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      Mary Martin, Who Gave Many Music Stars Their Start, Dies at 85

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      Her loyalty to artists and her eye for talent made her a force in a male-dominated business. Among her accomplishments: introducing Bob Dylan to the Band.Mary Martin, a Grammy-winning talent scout, manager and record executive who helped start the careers of a long list of future legends, including Leonard Cohen, Emmylou Harris and Rodney Crowell — and who introduced Bob Dylan to the Band — died on July 4 in Nashville. She was 85.Mikayla Lewis, a documentary filmmaker and close friend, said she died in a hospice from complications of cancer.Among the musicians whose work exists somewhere between rock, country, folk and Americana, Ms. Martin was a legend in her own right, widely respected for her fierce loyalty to artists and her keen eye for budding talent.“She saw the bumpkin in me, and she also saw something that was going to develop,” Mr. Crowell said in an interview. “She was one of those people who just said, ‘Shut up and let me show you something of the world that you may not have seen.’”Ms. Martin and Rodney Crowell in a scene from “Mary Martin: Music Maven,” a forthcoming documentary. Ms. Martin helped Mr. Crowell get his start. “She saw the bumpkin in me,” he said, “and she also saw something that was gonna develop.”Mikayla Lewis/ “Mary Martin: Music Maven”A chain smoker with a keen love of football, she seemed to know everyone, and she had a knack for being in the right place at the right time.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Carol Bongiovi, Jon Bon Jovi’s Mother, Dies at 83

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      Nicknamed Mom Jovi, she founded the Jon Bon Jovi fan club, and earlier was a Marine and a Playboy bunny.Carol Bongiovi, the mother of the pop star Jon Bon Jovi, died at a hospital in Long Branch, N.J., on July 9. She was 83.Her family confirmed the death in a statement on Wednesday.Ms. Bongiovi, a former Playboy bunny and U.S. Marine, according to her family, was also the founder of her son’s fan club, which she ran from a flower shop in suburban New Jersey, and came to be known to some fans as Mom Jovi.“Our mother was a force to be reckoned with,” Bon Jovi said in the statement. “Her spirit and can-do attitude shaped this family.”Carol A. Sharkey was born on July 12, 1940, in Erie, Pa. In 1959, she joined the U.S. Marine Corps, where she met her future husband, John Bongiovi Sr.After they were discharged from the military, the couple married and raised three sons in Sayreville, N.J., starting with Jon, born in 1962.Ms. Bongiovi worked as a bunny at the Playboy Club in New York City when Jon was growing up, the singer told Larry King in 2006.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The 15 Songs That Hit No. 1 This Year (So Far)

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      Hear tracks by Shaboozey, Sabrina Carpenter, Kendrick Lamar and more.Shaboozey reached No. 1 on the Hot 100 this week for the first time with “A Bar Song (Tipsy).”Daniel PrakopcykDear listeners,It’s Caryn the editor here again, seizing control of the playlist one more time (don’t worry, you’ll have Lindsay back next week).On Monday, Shaboozey reached the top of Billboard’s Hot 100 with “A Bar Song (Tipsy),” making him the second Black artist to hit No. 1 on both the all-genre singles chart and Hot Country Songs. Somehow both milestones came this year: Beyoncé did it first with “Texas Hold ’Em.”The news got me scrolling through what’s topped the Hot 100 so far in 2024 — over the last 27 weeks, 15 songs have done it. And we’re going to listen to all of them in The Amplifier today.It’s always interesting to see how the official chart stacks up against cultural vibes. It may feel like the summer of “Espresso,” but Sabrina Carpenter’s Certified Bop hasn’t hit No. 1 in the United States (yet). It doesn’t just seem like Taylor Swift’s “The Tortured Poets Department” is dominating 2024: It is, with 11 straight weeks at No. 1 on the Billboard 200 album chart. But only one of its songs — its opener, “Fortnight,” featuring Post Malone — has spent any time atop the Hot 100. Ariana Grande’s “Eternal Sunshine” has had two songs summit the singles chart; Beyoncé’s “Cowboy Carter” had the one. Billie Eilish and Chappell Roan haven’t hit No. 1 yet this year, but I wouldn’t count them out.The longest run belongs to “I Had Some Help,” by Post Malone featuring Morgan Wallen (six weeks, five of them consecutive). Two songs from the Kendrick Lamar vs. Drake beef hit No. 1; perhaps unsurprisingly considering the outcome, they were both Lamar’s.So let’s take a trip through the recent past together — and for fun (or counterprogramming), see how the biggest songs of the year (so far) compare to our critics’ best songs of the year (so far).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Cassandra Jenkins Finds a Way to Follow Her Surprise Breakthrough LP

