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      Did Bob Dylan Help Announce an Album From MGK?

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      The pop-punk star’s trailer for “Lost Americana” features a familiar voice narrating about a “quest to reclaim the authentic essence of American freedom.”“‘Lost Americana,’” the familiar voice intones, “is a personal excavation of the American dream.” So begins a few sentences’ narration over a trailer released online Tuesday for an upcoming album by the artist MGK, formerly known as Machine Gun Kelly.And darned if the narrator does not sound exactly like Bob Dylan.It seems that Dylan, 84, the Nobel laureate and firmly canonized member of the American musical scene, has lent his voice to promoting the pop-punk musician’s first LP since “Mainstream Sellout” in 2022.Neither artist has publicly offered confirmation. A representative for MGK did not reply to a request for comment. A representative for Dylan said the artist is on tour and was not available.The trailer features grainy, home video-style footage of MGK — an insouciant onetime rapper who has since branched out to country, pop and pop-punk — pursuing such analog activities as riding a motorcycle, smoking cigarettes and hanging out with friends. The voice advertises the album, due in August, as “a love letter to those who seek to rediscover: the dreamers, the drifters, the defiant.”So what would bring together a tattooed musician, actor and model known for making tabloid headlines for his onetime relationship with the actress Megan Fox and … Bob Dylan?Dylan and his music have been known to pop up in surprising places — like ads for the Bank of Montreal, IBM, Chrysler, Cadillac, Victoria’s Secret and Pepsi. (Though he often doesn’t show up where you might expect — like the Nobel Prize ceremony where he was being honored, or an episode of “Saturday Night Live” on which the actor Timothée Chalamet performed his music.)Dylan and MGK have demonstrated an affinity for each other. MGK’s latest single, the jittery genre mash-up “Cliché,” features the lyric “Baby, I’m a rolling stone” — arguably a reference to the title of Dylan’s most famous song.In February, Dylan posted a video of MGK performing the rap track “Almost” on his Instagram. MGK’s response: “you having a phone is so rad,” he commented. (“Times they are a changing yo,” added another commenter.)The trailer’s director, Sam Cahill, posted it on his own Instagram account Tuesday with a caption that MGK echoed in his own feed: “Trailer narrated by …” (Cahill did not reply to a request for comment).The narration describes MGK’s new work but sounds exactly how a Dylan fan — or Dylan himself — might describe Dylan’s output: “a sonic map of forgotten places, a tribute to the spirit of reinvention and a quest to reclaim the authentic essence of American freedom.”The narrator adds, “From the gold neon diners to the rumble of the motorcycles, this is music that celebrates the beauty found in the in-between spaces where the past is reimagined and the future is forged on your own terms.”Or maybe that is just a coincidence. As someone once said, “Well, we all like motorcycles to some degree.” More

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      in Movies

      From ‘The Materialists’ to ‘The Bear,’ Pop Culture Takes Up Smoking Again

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      From movies and TV shows to music, the habit is no longer taboo. It’s even being celebrated for the way it makes characters look cool or powerful.In the new romantic dramedy “Materialists,” about 21st-century dating, Dakota Johnson loves cigarettes.Playing Lucy, a New York matchmaker, she’s puffing when she gossips with a pal during a work party. Later, she holds a lighted cigarette near her face while flirting with an ex. There’s no hand-wringing over her smoking. She’s just a smoker. And she’s wildly on trend. That’s because, at least in the world of entertainment, cigarettes are once again cool.“Materialists” is just the tip of the ash. The musicians Addison Rae and Lorde both mention smoking in recent singles. The stars of “The Bear” are smokers on- and offscreen. The “Housewives” count many among their ranks. Tim Robinson and Paul Rudd smoke in the big-screen comedy “Friendship,” while the chic Seema (Sarita Choudhury) on the series “And Just Like That” does as well. In the kitschy video for her track “Manchild” Sabrina Carpenter uses a fork as a cigarette holder. Even Beyoncé has lit up onstage during her Cowboy Carter Tour. In one instance, she throws the cigarette on a piano, which artfully ignites as she performs “Ya Ya.” If Beyoncé is doing it, you know it’s reached the upper echelon of culture.And these smokers are largely celebrated. The overwhelming sentiment is: Sure, cigarettes are bad for you, but they make you look good — as evidenced by Lucy, who keeps her smokes in an elegant silver case, perhaps to emphasize how sleek the habit is, and brandishes them to show just how effortlessly hot she can look bringing one to her lips.In a still from her music video for “Aquamarine,” Addison Rae wields not one but two cigarettes.Jared Oviatt, the man behind the Instagram account @Cigfluencers, which features photos of celebrities glamorously smoking, told me he had noticed an upswing in material recently. When he started the account in 2021 he had to look harder to find content.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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      BTS Reunion Nears as RM and V Finish Military Service

