More stories

  • in

    Dolly Parton Covers Billy Joel, and 8 More New Songs

    Hear tracks by Mumford & Sons and Pharrell Williams, Julian Lage, feeo 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 sign up for The Amplifier, a twice-weekly guide to new and old songs.Dolly Parton, ‘The Entertainer’Now that she’s released the deluxe edition — in honor of her 78th birthday, on Friday! — Dolly Parton’s already sprawling double album “Rockstar” runs nearly three hours long and clocks in at an indefatigably rockin’ 39 tracks. This makes finding the album’s buried treasures that much more exhausting, but luckily one sparkles out from the heap of newly released bonus tracks: her ornately arranged and deeply felt cover of Billy Joel’s 1974 single “The Entertainer.” Joel’s version was full of a young upstart’s gimlet-eyed cynicism — “If you’re gonna have a hit, you gotta make it fit, so they cut it down to 3:05,” he sang on a kind of spiritual sequel to the earlier “Piano Man” — but Parton sings it from the opposite end of a long career, finding fresh meaning in his words. “I know the game, you’ll forget my name,” she sings, with a slight ache in her voice. “And I won’t be here in another year, if I don’t stay on the charts.” Given that “Rockstar” became the highest-charting album of Parton’s career just a few months ago, that fate seems, blessedly, unlikely. LINDSAY ZOLADZMumford & Sons and Pharrell Williams, ‘Good People’The unlikely pairing of Mumford & Sons with Pharrell Williams has yielded a decidedly un-folksy song. After a brief head-fake intro of acoustic guitar, it’s a foot-stamping, tambourine-shaking vow of solidarity, revival and burgeoning power: “Good people been down so long/And now I see the sun is rising.” Biblical language and church-choir harmonies insist on a return to righteousness, but they leave it to the listener to decide exactly what’s righteous and who the good people are. JON PARELESReyna Tropical, ‘Cartagena’The guitarist and songwriter Fabi Reyna, who led She Shreds in the 2010s, now records as Reyna Tropical. In “Cartagena,” from an album due in March, “Malegría,” she sings about finding oneness with nature. A lilting beat, ricocheting percussion and layers of intertwined guitars and marimbas hint at Congolese soukous as Reyna enjoys “a moment of peace” and exults, in Spanish, “Let the environment caress me”; it sounds like sheer delight. PARELESAnycia featuring Latto, ‘Back Outside’Two Atlanta rappers — the rising star Anycia and the trusted hitmaker Latto — join forces on the brassy “Back Outside,” both sounding utterly unbothered. Anycia’s low, laid-back rasp provides a fitting foil for Latto’s bounding exuberance; “I don’t know how to sing, but I’m her,” Latto spits, taking a quick breath as the punchline lands. ZOLADZThe Dandy Warhols featuring Frank Black, ‘Danzig With Myself’Bitter cynicism — or is it realism? — courses through “Danzig With Myself”; the punny title is the song’s only hint of comedy. With Frank Black (a.k.a. Black Francis) from Pixies to drive home the grunge connection, the song harnesses a blunt riff and all sorts of guitar noise to back observations on a dystopian, disinformation-saturated moment: “I can’t believe how many people want to deceive us/And I can’t believe how many people want to receive it.” PARELESJulian Lage, ’76’The acoustic guitarist Julian Lage has worked in all sorts of styles as a leader and as a sideman with John Zorn, Charles Lloyd and others. “76” is from “Speak to Me,” an album due March 1. It’s a jauntily asymmetrical tune that rides a bluesy riff and a backbeat from the drummer Dave King of the Bad Plus. Lage takes some modal and chromatic detours, and the pianist Kris Davis flings around free-jazz clusters, but the track never loses a rowdy roadhouse spirit. PARELESMagic Tuber Stringband, ‘Days of Longing’The duo from North Carolina that records as Magic Tuber Stringband connects Appalachian tradition to Minimalism, meditation and perhaps post-rock, carrying forward the ideas of musicians like John Fahey and Sandy Bull. In “Days of Longing,” Courtney Werner on fiddle and Evan Morgan on 12-string guitar share a waltz that transforms itself from folksy warmth to harrowing dissonance to an unfinished resolution, refusing easy comfort. PARELESJlin featuring Philip Glass, ‘The Precision of Infinity’What would Philip Glass sound like with a beat to kick his music forward? The electronic musician Jlin provides a definitive answer in “The Precision of Infinity” from “Akoma,” an album due in March. She chops up bits of Glass’s solo-piano arpeggios, two-note ostinatos and wordless singers and sets them to quick-changing but insistent programmed and sampled percussion, as she relocates his long dramatic arcs into an era of fractured attention spans. PARELESfeeo, ‘It Was Then That I’“I felt God in your touch,” sings feeo — the English songwriter and producer Theodora Laird — in a song about sublime physical communion. Her backup is sparse, pulsing electronic sounds that come together as chords, pull apart and realign; she sounds fulfilled, fascinated and enthralled. PARELES More

