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      in Television

      Bobby Sherman, Easygoing Teen Idol of the 1960s and ’70s, Dies at 81

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      First on TV and then on the pop charts, he became so popular so young, he once said, that he “didn’t really have time to have an ego.”Bobby Sherman, an actor and singer who became an easygoing pop-music star and teen idol in the late 1960s, and who continued performing until well into the 1980s, has died. He was 81. His wife, Brigitte Poublon, announced his death on Tuesday morning on Instagram, providing no other details. She revealed in March that Mr. Sherman had been diagnosed with Stage 4 cancer, though she did not specify the type of cancer.Mr. Sherman was 25 when he was cast in the comedy western that made him a star. On “Here Come the Brides,” a one-hour ABC series, he played a bashful 19th-century Seattle lumberjack. George Gent, reviewing the show for The New York Times, declared Mr. Sherman “winning as the shy and stuttering youngest brother,” although he predicted only that the show “should be fun.”“Here Come the Brides” ran for only two seasons (1968-70), but that was more than long enough for Mr. Sherman to attract a following: He was said to be receiving 25,000 pieces of fan mail every week.He had already become a successful recording artist, beginning with “Little Woman,” which reached No. 3 on the Billboard Hot 100 in 1969 and proved to be his biggest hit. He went on to score three other Top 10 singles in 1969 and 1970: “La La La (If I Had You),” “Easy Come, Easy Go” and “Julie, Do Ya Love Me.”By the end of 1972 he had seven gold singles, one platinum single and 10 gold albums.When TV Guide in 2005 ranked the 25 greatest teen idols, Mr. Sherman took the No. 8 spot, ahead of Davy Jones and Troy Donahue. (David Cassidy was No. 1.) He appeared countless times on the cover of Tiger Beat, a popular magazine for adolescent girls. Even Marge Simpson, leading lady of the long-running animated series “The Simpsons,” had a crush on Bobby Sherman, as she confessed to her daughter Lisa in one episode.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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      in Music

      8 Rising Pop Girls You Should Hear Now

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      Reneé Rapp, Ethel Cain, Suzy Clue and more from prospects experimenting with undeniably modern modes while recognizing their place in the Pop Girl lineage.Reneé RappMario Anzuoni/ReutersDear listeners,This is Joe from The Times’s music team, once again filling in for Lindsay, a.k.a. taking any opportunity to foist my taste onto all of you.I’ve been thinking, as I often do, about the nature of stardom and whether its essential ingredients are becoming more scarce, or have long since dried up. Despite coalescing conventional wisdom, I’m invested, personally and professionally, in the idea that they have not, and that many of our most promising young musicians still possess an ineffable magnetism and some amazing hooks, even if they may never reach the heights of their monoculture forebears.Online, where music fandom gets messy but also meaty, the idea of the Pop Girls (and especially the Main Pop Girls) looms large. This constantly regenerating hierarchy includes — arguably; all of this is arguable and should be argued — the mostly emeritus legends (Madonna, Mariah, Britney), the modern imperialists (Beyoncé, Taylor, Ariana) and the lame duck in-betweeners (Katy, Gaga, Rihanna). Endless debates can be had about who fits where, and what that means for Billie, Cardi, Dua, Charli and anyone else who can get by with a single name.In the last few years especially, the field has blown open: Even the niches have niches and one person’s pop queen can be another’s “who?” (Justice for Rosalía, etc.) Even as Sabrina Carpenter and Chappell Roan have solidified their footing, not just on the internet but also the radio, streaming and IRL in concert, there are infinite iterating tiers of singers who are alternately reverent, irreverent, brash, manufactured, original and otherwise.These eight new songs are my summer picks from the current class of hot prospects, all of whom are doing something I see as undeniably modern, while also recognizing their place in the Pop Girl lineage, defined most broadly.Your money’s not coming with you to heaven,JoeWe 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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      in Music

      On Haim’s ‘I Quit,’ a Breakup Is an Inspiration

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      “I Quit,” the band’s fourth album, leans into heartache and moving on.Experience has a way of undermining certainties — especially ones about people. Simple hero-villain narratives develop gray areas, motives are reassessed. Blame gets reapportioned, ambivalences creep in.On “I Quit,” Haim’s fourth album, the sisters Danielle, Alana and Este Haim apply the same generation-spanning pop expertise and ambition that they’ve previously brought to simpler scenarios. It’s a breakup album, but one that navigates all sorts of mixed emotions: recriminations and apologies, righteousness and doubts, longing and renunciation.The songs on “I Quit” move through regrets and second-guessing to find relief, even liberation, in being single. “Now I’m gone, now I’m free / Born to run, nothing I need,” Danielle Haim sings in “Gone,” the album’s agenda-setting opening track. Lest anyone miss the point, the song samples the gospelly chorus of George Michaels’s “Freedom! ’90.”Haim’s 2013 debut album, “Days Are Gone,” introduced a band with classic-rock skills and 21st-century resources. Singing quick-tongued, fine-tuned harmonies, Haim reconfigured decades of physical and computerized California sounds: Fleetwood Mac above all, with its vocal harmonies and panoply of guitar tones, but also Sheryl Crow, Michael Jackson, Tom Petty, Beck and more.Haim used that vocabulary, much of it from before the sisters were born, to sing about matters of the heart with an implicit family solidarity. Their early videos often showed them striding together down Los Angeles streets.Onstage, Haim performs straightforwardly in real time, with the sisters switching among instruments. Meanwhile, in the studio, Haim slips all sorts of clever details and sly electronic textures into natural-sounding tracks.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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      in Music