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      RM and V emerged from a base in South Korea on Wednesday in fatigues. Three other members of the hugely popular boy band will finish their national service this month.RM and V of BTS emerged from a base in Chuncheon, South Korea, and gave fans a brief saxophone performance.Kim Hong-Ji/ReutersJin: check. J Hope: check. And on Tuesday, RM and V: check.That leaves only three members of the K-pop boy band BTS still doing their national service: Jimin, Jungkook and Suga. And when they too are discharged this month, their fans’ long wait will be over. BTS will be civilians again, and a vastly lucrative reunion can follow.RM and V emerged from a base in Chuncheon, South Korea, on Wednesday in military fatigues. V, 29, carried flowers, while RM, 30, had a saxophone on which he gave a brief impromptu performance on one knee.“There were tough and painful moments, of course,” RM said, as translated by The Korea Herald, “but during our service, I came to deeply appreciate the many people who have protected this country.”BTS’s record label, Big Hit Music, had pleaded with fans to stay home and not make a circus of the members’ discharges: “We kindly ask fans to send their warm welcome and support from their hearts.” But hundreds of screaming, camera-wielding, flag-waving fans showed up anyway.RM of BTS gave an impromptu saxophone performance after he and another member of the band, V, were discharged from South Korea’s military on Tuesday.Anthony Wallace/Agence France-Presse — Getty ImagesNearly all able-bodied young men in South Korea are required to serve a year and a half of military duty.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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      How the Bay Area Shaped Sly Stone

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      One of the key figures in American music in the late ’60s got his professional start in the Bay Area. These are some of the spots that were crucial to his career.Several cities played outsized roles in the life of Sly Stone, the musical innovator who died on Monday at 82. There was Denton, the northern Texas town where he was born; Los Angeles, where he spent his later years; and even New York City, where he played several memorable concerts, including a Madison Square Garden date in 1974 at which he got married onstage. But no place was more central to Stone’s formation and rise than the Bay Area. His family moved there shortly after he was born, and it’s where he got his professional start and rose to stardom amid the multiracial psychedelic ferment of the 1960s. Here are five Bay Area spots important in his life.Solano Community College (formerly Vallejo Junior College)Stone’s first encounter with music came as a child in Vallejo, Calif., north of Oakland. His father was a deacon at a local congregation affiliated with the Pentecostal sect the Church of God in Christ, and when he was 8 years old, Stone, whose given name was Sylvester Stewart, and three siblings recorded a gospel track. Stone appeared in several bands in high school. And then for a stint in college, he studied music theory and composition — and picked up the trumpet, to boot — at Vallejo Junior College, today known as Solano Community College.Toni Rembe Theater (formerly the Geary Theater)He was best known for funk and psychedelic rock, but Stone’s eclecticism can be heard in the slow, firmly 1950s-style doo-wop music of the Viscaynes, one of his earliest groups. In an instance of foreshadowing, the Viscaynes, like the Family Stone, were multiracial at a time when that was exceedingly uncommon. (“To me, it was a white group with one Black guy,” Stone wrote in his memoir.) The Viscaynes recorded in downtown San Francisco underneath the Geary Theater, now known as the Toni Rembe Theater, and associated with the nonprofit company American Conservatory Theater.KSOL and KDIA radioStone became known for playing artists like the Beatles and Bob Dylan along with the usual soul and R&B his station specialized in.via Michael Ochs Archive/Getty ImagesStone attended broadcasting school in San Francisco and was then a D.J. at two local AM stations: KSOL, based out of San Mateo, and then KDIA, in Oakland. Both were aimed at Black listeners; KSOL, Stone wrote, had even changed its call sign to remind listeners that it played soul. But Stone again broke the mold, playing not just soul and R&B, but the Beatles and Bob Dylan. “Some KSOL listeners didn’t think a R&B station should be playing white acts,” he later wrote. “But that didn’t make sense to me. Music didn’t have a color. All I could see was notes, styles and ideas.”Mid-Century MonsterWe 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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      Touch Grass With an Unexpected 10-Song Nature-Bathing Playlist