  • in

    Sleater-Kinney ‘Little Rope’ Review: 11th Album Born From Tragedy

    The band’s 11th album, “Little Rope,” was born out of tragedy, but feels curiously restrained.Nearly 20 years ago, when Sleater-Kinney released its towering seventh album, “The Woods,” there was a convincing case to be made that the trio was the most vital, and underrated, working American rock band.Born of the fervent feminist spirit of the riot grrrl movement and the Pacific Northwest’s fertile D.I.Y. scene, the group spent the second half of the ’90s releasing increasingly sophisticated punk albums and eventually, on its righteous 2002 release “One Beat,” maturing into one of the few indie-rock bands making meaningful protest music in the aftermath of 9/11.On “The Woods,” Sleater-Kinney managed to kick things into an even higher gear. The twitchy electricity of Carrie Brownstein’s guitar, the embodied howl of Corin Tucker’s vocals and the earth-quaking force of Janet Weiss’s drums collided in a glorious cacophony, making noise that sounded less like songs than melodic thunderstorms.There are dim echoes of that fury on “Little Rope,” Sleater-Kinney’s 11th album and its second since Weiss’s departure in 2019. The new LP has more oomph and darkness than the band’s self-produced 2021 LP “Path of Wellness” and more emotional resonance than its mechanical 2019 effort “The Center Won’t Hold.” But even in its wildest moments, when compared to the band’s mightiest work, “Little Rope” sounds unfortunately diminished and curiously restrained.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?  More

  • in

    Broadway Shows to See This Winter and Spring

    Broadway Shows to See This Winter and SpringA guide to the shows onstage now and scheduled to arrive this winter and spring, including “Cabaret,” “Hell’s Kitchen” and “The Outsiders.”What to See | Getting Tickets Illustrations by Golden CosmosWhat to SeeAnd suddenly, Broadway is packed again. After an autumn that wasn’t exactly overwhelmed with openings, spring is looking absolutely jammed, with 19 productions currently set to open between now and the deadline for Tony Awards eligibility in late April. But right now we’re in a quieter part of the season, which for audiences means deals are afoot — including the two-for-one offers that are part of Broadway Week, underway through Feb. 4.Last ChanceLeslie Odom Jr. and Kara Young, center, with the rest of the “Purlie Victorious” cast at the Music Box Theater.Sara Krulwich/The New York TimesGutenberg! The Musical!Silliness runs amok in this musical comedy duet starring Josh Gad and Andrew Rannells (Tony nominees for “The Book of Mormon”) as Bud and Doug, a pair of theater-loving goofballs with big Broadway dreams for their show about Johannes Gutenberg, the 15th-century inventor of the printing press — so they’re giving a performance, playing all the roles themselves, to persuade an audience of producers. Written by Scott Brown and Anthony King (“Beetlejuice”), the show is directed by Alex Timbers, a Tony winner for “Moulin Rouge!,” who staged an endearingly zany Off Broadway production of “Gutenberg!” in 2006. (Through Jan. 28 at the James Earl Jones Theater.) Read the review.HarmonyBarry Manilow and Bruce Sussman retell the true story of the Comedian Harmonists — a Weimar-era vocal sextet of Jewish and gentile Berliners — in this long-gestating musical. With a cast that includes Chip Zien, Sierra Boggess and Julie Benko, the show is directed and choreographed by the Tony winner Warren Carlyle. Notably, this is not a jukebox show; the music, written and arranged by Manilow, is original. (Through Feb. 4 at the Ethel Barrymore Theater.) Read the review.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?  More

