener, Davina, said, “It almost just seems like one of those songs that was always playing in the background of my life.”◆ ◆ ◆A Love Letter from BeyoncéBeyoncé covered “Before I Let Go” during her Coachella Festival set in 2018. She was headlining that year, the first Black woman to ever do so.She used the performance, inspired by homecoming at historically Black colleges and universities, to pay homage to more than a century of Black musical traditions — “Before I Let Go” included.“What better way to pay tribute to Black culture than to perform a song that everyone knows and thinks about,” Jenna said. “Like, she knew it was going to be a performance that a lot of us were going to see at home and be playing at barbecues.”One Still Processing listener said Beyoncé’s cover powerfully transports her into a “secret galaxy where it’s just Black girls dancing,” while another said they “only ever want to hear the Frankie Beverly and Maze version” (admitting that might be an “unpopular opinion”).For Jenna and Wesley, Beyoncé’s cover has a special relationship to the original. “One is not meant to replace the other,” Jenna said. “It’s actually meant to be a love letter to the other.”Hosted by: Jenna Wortham and Wesley MorrisProduced by: Elyssa DudleyEdited by: Sara Sarasohn and Sasha WeissEngineered by: Marion LozanoExecutive Producer, Shows: Wendy DorrExecutive Editor, Newsroom Audio: Lisa TobinAssistant Managing Editor: Sam DolnickSpecial thanks: Nora Keller, Julia Simon, Mahima Chablani and Desiree IbekweWesley Morris is a critic at large. He was awarded the 2012 Pulitzer Prize for his criticism while at The Boston Globe. He has also worked at Grantland, The San Francisco Chronicle and The San Francisco Examiner. @wesley_morrisJenna Wortham is a staff writer for The Times Magazine and co-editor of the book “Black Futures” with Kimberly Drew. @jennydeluxe More
In a rare but not unheard-of discrepancy, Billboard and Rolling Stone named two different singles as the week’s biggest.What is the No. 1 song in the country? These days, it depends on the chart.On Wednesday, Billboard announced, after a two-day delay, that “Leave the Door Open” by Silk Sonic, the new retro-soul project of Bruno Mars and Anderson .Paak, reached the top spot on the Hot 100, the magazine’s singles chart and the industry standard since 1958.But days earlier, the competing Rolling Stone 100 crowned J. Cole’s new “Interlude” as its No. 1, with “Leave the Door Open” just No. 10. On Billboard’s latest chart, “Interlude” reached only as high as No. 8.Even more strange, both charts are now owned by the same company. When Rolling Stone introduced its rankings in 2019, they were positioned as competitors to Billboard’s, with different data sources and methodologies. Rolling Stone chart positions are often hyped by fans and press agents, but have not proved a major challenge to Billboard’s authority.Last year, a deal between the publishers of Rolling Stone and Billboard brought both companies under a new joint venture, P-MRC. Jay Penske, the young media entrepreneur who represents half that deal, controls those publications as part of a portfolio that now also includes The Hollywood Reporter, Variety, Deadline, WWD and Vibe. P-MRC also has a 50 percent stake in the South by Southwest festivals.A spokeswoman for MRC Data, Billboard’s tracking arm, said the delay in the magazine’s Hot 100 was a result of data anomalies that were being investigated by its chart experts, and was not related to Rolling Stone having a conflicting song at No. 1. It is also not the first discrepancy: Early this year, Olivia Rodrigo’s blockbuster “Drivers License” topped the Billboard chart for eight weeks, but Rolling Stone’s for only five.Rolling Stone looks at songs’ sales and popularity on audio streaming services, but not radio; for the Hot 100, Billboard considers sales, audio and video streams, along with radio spins. Still a persistent head-scratcher in the music world is why the same company maintains two separate and competing charts.In a slow week for albums, the Memphis rapper Moneybagg Yo reclaims the No. 1 spot on the Billboard 200 chart with “A Gangsta’s Pain.” It had the equivalent of 61,000 sales in the United States, mostly from streaming, according to MRC Data. “A Gangsta’s Pain,” which had opened at the top two weeks ago, then dipped to No. 2, had the lowest sales number for a No. 1 album since early January, when Taylor Swift’s “Evermore” notched its third time at the top with 56,000 sales in the post-holiday doldrums.Morgan Wallen’s “Dangerous: The Double Album” is in second place, while last week’s top seller, DJ Khaled’s “Khaled Khaled,” falls to No. 3 in its second week out. Justin Bieber’s “Justice” is No. 4.Dua Lipa is in fifth place with her album “Future Nostalgia.” Lipa’s song “Levitating,” featuring the rapper DaBaby, is No. 2 on Billboard’s singles chart thanks in part to its popularity on TikTok. More