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      Explore the outdoors however you see fit with a soundtrack of Doechii, Remi Wolf, Erykah Badu and more.Doechii, as near to nature as one can get on the Met Gala’s blue red carpet.Evan Agostini/Invision, via Associated PressDear listeners,As a pop culture reporter and editor at The New York Times, I spend much of my life toggling from one of a few modes to another: full-focus viewing, extensive conversation about said viewing, deep-think typing and — to cleanse my soul of all I’ve seen on all the screens — blissed-out nature bathing.Still, whether I’m kayaking down a river, hiking up a mountain, hanging around a campfire or swaying in a hammock, my phone tags along so I can listen to music. My tastes run the gamut, but us outdoorsy types sometimes get a reputation for gravitating primarily toward folk, reggae and acoustic light-rock tunes. There’s room in my heart for it all.But often, especially under a radiant sun or shimmering moon, I enter a mental space that can best be described as “forest girlie vibing hard.” The necessary ingredients: a splash of existential euphoria, a twist of party energy, an addictive groove and beats packed to the brim.Here are 10 songs I’ll have on repeat day and night while vacationing in Acadia National Park this summer, listening solo on headphones or triangulated on Bluetooth speakers with my crew.If the sun is bright, no matter where you are, this list will hit,MayaListen along while you read.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 Best Songs of 2025, So Far

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      Ten tracks that push boundaries, uncork emotions and can get the block party started.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs. After six months of listening, here’s what they have on repeat. (Note: It’s not a ranking, it’s a playlist.) Listen on Spotify and Apple Music.Bad Bunny, ‘Baile Inolvidable’Heartache and heritage mingle in “Baile Inolvidable” (“Unforgettable Dance”) from Bad Bunny’s album “Debí Tirar Más Fotos” (“I Should Have Taken More Photos”). The song bridges current and vintage sounds, underscoring the multigenerational continuity of Puerto Rican music. It begins as a blurred dirge of synthesizer lines and Bad Bunny’s vocals, mourning a lost romance; “I thought we’d grow old together,” he sings in Spanish, then admits, “It’s my fault.” But the track switches to an old-school salsa jam, with organic percussion, horns and a jazzy piano. The lessons of the girlfriend who taught him “how to love” and “how to dance” have stayed with him. — Jon Pareles▶ Listen on Spotify, Apple Music or YouTubeDrake, ‘Nokia’After making headlines for a war of words with Kendrick Lamar, Drake returned with one of his loosest projects.Jeenah Moon for The New York TimesAfter the conclusion (?) of his war of words with Kendrick Lamar, Drake briefly hibernated, then re-emerged with one of his loosest projects, “Some Sexy Songs 4 U,” with longtime collaborator PartyNextDoor. Its charming center is “Nokia,” a saucy and cheeky electro-rap track that calls back to the sweet woe-is-me plaint of “Hotline Bling,” perhaps the peak of universal-approval-era Drake. — Jon Caramanica▶ Listen on Spotify, Apple Music or YouTubeB Jacks featuring Zeddy Will, ‘Get Jiggy’A post-drill hip-house throwback that restores lightness to contemporary rap. These two young rappers — B Jacks from New Jersey, Zeddy Will from Queens — find a middle ground between the dance floor and the comedic internet, making a song that works as a party anthem, a meme soundtrack or a savvy entry in the long lineage of club-focused hip-hop. It’s summer block party manna. — Caramanica▶ Listen on Spotify, Apple Music or YouTubeObongjayar, ‘Not in Surrender’Obongjayar’s “Not in Surrender” finds its way to euphoria.Diego Donamaria/Getty ImagesWe 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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      Sly Stone and the Sound of an America That Couldn’t Last