  • in

    How Ariana Grande’s ‘Yes, And?’ Relates to Madonna’s ‘Vogue’

    Madonna’s 1990 hit “Vogue” has enjoyed a recent renaissance. Ariana’s Grande’s first solo song in three years leans on its sound, but the similarities end there.There was never a question that Madonna’s 1990 pop-house classic “Vogue” was a tidal wave. But over the past year and a half, the song that helped bring the sounds of underground queer culture to the mainstream has continued to create powerful ripples.Since 2019 — when the track’s release was chronicled on the FX drama “Pose” alongside discussions about authorship and authenticity — the hit has been experiencing a slow, steady resurgence. In 2022, Beyoncé mashed it up with her ballroom-referencing “Break My Soul,” updating Madonna’s rap to pay tribute to Black pop icons, and starting last year, the remix was given prime placement on both Beyoncé’s and Madonna’s tours. Ariana DeBose performed a heavily memed adaptation of “Vogue” at the 2023 BAFTA Awards, and “Vogue” even garnered the ultimate symbol of 2020s relevance: It was sampled by the Puerto Rican superstar Bad Bunny on his album “Nadia Sabe Lo Que Va a Pasar Mañana.”Now “Vogue” is the animating reference on “Yes, And?,” the comeback single by Ariana Grande, who has spent three years out of the pop spotlight filming the movie version of “Wicked.” Like the original, written and produced by Madonna and Shep Pettibone, Grande’s song — credited to Grande, Max Martin and Ilya Salmanzadeh — features snappy synth drums; bright, syncopated stabs of piano; and a spoken-word bridge. But “Yes, And?” isn’t an invitation to the dance floor; it’s a rebuttal to Grande’s critics. So while it sounds superficially like “Vogue,” it doesn’t really feel like it.In the first part of her career, Grande was mainly a classicist with roots in hip-hop soul, ’90s R&B and brassy show tunes. Her fifth album, “Thank U, Next” from 2019, introduced a shift: Adopting the cadences and textures of contemporary rap, Grande provided raw, up-to-the-minute commentary on her personal life.“Yes, And?” attempts to marry the two sides of her music, providing a throwback musical canvas that she embellishes with her responses to those gossiping about her looks and her latest relationship, with her “Wicked” co-star Ethan Slater. While its bones are unmistakably rooted in “Vogue,” the song takes some turns: A pitched-up vocal sample makes the track feel busy, and Grande, a gifted singer, can’t resist the impulse to fill its empty spaces with high trills and flowery runs. When she approaches the final chorus, she belts the song’s title phrase as if she’s the world’s most effusive improv enthusiast.Paying tribute to an iconic song is risky business — just ask the many stars who have interpolated or sampled recent hits, only to come off like craven impersonators — and “Vogue,” in particular, is a masterpiece of elegance and restraint. Unlike many Madonna singles, “Vogue” is a remarkably selfless endeavor; it was inspired by the bold, creative queer pioneers of New York’s ballroom culture, and pays tribute to the scene without laying claim to it or assuming its struggles.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?  More

  • in

    Lil Nas X, Ariana Grande and 21 Savage Kick Off 2024

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:Lil Nas X’s comeback single “J Christ,” a continuation of his trollcore pop narrative, with its ostentatious video and punchline-heavy media rolloutThe new 21 Savage album “American Dream,” the first blockbuster hip-hop album of the year, with many high-profile features and some reckoning with the immigration case that nearly derailed his careerThe sonic shift in Ariana Grande’s new song, “Yes, And?,” her first solo single in three yearsNew tracks from Bizarrap featuring Young Miko, and Jastin MartinSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