Though hugely popular as a singer-songwriter in Italy, he never stopped experimenting. He composed for movies, opera and ballet, directed films and painted.Franco Battiato, one of Italy’s most prominent singer-songwriters, who expressed esoteric ideas in catchy lyrics and, ever an eclectic artist, also composed operas and movie soundtracks, directed films and painted, died on Tuesday at his home in Milo, Sicily. He was 76.His manager, Francesco Cattini, confirmed the death. He did not give a cause but said Mr. Battiato had been ill for a long time.In a career of nearly 60 years, Mr. Battiato explored a variety of musical genres with an eye toward innovation. His works included experimental electronic music, symphonic compositions and ballets in addition to pop songs. Mystical and spiritual qualities permeated much of his work.President Sergio Mattarella, in a statement, called him “a cultured and refined artist who charmed a vast public, even beyond national borders, with his unmistakable musical style — a product of intense studying and feverish experimentation.”Cardinal Gianfranco Ravasi, the president of the Vatican’s Pontifical Council for Culture, referred to one of Mr. Battiato’s lyrics on Twitter: “How hard it is to find the dawn within nightfall. (Franco Battiato, R.I.P.)”Mr. Battiato began his career performing in a cabaret in Milan. He reached a wider audience in the 1960s, when he appeared on a variety show on national television. His “La Voce del Padrone” (“The Master’s Voice”), released in 1981, is said to have been the first pop album by an Italian musician to sell one million copies.Despite his commercial success, Mr. Battiato continued experimenting. He composed music that mixed historical, social, ethnic and mystical themes; he wrote lyrics in Italian dialects and foreign languages.“He had a vast musical and literary culture that was mostly self-taught,” Mr. Cattini said. “He did not like repeating himself, and that made him unique.”His lyrics included references to “Euclidean Jesuits,” Ming dynasty emperors and the whirling dervishes of Sufism, a mystical form of Islam.“Speaking of the Sufis in Italy in the 1980s was like talking about aliens,” said Giuseppe Pollicelli, one of the directors of “Temporary Road,” a 2013 documentary about Mr. Battiato. “But people got it, and loved it.”He added, “He had a magic touch in channeling complex topics through songs that were easy to listen to, memorize and internalize, even if people could not always decrypt the meaning.”Mr. Battiato’s 1991 pop song “Povera Patria” (“Poor Homeland”), a lament about an Italy crushed by the abuse of power and governed by “perfect and useless buffoons,” became a hit, and some of its lyrics entered everyday language in Italy.The next year, after the Persian Gulf war, Mr. Battiato performed with the Iraqi National Symphony Orchestra in Baghdad as a gesture of solidarity, sitting on the floor and singing in Arabic and Italian.“He wasn’t interested in politics, but in people,” Mr. Cattini said.He was also a painter. In a 2012 video interview, Mr. Battiato explained that he had always had a restless curiosity and, frustrated by his lack of drawing skills, had decided to learn how to paint. His artwork, initially signed with the pseudonym Süphan Barzani, was exhibited in galleries in Italy, Sweden and the United States. He drew the covers of two of his albums and of the libretto for his second opera, “Gilgamesh,” written in 1992. (His first was “Genesis,” in 1987.)His soundtracks for Italian movies include one for “A Violent Life” (1990), about the Renaissance artist Benvenuto Cellini; he also composed music for ballets staged at the Maggio Musicale theater in Florence. And as a filmmaker he was named “best new director” by the Italian National Syndicate of Film Journalists in 2004 for his “Lost Love,” about a boy’s journey from Sicily to Milan in the 1950s.Francesco Battiato was born on March 23, 1945, in Jonia, a coastal town in eastern Sicily. His father, Salvatore, was a wine merchant; his mother, Grazia (Patti) Battiato, was a homemaker. He attended high school in Acireale, Sicily, and moved to Milan when he was 19 to try to make a living in music.He is survived by his older brother, Michele.After living in Milan for years, Mr. Battiato moved in the late 1980s to a villa in Milo, north of the eastern coastal city of Catania, tucked between the volcano Etna and the Mediterranean. He had spent most of his time there since then. More