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      The influential musician, who died on Monday at 82, forged harmony — musical and otherwise — that he wasn’t able to hold together on his own.“Landscape” is just one of those words. It’s lost all mouthfeel. It implies a sort of vastness — “the landscape of history,” “the landscape of man,” “the commercial baking landscape.” As craft, it connotes comeliness: “landscape painting.” In action, it exacts beauty through order: a city’s landscaper.Sly Stone died on Monday, at 82, and there it was again. He “redefined the landscape of pop, funk, and rock music,” declared an official news release. It’s more like landscapes. But who’d deny the gist? I’m sitting here studying a photo of Stone and his band, the Family Stone, five dudes, two chicks, two white, five black. For a racially traumatized America, here was a landscape that redefined “landscape,” too.The band was his idea, as were their songs. What they redefined was how much sound and rhythm you could pack into three minutes — often, into less. The opening 15 seconds of their first hit, “Dance to the Music,” are a blast, like from a launchpad: Greg Errico beats the skins off his drums while Cynthia Robinson screams for you to get up. The horns sound drunk; Freddie Stone’s guitar sounds like it’s responding to a 9-1-1 call.Then at about the 16th second — mid-flight — the ascending party halts and a doo-wop parachute opens. Harmony and tambourine lilt to earth, whereupon we’re exhorted to … dance to the music. Lyrically, all that’s happening here is instruction, pronouncement. “I’m gonna add some bottom,” bellows Larry Graham, “so that the dancers just won’t hide,” before his motorific bass lick starts peeling wallflowers off the wall.This, to paraphrase another Sly gemstone, is a simple song that, musically, teems with, to quote a different gemstone, a vital songwriting and performance philosophy: fun. What else is happening here? Well, the landscapers are celebrating the landscape of themselves. They’re warming up, warming us up, banging out their promise of redefinition. Motown, rock ’n’ roll, gospel, marching band, jazz, lullaby. For about three years, every one their hits was most of all of those: America’s sounds pressed together into radical newness by seven people who dared to embody a utopia that, come 1968, when the band was reaching it apogee, seemed otherwise despoiled. For three years, this band was disillusionment’s oasis.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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      Book Review: ‘Waiting for Britney Spears: A True Story, Allegedly,’ by Jeff Weiss

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      In a scrappy new memoir, Jeff Weiss blurs fact and fancy as he recounts his stint as a bit player in the celebrity-industrial complex.WAITING FOR BRITNEY SPEARS: A True Story, Allegedly, by Jeff WeissIn 2023, the pop princess Britney Spears published her autobiography, “The Woman in Me.” In its pages, Spears had choice words for the paparazzi who pursued her at the heights and depths of her fame. She described them as enemy combatants, the ghosts in a Pac-Man game, sharks who sensed blood in the water. They were, she wrote, “an army of zombies” who treated her with “disregard” and “disgust.”She hated them. She feared them. Jeff Weiss, by his own account, was one of them.In the 2000s, Weiss worked as an occasional reporter for a couple of tabloids. (He was also cited for trespassing on Brad Pitt’s property, ostensibly at the bidding of People magazine.) He details these exploits — with grandiosity and rue — in “Waiting for Britney Spears: A True Story, Allegedly.” It is not a novel, not yet a memoir. A roman à clef? Probably. Autofiction? Sure. It is also, in its most engaging moments, a bedazzled biography of Spears herself, as glimpsed across the dance floor, or through a long lens.Weiss, if you believe him, first met Spears when he sneaked into the “ … Baby One More Time” video shoot, which was held at his Venice, Calif., high school. The first glimpse of a pigtailed Spears ensorcelled him. A few years later, sprung from college and lightly adrift, Weiss found himself flung into her orbit again. Zhuzhing his résumé and shushing his qualms, Weiss persuaded a tabloid to hire him as a Hollywood party and celebrity reporter. (Context clues suggest that the tabloid was Star; in the book, Weiss calls it Nova.)This is a book that wears its antecedents on its sleeve, or perhaps low on the brow, like a Von Dutch hat. There’s new journalism here and gonzo journalism, as well as more literary stabs at the mournfulness of F. Scott Fitzgerald and the contempt of Nathanael West. Parts of the book read like a retread of “Miss Lonelyhearts,” doused in apple martinis. Other sections suggest link-rotted LiveJournal entries. In broad strokes, it is a story of a young man’s disillusionment, a West Coast “Sweet Smell of Success,” if success smelled like Victoria’s Secret body mist.These strokes are indifferently compelling. Weiss falters in building stakes or sympathy for the self he describes. A 22-year-old college grad distracted from working on his novel? Oh no! And there is a cloying quality to his repeated insistence that he is too pure, too talented to do the work of a tabloid reporter. Many of us who make a life in journalism have done as bad or worse, without ever expensing our drinks.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