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    Arlo Parks Offers Solace Without Illusions on Her Debut Album

    AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s PickArlo Parks Offers Solace Without Illusions on Her Debut AlbumThe 20-year-old English songwriter faces down despair on “Collapsed in Sunbeams.”Arlo Parks’s mission as a songwriter is to merge careful observation with clearheaded uplift.Credit…Kalpesh Lathigra for The New York TimesJan. 28, 2021Collapsed in SunbeamsNYT Critic’s PickArlo Parks wrote her own job description into the closing song on “Collapsed in Sunbeams,” her debut album. “Making rainbows out of something painful,” she sings in “Portra 400.” The song is named after a Kodak color-negative film: a way to preserve images. Parks’s mission as a songwriter is to merge careful observation with clearheaded uplift, trying to provide solace without illusions. “I know you can’t let go of anything at the moment,” she counsels in “Hurt,” then adds, “Just know it won’t hurt so much forever.”Parks, 20, was born Anaïs Oluwatoyin Estelle Marinho in Paris. Her father is Nigerian; her mother is Chadian-French. She grew up in London, and in her teens she turned from poetry to writing songs and constructing beats. In 2018 she released her debut single, a coolheaded post-breakup song named “Cola,” which reappeared on “Super Sad Generation,” the first of two EPs she released in 2019. The title song portrayed teenagers with low expectations: still unformed but already jaded, taking drugs and “trying to keep our friends from death” while “killing time and losing our paychecks.”Parks moved back in with her parents during Britain’s Covid-19 lockdown and returned to writing music in her old bedroom, sporadically releasing some of the songs from “Collapsed in Sunbeams,” including “Hurt,” during 2020. Her main collaborator on the new album, Gianluca Buccellati, produced much of the music in his home studio. (Clairo, herself a bedroom-pop expert, joined them on one song, and Parks wrote two others with Paul Epworth, one of Adele’s collaborators.)As on Parks’s EPs, the music on her album is restrained but far from austere. She coos the melodies over low-slung hip-hop beats and guitars that can tangle like indie-rock or syncopate like funk; she makes no secret of her fondness for Radiohead along with R&B. Meanwhile, her vocals arrive in layers of unison and harmony and from all directions in the mix, conjuring both solidarity and spaciousness. Her music inhabits a private sphere, but not an isolated one.Parks’s songs often place her as a friend or bystander, watching characters in uneasy situations, sometimes titled with her characters’ names. In “Caroline,” set to guitar picking that hints at Radiohead’s “Weird Fishes/Arpeggi,” she watches a couple having a bitter fight in public, with the man finally shouting, “Caroline, I swear to God I tried!” In “For Violet,” over ominous bass tones and crackly vinyl static, she’s helpless to shield her neighbor whose “dad got angry”; all she can do is play soothing music for her over the phone and remind her, “Wait — when college starts again you’ll manage.” In “Black Dog” — Winston Churchill’s phrase for his depression — she struggles to rescue a friend struggling with mental illness: “It’s so cruel what your mind can do for no reason,” she sings. And in “Eugene,” the singer seethes with jealousy when a girlfriend she grew up with — and dreams of kissing — turns to a boyfriend instead.Romance is iffy at best in Parks’ songs. “Too Good,” written with Epworth, depicts a potential relationship going sour over a suave funk groove: “The air was fragrant and thick with our silence,” Park lilts. In “Bluish,” she contends with a partner so clingy she feels strangled. And in “Just Go,” an ex returns “begging me to change my mind,” but the singer stays skeptical and unforgiving. “I knew you hadn’t changed that much,” she sings, with a shrug in her voice.“Hope” is as close as the album gets to an anthem, and it’s not close at all. As it cycles through a few descending piano chords over a hip-hop backbeat, Parks sings about someone named Mary who’s joyless, isolated and deeply depressed. Midway through, in a spoken-word passage, she confesses to feeling the same, to “wearing suffering like a silk garment.” The best she can offer is empathy. “You’re not alone like you think you are,” she sings. “We all have scars/I know it’s hard.” Somehow, there’s comfort in that.Arlo Parks“Collapsed in Sunbeams”(Transgressive/PIAS)AdvertisementContinue reading the main story More

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    Flaming Lips Use of Plastic Bubbles at Concerts Leave Covid-19 Experts Unsure

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    Tamara Lindeman's New Album 'Ignorance' Explores Climate Change

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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