This Japanese quartet undercuts traditional ideas about cuteness, gender and rock bands. Its latest album, “Wink,” is arriving on Sub Pop in the United States.The Japanese band Chai is a professional purveyor of whimsy. In concert, its four members perform wearing an array of colorful, coordinated outfits — loads of pink, lots of orange, some reds and greens, but never black. Its lead singer and keyboardist, Mana, will sometimes deliver exuberant monologues about “Neo-Kawaii,” a band-created ethos meant to redefine modern ideals of cuteness. (The phrase translates directly to “new cute.”) The group has been known to cover Culture Club’s “Karma Chameleon.” The refrain of one of its most popular songs, “N.E.O.,” goes “You are so cute! Nice face!”“We’ve always been kind of energetic,” Mana said in a recent video interview from Tokyo, through the band’s translator. “It’s not that we decided to just go out and be extroverts.”That said, the band ran into a minor problem when working on the follow-up to its 2019 breakout record, “Punk”: Channeling all that energy in the studio wasn’t so easy, and its attempts to “dumb it down” weren’t very fun. “It’s actually harder for us than to go all out onstage,” Mana said.But when the pandemic forced the group to remain in Japan rather than continue touring the world, its members found themselves with an unexpected moment to breathe. They pursued other interests — Mana started an Instagram for dog lovers; the bassist/lyricist Yuuki got into pottery — and more consciously considered the new music they wanted to make, now that they didn’t have to hunt for studio time in between global commitments.Owing to the band’s growing debt to hip-hop, the drummer Yuna started experimenting with her playing technique in GarageBand. And Mana, who primarily drives the band’s music, worked on cultivating an album she described as “more than a human friend — someone you can go to when you’re upset, someone you go to when you’re happy, when you wake up first thing in the morning, when you want to cry.”“We didn’t fit into this definition of cute, which was considered the biggest form of accomplishment in Japan,” Mana said. “Once we started exchanging our insecurities, it gradually became a kind of comfort blanket.”Shina Peng for The New York TimesThe result is “Wink,” out Friday, a record that doesn’t dim Chai’s enthusiasm so much as redirect it across genres and moods. Because Chai looks like a traditional four-piece band, it’s easy to see it as a rock group, when in reality its sound reflects a style-bending pool of influences. On “Wink,” the scrappiness of Chai’s early records is peeled back to reveal a dreamier collection of melodies driven by Yuna’s sprightly and varied drumming.A song like “Nobody Knows We Are Fun” lingers in a hazy, whispered register before suddenly flowering into a chanted singalong, while “End” energetically toggles between rapping and singing. (Mana cited the R&B group TLC and the rapper Mac Miller as influences.) “Wink” will be released in Japan through Sony, but the band signed with the prestigious indie label Sub Pop — one of a handful of suitors — for its American release.“As a listener, you never really know what to expect when you hear a new song,” said Julien Ehrlich of the band Whitney, who toured with Chai at the beginning of 2020. “It’s completely not formulaic, the way that they create things — and they’re always trying to change it, which is really exciting.”The groundwork for Chai was laid nearly a decade ago when Mana and her twin sister, Kana, met Yuna at their high school’s music club in Nagoya. Not long after, Mana and Yuuki were introduced through mutual friends in their undergraduate program. Though Yuuki had never played an instrument before, she immediately bought into her new friend’s vision of forming a band.