  • in

    8 Upcoming Albums to Get Excited About

    Sample songs from LPs by Waxahatchee, the Smile, Helado Negro and more.Waxahatchee’s “Tiger’s Blood” is due on March 22.Molly Matalon Dear listeners,Now that 2023 and all of its best-of-the-year lists are finally in the rearview, it’s time to look ahead to the music being released in 2024.Some marquee pop stars — Ariana Grande, Dua Lipa, Lil Nas X — are likely to put out their next albums in the near future, but for today’s playlist I wanted to spotlight some slightly lesser-known artists with fresh releases on the horizon.Sure, you’ll probably see some familiar names among the track list (including two members of Radiohead) but I hope this mix also introduces you to at least one artist you haven’t heard before, whether that’s the pop-minded neo-classical composer Julia Holter, the atmospheric indie artist Helado Negro or the kinetic rock band Sheer Mag. Without further ado, here are eight reasons to be excited about 2024 — musically speaking, at least.Listen along on Spotify while you read.1. Waxahatchee featuring MJ Lenderman: “Right Back to It”It’s been a slow, gradual joy to witness Katie Crutchfield, the founder of Waxahatchee, come into her maturity as a songwriter across the past decade or so. Her debut, “American Weekend,” a piercing, acoustic guitar-driven album released in 2012, announced her as a major talent, but she seemed to unlock a new level of confidence on her breakout 2020 album “Saint Cloud,” which melded laid-back country-rock with Crutchfield’s self-searching lyrics. Its follow-up, “Tiger’s Blood,” finally comes out on March 22, and its leadoff single “Right Back to It” finds Crutchfield in fine form, duetting with the guitarist and singer MJ Lenderman and contemplating a relationship that continues “like a song with no end.” (Listen on YouTube)2. Sheer Mag: “Playing Favorites”The punky, energetic rock band Sheer Mag has been a staple in the Philadelphia indie scene for years thanks in part to its reputation as a stellar live act. But the group’s recorded output is great, too — a streak it will hopefully continue on “Playing Favorites,” its third LP, out March 1. This jangly, driving title track showcases, among other things, the power of the lead singer Tina Halladay’s vocals. (Listen on YouTube)3. Brittany Howard: “Red Flags”A few months ago, I recommended Brittany Howard’s blisteringly funky “What Now,” the title track of the Alabama Shakes frontwoman’s second solo album. The next single, “Red Flags,” delves into the moodier and more meditative side of her versatile sound — at least until she lets it rip and hits a screaming high note that takes the song ever higher. “What Now” comes out on Feb. 9. (Listen on YouTube)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?  More

  • in

    Elton John Secures EGOT With Emmy Win

    Elton John secured an EGOT on Monday night, joining the select group who have won all four major entertainment awards — an Emmy, a Grammy, an Oscar and a Tony — when he won an Emmy for outstanding variety special for his livestreamed farewell concert at Dodger Stadium.John has won five Grammys, a Tony Award for best original score for “Aida,” and two Oscars for songs in “The Lion King” (“Can You Feel the Love Tonight”) and “Rocketman” (“I’m Gonna Love Me Again”).With his Emmy for “Elton John Live: Farewell From Dodger Stadium,” which streamed on Disney+, John became the 19th person to gain the title. The rather elite club includes Audrey Hepburn, Rita Moreno, Mel Brooks, Whoopi Goldberg, John Legend, Jennifer Hudson and Viola Davis.John, 76, was not present at the Emmys ceremony because of a knee operation, said Ben Winston, an executive producer of the show who accepted the award on John’s behalf.John said in a statement that he was “incredibly humbled” by the honor.“The journey to this moment has been filled with passion, dedication and the unwavering support of my fans all around the world,” he said in the statement. “Tonight is a testament to the power of the arts and the joy that it brings to all our lives. Thank you to everyone who has supported me throughout my career, I am incredibly grateful.”The live concert, which took place at the Los Angeles stadium in 2022, carried echoes of the pop star’s pair of shows at the same venue in 1975, when, in his late 20s, John played hits such as “Saturday Night’s Alright for Fighting,” “Goodbye Yellow Brick Road” and “Bennie and the Jets” to a sold-out venue. More