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      Cassandra Jenkins had been ready to quit music in 2020 when a record she was unsure of releasing became an unexpected hit. Then, she had to figure out how to follow it up.During a winter walk in Central Park in late 2020, Cassandra Jenkins made a confession to her occasional bandleader, Lola Kirke: She had sold much of her music gear and didn’t plan to return to the road.A multi-instrumentalist and versatile singer, Jenkins had performed on stages for a quarter-century. Her parents had doggedly worked the New England hotel circuit as part of a trio that covered four decades of hits. As a teen, Jenkins and the family band played folk festivals, roaming in a hulking silver bus. After art school, she had balanced stints as an editorial assistant at The New Yorker, a farmer and a teacher with short gigs in so many bands she cannot remember them all.It was draining. During a festival run in 2019, she’d maintained her sanity amid the throng by snapping a photo series called “Butts of Bonnaroo.” She had been set to tour as part of Purple Mountains, the band of Silver Jews’ David Berman, when he died by suicide days before it was scheduled to begin.“I wasn’t quitting as much as letting go of the burden of certain expectations I put on myself in terms of how a career should look,” Jenkins, 40, said during a series of video interviews. “I was going to quit that narrow hope for a lot of mystery, a lot of unknowns.”Jenkins had more news for Kirke: She had finished her second album, an idiosyncratic and frank reckoning with grief, disappointment and tenuous attempts to heal that she called “An Overview on Phenomenal Nature.” She was uncertain if she wanted to release it, but a little label had picked it up. She name-checked Kirke in the lyrics, so she said she’d send it over.“I was gobsmacked, a perfect record,” Kirke said in a phone interview, recalling her first listen. “I wrote to her and didn’t hear back for a really long time. I knew she was being welcomed into spaces that should have welcomed her well before.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Taylor Swift’s ‘Poets’ Ties Her Record for Most Weeks at No. 1

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      Both “Fearless” and “1989” spent 11 weeks atop the Billboard 200, but the 11-week reign of “The Tortured Poets Department” has been uninterrupted.Taylor Swift’s “The Tortured Poets Department” has notched its 11th straight week at No. 1, holding off all challengers once again.“Tortured Poets” now ties Swift’s career total for the most weeks at No. 1 on the Billboard 200 album chart. Both “Fearless” (2008) and “1989” (2014) reached the peak 11 times. But unlike those, which bobbed in and out of the top slot, the reign of “Tortured Poets” has so far been consecutive and uninterrupted. It started at No. 1 — way back in April — with record-breaking numbers, and has never left that position, beating out releases from Billie Eilish, Dua Lipa, the Atlanta rapper Gunna and the K-pop group Ateez.According to Billboard, the last LP by a woman to spend at least 11 weeks in a row at No. 1 was Whitney Houston’s soundtrack to “The Bodyguard,” which posted 13 consecutive toppers (out of 20 total) in 1992 and 1993. Last year, Morgan Wallen’s “One Thing at a Time” had 12 straight weeks at No. 1, and eventually crowned the chart 19 times.Last week, “Tortured Poets” had the equivalent of 114,000 sales in the United States, nearly flat from the week before. That includes 102 million streams and 35,000 sales as a complete package, according to the tracking service Luminate.Throughout its run, the weekly sales of “Tortured Poets” have benefited from strategic drops of new “versions” of the album, offered with bonus tracks and for limited times. But Swift’s streaming numbers have remained strong, at least in aggregate, with the 31-track album never falling below 100 million weekly clicks.Also this week, Megan Thee Stallion’s “Megan” opens at No. 3 with the equivalent of 74,000 sales, and Wallen’s “One Thing at a Time,” now in its 71st week on the chart, is No. 2. Eilish’s “Hit Me Hard and Soft” holds in fourth place, while Chappell Roan’s “The Rise and Fall of a Midwest Princess” rises to No. 5, a new peak nearly 10 months after its release. More

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      Billie Eilish, Lorde and More Are Singing Out About Body Image