“We never really had this expectation of what exactly a band is, because none of us had ever officially done it before,” she said. “But we just naturally became friends, and it kind of all shaped on its own.”Growing up, the members of Chai hadn’t been exposed to much Western music. That changed in college, when a friend of Yuna’s made them a playlist of eclectic artists who would become formative influences: Basement Jaxx, Tune-Yards, Justice. Very quickly, the band formed a distinct identity — matching outfits, an obsession with food — and bonded over its alienation from the beauty standards of its native country.“We didn’t fit into this definition of cute, which was considered the biggest form of accomplishment in Japan,” Mana said, while wearing a basic red T-shirt reading “Overdressed” on the front. “Once we started exchanging our insecurities, it gradually became a kind of comfort blanket.”She pointed to their adoption of the color pink, widely considered a childish hue in Japan, as one such way of repudiating those expectations. Early on, the members also claimed they used stage names as a way of obscuring their identities. Over time they’ve admitted that Yuuki and Yuna are real names, while Mana and Kana are adopted from nicknames — it was just cooler to imagine otherwise, and definitely cooler when styled in all caps, as the band does.“It’s actually really fun to get more recognition overseas, because then we can actually bring that back to Japan,” Yuuki said.Shina Peng for The New York TimesWhile the band initially struggled to find local support, it accrued momentum with every foray out of the country. After successful appearances at South by Southwest and Pitchfork Music Festival in 2019, the members realized they were finding the audience they’d been looking for. “It’s actually really fun to get more recognition overseas, because then we can actually bring that back to Japan,” Yuuki said. “Even if they don’t understand, we can actually say ‘Hey, the world understands, so I think we’re OK with it.’”The Devo co-founder Gerald Casale, who met the band at a 2018 show, said this sense of exclusion from contemporary music had also animated Devo’s entry into the industry. “We were reacting to just how far off-track we thought pop music had gotten, and how lame it was,” he said. He praised Chai’s “precise, architectural” stage presence, and said that he’d hoped to bring them aboard for a planned (but eventually canceled) Devo tour.One of Chai’s more identifiable and charming traits is its lyrical preoccupation with food: “Karaage,” which analogizes young love to a hot meal, is named for Japanese-style fried chicken, while “Maybe Chocolate Chips” compares body moles to the confection in the title. Asked about this, Yuuki, who composes the band’s lyrics, said food was directly tied to the band’s mission of self love. “I feel like the first type of love you recognize is ‘what I want to eat,’” she said. “Music is important to us, but food is, too — it easily just connects for us.” (The band lives its credo: Whitney’s Ehrlich said that Chai had sought out an ice-cream parlor every day of its tour.)Japan has pitched from one state of lockdown to another, but the band has started scheduling live concerts for the summer and beyond. Finding a way to perform these quieter songs in concert is a new challenge, as is resuming the band’s momentum, but the Chai members were sanguine about the future. “It’s because it’s the four of us that we have a special message to say,” Mana said. “We never even really consider ourselves just a band — we dance, sometimes we do D.J. sets, we do all different types of things. We consider our genre just ‘Chai.’” More
As the devilishly smarmy vocalist and ringleader of the World/Inferno Friendship Society, he melded punk defiance with decadent theatricality.To old friends who met him backstage, he was Pete Ventantonio, a punk rocker from Bridgewater, N.J. On his records, he sometimes preferred whimsical credits like Marcello DiTerriclothia or Favorite Singer Who Goes With Everything.But to the fans who swarmed his concerts, he was Jack Terricloth: the crooning, bellowing, devilishly smarmy vocalist and ringleader of the World/Inferno Friendship Society, a band with an ever-changing lineup that melded punk defiance with the decadent theatricality of Weimar-era cabaret.Over more than 20 years, the group built a cultlike