  • in

    Leon Wildes, Immigration Lawyer Who Defended John Lennon, Dies at 90

    Leon Wildes, a New York immigration lawyer who successfully fought the United States government’s attempt to deport John Lennon, died on Monday in Manhattan. He was 90.His death, at Lenox Hill Hospital, was confirmed by his son Michael.For more than three years, from early 1972 to the fall of 1975, Mr. Wildes (pronounced WY-ulds) doggedly battled the targeting by the Nixon administration and immigration officials of Mr. Lennon, the former Beatle, and his wife, Yoko Ono, marshaling a series of legal arguments that exposed both political chicanery and a hidden U.S. immigration policy.Uncovering secret records through the Freedom of Information Act, he showed that immigration officials, in practice, can exercise wide discretion in whom they choose to deport, a revelation that continues to resonate in immigration law. And he revealed that Mr. Lennon, an antiwar activist and a vocal critic of President Richard M. Nixon, had been singled out by the White House for political reasons.Mr. Wildes was ultimately vindicated by the stinging decision of a federal appeals court in October 1975, which said that “the courts will not condone selective deportation based upon secret political grounds,” and which halted the effort to kick Mr. Lennon out of the country.Mr. Lennon and Mr. Wildes addressing reporters about the case, which centered on Mr. Lennon’s 1968 London conviction for marijuana possession.via Wildes Family ArchivesThe Beatles had broken up in 1970, and Mr. Lennon and Ms. Ono moved to New York the next year. Mr. Lennon had been convicted of marijuana possession in London in 1968; that record would normally have barred him from entry, but he had obtained a waiver. The waiver was coming to an end, and the Lennons received a deportation notice.“It was a very frightening moment,” Ms. Ono said in the 2007 documentary “The U.S. vs. John Lennon.”When the Lennons engaged Mr. Wildes to represent them, he had barely heard of his famous clients. In his book about the case, “John Lennon vs. the USA,” published by the American Bar Association in 2016, he wrote that he was vaguely aware of the Beatles — it was nearly impossible not to be — but that the names of its members had escaped him.“I think it was Jack Lemmon and Yoko Moto,” he recalled telling his wife after meeting them in their apartment on Bank Street in Greenwich Village. She quickly corrected him.In the 2007 film, Mr. Lennon is seen telling reporters about Mr. Wildes: “He’s not a radical lawyer. He’s not William Kunstler.”Mr. Lennon had publicly opposed the Vietnam War — he recorded the antiwar anthem “Give Peace a Chance” in 1969 — and he had been involved in protests on behalf of figures in the New Left movement, which campaigned against the war.Nixon administration officials feared that he had outsize influence among the young, who would be allowed to vote in greater numbers in the 1972 presidential election, the first after the voting age had been lowered to 18 from 21. In the paranoid atmosphere then prevailing in the White House, that was enough for administration officials and their allies, notably the conservative South Carolina senator Strom Thurmond, to go after Mr. Lennon.Their case centered on the London marijuana conviction. But the appellate court judge, Irving Kaufman, ultimately ruled that the crime was insufficient to make Mr. Lennon an “excludable alien.”The real reasons for the quixotic pursuit of Mr. Lennon, Mr. Wildes argued, lay elsewhere, as he was able to show thanks to his relentless digging through records. Early in 1972, Mr. Thurmond had drafted a letter recommending that Mr. Lennon be thrown out of the country, which Attorney General John N. Mitchell forwarded to the Immigration and Naturalization Service, the agency then in charge of visas. Of particular concern was the fact that Mr. Lennon had performed at a rally in support of a New Left figure, the poet John Sinclair, who had been jailed on a marijuana charge.