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      Billie Eilish, Charli XCX and Lorde are among a group of young women who are revealing, in their music, the pressure they have felt to look thin.Taken together, the first two song titles on Billie Eilish’s third album, “Hit Me Hard and Soft,” form a provocative pair: “Skinny” and “Lunch.”“People say I look happy/Just because I got skinny,” Eilish sings on the opener, her melancholic croon accompanied by a single, murky guitar. “But the old me is still me and maybe the real me,” she adds, “and I think she’s pretty.”That lyric is a gut punch. It’s also indicative of a subtle shift among the current generation of female pop stars, who have recently been acknowledging — often in stark, striking and possibly triggering language — the pressure they have felt to look thin.Taylor Swift, who first opened up about her past struggles with disordered eating in a powerful sequence in her 2020 documentary, “Miss Americana,” sings about it on her 2022 track “You’re on Your Own, Kid,” a compassionate ode to her younger self: “I hosted parties and starved my body, like I’d be saved by the perfect kiss.” Last month, in a guest appearance on the remix of Charli XCX’s “Girl, So Confusing,” Lorde confessed that fluctuations in her weight had led her to stay out of the public eye. “For the last couple years, I’ve been at war in my body,” she sings, heartbreakingly. “I tried to starve myself thinner, and then I gained all the weight back.”For several years, conversations about weight in mainstream pop have centered around an artist bold enough to speak up about it and absorb the stinging backlash: Lizzo. In her lyrics, on social media, and in her shapewear line, the singer and rapper has played up self-love, becoming a face of the body positivity movement. Earlier this year, however, she told The New York Times that she had “evolved into body neutrality.” “I’m not going to lie and say I love my body every day,” she said.Part of the vitriol Lizzo has faced is rooted in racism, and it is impossible to divorce a dialogue about body image from race, and the different ways Black, brown and white bodies are dissected, denigrated and idolized. Latto recently spoke out about how online criticism led her to have plastic surgery at 21 to enhance her buttocks. Last year the rapper, who is biracial, said, “When I didn’t have my surgery, they’re like, ‘Oh, she shaped like her white side.’” SZA, speaking to Elle about her own, similar, procedure (which she sang about on her hit 2022 album, “SOS”), said, “I didn’t succumb to industry pressure. I succumbed to my own eyes in the mirror.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Meet the Woman Behind Laufey’s Romantic Style: Her Twin Sister, Junia

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      Junia Lin Jonsdottir helped create the romantic visual world inhabited by her sister, the singer-songwriter Laufey. Please stop asking if she’s jealous.“Are you Laufey?”A fan approached the table at a cafe in the East Village, hoping for a picture with Laufey (pronounced LAY-vay), the musician beloved among Gen Z listeners for her nostalgic combination of pop and jazz.The woman dining there had the singer’s middle part, her mannerisms and her retro-femme style of dress. She was not Laufey, but her identical twin, Junia.The fan recovered quickly: “Do you steal all of her shoes?”This resemblance comes in handy, Junia (pronounced YOO-nia) explained last month over eggs and kimchi on a thick slice of sourdough. She can test camera angles while her sister is hydrating before a performance, or sub in for fittings on a moment’s notice. And they do swipe each other’s shoes.“She just got new Chanel ballet flats — of course I was going to steal them,” Junia told the fan.But Junia, 25, whose full name is Junia Lin Jonsdottir, is more than her famous sister’s body double. She works as Laufey’s creative director, shaping the romantic visual style the singer’s fans call “Laufeycore.” She has nearly two million TikTok followers of her own who consume her fashion recommendations and her occasional tours of Iceland, where the sisters grew up.Laufey, left, and Junia, backstage in Dallas. Though the sisters technically live in Los Angeles and London, they have a funny way of ending up side by side.Nicole MagoShe is also a young person trying to cement her own creative identity while her twin is in the midst of a professional breakthrough. So far this year, Laufey has won her first Grammy, attended her first Met Gala and sold out Radio City twice.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Brokes Play the Strokes in a New York Rock Club

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      A cover band from Toronto brings some 2000s nostalgia to the home city of their indie rock heroes.More than two decades after the Strokes led an indie rock renaissance in New York City, a Strokes cover band called the Brokes played a sold-out show at Arlene’s Grocery, a small venue on the Lower East Side.Hailing from Toronto, the Brokes were on their first American tour, and this gig held special meaning: The Strokes used to play Arlene’s back when they were the garage rock princes of downtown Manhattan honing their act at clubs like this one.During a 45-minute set, the Brokes blazed through early Strokes hits like “The Modern Age” and “Last Nite” as fans chanted lyrics and pumped their fists into the air. The frontman, Marlon Chaplin, wore sunglasses and fingerless gloves while singing through a distortion effect to match Julian Casablancas’ vocal style.The Brokes guitarist Adrian Traub-Rees, wearing a white suit and Converse sneakers, looked and sounded like Albert Hammond Jr. as he played a white Fender Stratocaster. The crowd roared when he traded licks with Brandon Wall, who plays Nick Valensi’s guitar parts, during another Strokes fan favorite, “Reptilia.”Mr. Chaplin addressed the crowd in his Casablancas-esque tone: “We’re taking you back to ‘Room on Fire’ with this next tune.”Many people in the crowd at Arlene’s Grocery on Friday were too young to have seen the Strokes in the group’s early years.Graham DickieWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More