      Dr. Demento Announces His Retirement After 55 Years on the Air

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      Barry Hansen, mostly known by his D.J. name, said he’d end his show’s run after 55 years of playing parody songs. His syndicated show was once heard on more than 150 radio stations.“Monster Mash.” “Another One Rides the Bus.” “Grandma Got Run Over By a Reindeer.”The D.J. most responsible for lodging these earworms in listeners’ heads, Barry Hansen, better known as Dr. Demento, said last month that he would retire from the airwaves in October, on the 55th anniversary of his radio debut.Mr. Hansen, 84, started on KPPC-FM, a free form and progressive rock station in Pasadena, Calif., (now KROQ-FM) in 1970 and soon began focusing on what he called “funny music” because of listener requests for songs that made them laugh.After he played “Transfusion,” a song by Nervous Norvus, which had been banned on many radio stations in the 1950s, another D.J. at the station called Mr. Hansen demented.“Transfusion” — featuring the sound effects of vehicle crashes — is about a reckless driver who repeatedly gets seriously injured in car crashes by breaking traffic laws. In the lyrics, the driver gets a blood transfusion after each crash and vows to drive safely, before getting into another one.The novelty song struck a chord with Mr. Hansen, who would spin up similar parodies for his playlists for the next half century. The nickname Dr. Demento, which he adopted shortly afterward, also stuck.He referred to his fans as dementoids and dementites.“I have been doing this show for nearly 55 years, about two-thirds of my life,” Mr. Hansen said on his May 31 show, which broadcasts online. “It’s been a blast, but I have come to the decision that I need to hang up my top hat soon. The show you just heard is the last of my regular shows.”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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      in Music

      Lou Christie, ‘Lightnin’ Strikes’ Pop Crooner, Is Dead at 82

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      A late-1960s throwback to the days of clean-cut teen idols — he called himself “the missing link” — he rode his gymnastic vocal range to a string of hits.Lou Christie, who with his heartthrob persona and piercing falsetto rode high on the mid-1960s pop charts with hits like “Lightnin’ Strikes” and “Two Faces Have I,” while transcending teen-idol status by helping to write his own material, died on Wednesday at his home in Pittsburgh. He was 82.His family announced the death on social media, saying only that he died “after a brief illness.”With his perky doo-wop-inflected melodies and his gymnastic vocal range, Mr. Christie was at times compared to Frankie Valli of the Four Seasons. Like Mr. Valli, Mr. Christie hit his stride as the Beatles, the Rolling Stones and the other guitar groups of the British Invasion were starting to shatter the handsome-teen-crooner archetype personified by the likes of Fabian and Frankie Avalon.“They started disappearing,” Mr. Christie once said of such singers in an interview with the site Classic Bands. “It was so interesting that I kept going. I hit the end of that whole era.“I’ve always been between the cracks of rock ‘n’ roll, I felt. The missing link.”Mr. Christie in performance in 2013 in Collingswood, N.J. He continued to tour as an oldies act and release music on small labels long after his hitmaking days were over.via Getty ImagesEven in changing times, he held his own, thanks in part to the songs he wrote with his songwriting partner, Twyla Herbert, who was two decades his senior. The songs they created together had more emotional complexity than the standard odes to puppy love.While his debut album, released in 1963, failed to make a splash, two of the singles featured on that album climbed the charts. “The Gypsy Cried” reached No. 24 on the Billboard Hot 100 in 1963. “Two Faces Have I,” a showcase for Mr. Christie’s signature falsetto, climbed to No. 6 a few months later.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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      in Music