“If Lennon’s visa is terminated it would be a strategic countermeasure,” the South Carolina senator wrote.Ten days later, “a telegram went out to all immigration offices in the United States instructing that the Lennons should not be given any extensions of their time to visit the United States,” Mr. Wildes wrote in his book.For the next three years, the government continued to press its case, in efforts that appeared increasingly ham-fisted as public support for Mr. Lennon and Ms. Ono grew. In letters and testimony, many of the era’s cultural celebrities spoke up for them, including Bob Dylan, Joan Baez, Leonard Bernstein, the artist Jasper Johns and the authors John Updike, Joyce Carol Oates and Joseph Heller, as well as Mayor John V. Lindsay of New York.“The sole reason for deporting the Lennons was President Nixon’s desire to remove John and Yoko from the country before the 1972 election and a new, much younger electorate getting the vote,” Mr. Wildes wrote. “To ensure his grip on power, any ‘dirty tricks,’ including the abusive misuse of the immigration process, were acceptable.”Mr. Wildes, seated, consulted with his partner, Steven Weinberg, at their immigration law office in 1983.via Wildes Family ArchivesThe whole time, the F.B.I. was keeping a close watch on Mr. Lennon. “Surveillance reports on him ran to literally hundreds of pages,” Mr. Wildes wrote.When Mr. Lennon learned of the skulduggery, he was infuriated. “They’re even changing their own rules because we’re peaceniks,” he said in a television interview.The 1975 ruling allowed him to remain in the country. He was killed in front of the Dakota, the Upper West Side building where he and Ms. Yoko lived, five years later.In another breakthrough, Mr. Wildes found that immigration officials had the discretion to deport or not, depending on whether there were extenuating circumstances. The revelation of this policy continues to aid immigration lawyers battling the deportation of noncitizens today.“As part of his legal strategy, Wildes conducted groundbreaking research on the ‘nonpriority’ program, and eventually filed an application for ‘nonpriority status’ for Lennon,” the immigration expert Shoba Sivaprasad Wadhia wrote in her 2015 book, “Beyond Deportation.” “Wildes learned that I.N.S. had for many years been granting ‘nonpriority’ status to prevent the deportation of noncitizens with sympathetic cases, but I.N.S. had never publicized the practice.”Throughout what Mr. Wildes acknowledged was the all-consuming job of representing the Lennons, he kept a bemused and friendly eye on his famous clients, sometimes encountering them, as others did, in what he called the “wonderful upright bed” in their Bank Street apartment.“One could meet half the world around that bed,” he wrote — “radical types like Jerry Rubin or Bobby Seale, oddball musicians like David Peel, poets like Allen Ginsberg, actors like Peter Boyle, television personalities like Geraldo Rivera, or even political operatives like the deputy mayor of New York.”Mr. Wildes at his office in 2015. “He’s not a radical lawyer,” John Lennon said. “He’s not William Kunstler.”via Wildes Family ArchivesLeon Wildes was born on March 4, 1933, in Olyphant, Pa., a small coal-mining town near Scranton. His father, Harry, was a clothing and dry goods merchant, and his mother, Sarah (Rudin) Wildes, worked in his store. Mr. Wildes was educated at public schools in Olyphant and earned a bachelor’s degree from Yeshiva University in 1954 and a law degree from New York University in 1958.He quickly gravitated toward immigration law, working for the Hebrew Immigrant Aid Society, a refugee aid organization, and helping two Americans who had gone to Israel establish their U.S. citizenship. He founded the immigration law firm Wildes & Weinberg in 1960 and went on to write numerous law review articles on immigration law and to teach at the Benjamin N. Cardozo School of Law at Yeshiva University.In addition to his son Michael, he is survived by another son, Mark; his wife, Alice Goldberg Wiles; eight grandchildren; and five great-grandchildren.Immigration law had “biblical import to him,” Michael Wildes, who is also a lawyer, recalled in a phone interview. “My father drew value from helping others achieve their American dream, as he had done — the golden grail of a green card, or citizenship.” More