following with a rock sound embellished by piano, violin and a brass section. Its live shows — featuring Jack Terricloth in a dark suit and slicked-back hair, like a 1930s dandy — were key to the rise of the so-called punk cabaret movement in the mid-2000s, which also included Gogol Bordello and the Dresden Dolls.Although largely ignored by the mainstream music industry, World/Inferno, which was based in Brooklyn, made inroads with major arts institutions like the Public Theater in New York and the Spoleto Festival U.S.A. in Charleston, S.C., for one of Jack Terricloth’s signature projects: an exploration of the life of Peter Lorre, the goggle-eyed character actor known for movies like “Casablanca” and “M.”“I find Peter Lorre a strangely charismatic, extremely creepy person, which I think most punk rockers can identify with,” he said in an interview with The New York Times in 2009. “It’s the lure of the other. He’s the underdog, the outsider.”To fans and fellow musicians, Jack Terricloth was an inspirational if remote figure who preached what he considered the central philosophical lesson of rock ’n’ roll: the freedom to reject society’s programming and reinvent oneself anew.He was found dead on Wednesday at his apartment in Ridgewood, Queens. He was 50. His sister, Lisa Castano, said the cause was hypertensive cardiovascular disease.He born Peter James Ventantonio on June 11, 1970, and grew up in Bridgewater. His father, James Ventantonio, was a lawyer and municipal judge; his mother, Anita (Winkler) Ventantonio, was an elementary-school teacher.As a teenager, he was inspired by punk rock and by stars like David Bowie who created their own personas, said Mike Cavallaro, a childhood friend who played with him in the band Sticks and Stones in the 1980s and ’90s.By the mid-90s, as punk went mainstream, Peter began to conceptualize a genre offshoot that would incorporate theatrical presentation and a charismatic, world-weary frontman character. The World/Inferno Friendship Society’s first album, “The True Story of the Bridgewater Astral League,” in the style of a musical, was released in 1997.“We are a punk-rock band, and we play punk-rock shows, but our music couldn’t be more different,” he told The Times. “Kids see us and think: ‘Guys in suits and makeup at a hard-core show? Come on.’ But we always have them by the third song, and then we’re something they have to accept about the punk rock scene and about the world. We’ve now entered into the great dialogue that is our culture.”The album “Addicted to Bad Ideas: Peter Lorre’s Twentieth Century” (2007) became the band’s biggest moment. It was adapted into a self-described “punk songspiel” of the same title, performed at rock clubs and in high-profile arts series like Peak Performances at Montclair State University in New Jersey.After its concerts, the group often mingled with its fans — who called themselves Infernites. Performances, like its elaborately staged annual Halloween shows, were embraced by both the audience and fellow musicians as communal rituals.“He made you feel that you were part of a secret society,” Franz Nicolay, who played keyboards in the band in the 2000s, said in an interview.In addition to his sister, Jack Terricloth is survived by his partner, Gina Rodriguez.The group’s self-mythologizing sometimes made its history murky. Even the name Jack Terricloth has various apocryphal origin stories. Mr. Cavallaro recalled his friend acquiring it from an old girlfriend. Others said he took the name to distinguish himself from another Pete during his early days in the New Jersey punk demimonde.The ultimate reason seemed to matter less than the act of self-reinvention, and his audience’s being in on the act.Early last year, the World/Inferno Friendship Society released an album, “All Borders Are Porous to Cats,” and, like artists everywhere, was grounded by the pandemic. Yet Jack Terricloth was determined to find a way to preserve its Halloween tradition for its biggest fans, said Bill Cashman, his friend and the group’s manager.So the band devised a scavenger hunt in which clues to the location of an outdoor performance were scattered throughout Brooklyn. About 50 to 60 fans made it to the show, on the roof of the Brooklyn Children’s Museum.“It meant a lot to us to do that, even if we did it for a small amount of people,” Mr. Cashman said. “Just for the sake of doing our thing.” More