      Erykah Badu’s Woozy Flirtation, and 9 More New Songs

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      Hear tracks by Kehlani, Benson Boone, Witch and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Erykah Badu and the Alchemist, ‘Next to You’Erykah Badu floats some companionable requests — “I wanna take walks with you,” “I wanna just talk with you,” “I can’t wait to see you after school” — in this leisurely, woozy, increasingly hypnotic track. The Alchemist’s production gathers countless layers of Badu’s vocals, with and without lyrics, but places most of them at a distance, for a happy tangle of inner voices.Brittany Davis, ‘Sun and Moon’Brittany Davis, a blind, nonbinary pianist, singer and songwriter based in Seattle, recorded their second album, “Black Thunder,” leading a classic jazz piano-bass-drums trio. “Sun and Moon” reaches back to Nina Simone for its husky, organic, bare-bones dynamics. This six-minute song rises ever so gradually, affirming everyday pleasures; “In the sun, my heart is full of joy and light,” Davis sings. “In the moonlight, I’m thankful for the blessings of the night.” The track has a jammy, improvisational feel, with serious purpose behind it.Billie Marten, ‘Clover’The English songwriter Billie Marten calmly savors tensions and contradictions in “Clover”: “You’re raining heavy, I’m almost dry / I’m only learning to love you right.” The tempo is relaxed; keyboards plink and twinkle through mild dissonances. It’s affectionate but watchful: “Don’t push me over, I’m half your size,” she admonishes.Kehlani, ‘Folded’Kehlani dramatizes the most reluctant of breakups in “Folded.” Yes, she’s waiting for her ex to “come pick up your clothes,” neatly folded. But this isn’t the door-closing scenario from Beyoncé’s “Irreplaceable.” Kehlani urges, “Meet me at my door while it’s still open” and notes, “It’s getting cold out but it’s not frozen.” Descending chords, a string section, little guitar licks and Kehlani’s voice all convey a world of regret and a chance to reunite.Cari, ‘Luvhiii’Cari Stewart-Josephs, an English songwriter, surrenders to infatuation in “Luvhiii,” from an EP due July 10. “You hit me like a truck,” she sings, “And I never will get enough.” A loping bass line, jazzy piano chords and a faraway but insistent tambourine arrive, enfolding Cari’s multilayered vocals in a trip-hop haze as she succumbs.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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      in Music

      Barbra Streisand on the Duets That Define Her: ‘I Like Drama’

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      With a new album due next week that pairs her with Paul McCartney, Bob Dylan, Laufey, Sam Smith and more, the singer looks back at her prized collaborations.To Barbra Streisand, a duet isn’t just a song. “It’s a dramatic process,” she said. “It’s wondering who is this guy in the song? Who is this girl? What’s happening with them?”Figuring that out plays straight into Streisand’s core identity as an artist. “I’m an actress first,” she added. “I like drama.”Small wonder she has performed character-driven duets so often, so creatively and with such commercial success. In October 1963, following the release of Streisand’s debut album, Judy Garland invited her to appear in an episode of her TV show; their joint performance all but anointed the younger as her vocal heir.In the decades since, many of her highest-charting songs have been duets, starting in 1978 with Neil Diamond on their death-of-a-love ballad, “You Don’t Bring Me Flowers,” followed the next year by her diva-off with Donna Summer on “No More Tears (Enough Is Enough).” Both shot straight to No. 1. In the early 1980s, she scored two Top 10 Billboard hits with Barry Gibb, chased by a dalliance with Bryan AdamsIn 2014, Streisand issued an entire album of double billings titled “Partners,” which teamed her with stars from the quick (John Mayer on “Come Rain or Come Shine”) to the dead (Elvis Presley via a vocal sample from the singer’s 1956 recording of “Love Me Tender”). Both that album, and its follow-up, “Encore: Movie Partners Sing Broadway,” scaled Billboard’s peak.Next week, Streisand, 83, will release a sequel, “The Secret of Life: Partners, Volume Two,” featuring contemporaries of different musical sensibilities, like Paul McCartney and Bob Dylan, as well as younger voices including Hozier and Sam Smith.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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      in Music

      Bruce Springsteen on ‘Tracks II,’ His Box of Seven ‘Lost Albums’

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      “The past always weighs heavy on me,” Bruce Springsteen said on an April afternoon, sitting in the anteroom attached to Thrill Hill, his home studio in New Jersey, where he can make music at any time. “Our pasts have a lot to do with shaping who we are now and the things we’re pursuing. So that is a theme that constantly recurs to me, and I’m always rewriting it, trying to get it right.”Next Friday, Springsteen will unveil a huge, almost entirely unknown trove of songs from his past on “Tracks II: The Lost Albums.” They reveal musical paths — mostly pensive, occasionally rowdy — that he briefly explored but chose to set aside. Unlike his 1998 collection “Tracks,” a set of demos, alternate versions and unreleased songs dating back to the 1970s, “Tracks II,” with 83 songs, 74 of them previously unreleased in any form, is organized as seven distinct albums.Springsteen grew up in the era of vinyl LPs, not playlists that can be shuffled. For him an album is “a cohesive group of songs, basically, that end up being greater than the sum of their parts,” he said. “They resonate off of one another, creating altered meanings and meanings in reflection with the other songs.”A record, he added, “is exactly what it says it is. It is a record of who you are and where you were at that moment in your life. These were actual albums that were of a piece, of a moment, of a genre — that fell together, often while working on other albums.”As he’s been preparing this extensive look back, the 75-year-old musician, well aware of his longtime role as a symbol of America, has also been confronting the political present.The seven unreleased LPs of “Tracks II: The Lost Albums” sat in Springsteen’s vault until now because he sensed the timing was not right.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