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      6 Songs From ‘Just in Time’ That Capture Bobby Darin’s Legacy

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      Before David Bowie, Madonna and Beyoncé made the idea of being a pop star synonymous with constant reinvention, there was Bobby Darin.He “could sound like anybody and sing any style,” Bob Dylan wrote of the singer in his 2022 book, “The Philosophy of Modern Song.” Not only was Darin “more flexible than anyone of his time,” Dylan noted, but “even in repose he just about vibrated with talent.”Neil Young, another rocker known for musical shape-shifting, expressed similar admiration. “I used to be pissed off at Bobby Darin because he changed styles so much,” he told Rolling Stone. “Now I look at him and think he was a [expletive] genius.”It’s that versatility, alongside his complicated life, that the new Broadway show “Just in Time,” in previews at Circle in the Square Theater, aims to explore through Darin’s swinging hits.Developed and directed by Alex Timbers (a Tony winner for “Moulin Rouge!”) and starring Jonathan Groff (a Tony winner last year for “Merrily We Roll Along”), “Just in Time” is set in a nightclub, complete with an onstage band. While Darin is remembered for his magnetic performances, his story requires something more than a conventional jukebox bio-musical.Jonathan Groff as Bobby Darin, singing his first big hit song, “Splish Splash,” in the musical “Just in Time” at the Circle in the Square Theater.Sara Krulwich/The New York TimesWe 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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      Amadou Bagayoko, Half of Malian Duo Who Went Global, Dies at 70

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      As Amadou & Mariam, he and his wife were improbable pop stars on two counts. Their style was venturesome and eclectic, and they were blind virtuosos.Amadou Bagayoko, a Malian guitarist and composer who with his wife, the singer Mariam Doumbia, formed Amadou & Mariam, inventing a broadly accessible sound that made fans of people worldwide who otherwise knew little about music from Africa, died on Friday in Bamako, Mali’s capital. He was 70.His death was announced by the Malian government, which did not provide a cause. He and Ms. Doumbia lived in Bamako.In the late 2000s and early 2010s, Amadou & Mariam was regularly described as the new century’s most successful African musical act.Mr. Bagayoko, who grew up listening to Led Zeppelin and Pink Floyd, called their sound “Afro-rock,” and the group regularly combined his winding guitar solos with, for example, the pounding of a West African djembe drum.Yet the group’s music also consistently evolved. Their breakout hit, the 2005 album “Dimanche à Bamako,” had chatty spoken asides, sirens, the hubbub of crowds — city sounds turned into melodies. Their 2008 album “Welcome to Mali,” conversely, embraced an electronic style of funk, opening with a song, “Sabali,” featuring Damon Albarn of the arty hip-hop group Gorillaz.What was consistent was a sweet, graceful sound that still had the power to build to crescendos, with Ms. Doumbia’s alto achieving clear, pleasant resonance over a rich orchestration.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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      John Peck, Underground Cartoonist Known as The Mad Peck, Dies at 82

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      Among many other accomplishments, he illustrated a scholarly work on the history of comic books and wrote record reviews in four-panel comic-strip form.John Peck, a cultural omnivore known as The Mad Peck whose dryly humorous style as an underground cartoonist, artist, critic, disc jockey and record collector was accompanied by an ornate eccentricity, died on March 15 in Providence, R.I. He was 82.The cause of his death, in a hospital, was a ruptured aneurysm in his aorta, said his sisters, Marie Peck and Lois Barber.Mr. Peck was not as well known or acclaimed as underground cartoonists like Robert Crumb or Art Spiegelman. That was perhaps in part because his interests were so broad, Gary Kenton, who edited him at Fusion and Creem magazines from the late 1960s into the ’70s, said in an interview.“To me, he would be a Top 10 cartoonist, a Top 10 D.J., a Top 10 rock critic,” Mr. Kenton said.Mr. Peck illustrated one of the first scholarly works on the importance of comic books. And he was perhaps the first cartoonist to write record reviews in four-panel comic-strip form.He also wrote an academic paper in 1983 with the literary commentator Michael Macrone about the evolution of television; its title, “How J.R. Got Out of the Air Force and What the Derricks Mean,” playfully referenced phallic symbolism in the oil-soaked prime-time soap opera “Dallas.” Mr. Peck once called it his “crowning achievement.”His comic-strip music critiques appeared in Fusion, Creem, Rolling Stone and other music publications, and in The Village Voice. He worked in a retro style repurposed from the 1940s and ’50s and wrote with sardonic humor (“Is There Life After Meatloaf?”), while offering trustworthy criticism.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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      Tracy Chapman Wants to Speak for Herself

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      “I haven’t really done press in a long time,” Tracy Chapman said as she settled onto a bench in the courtyard of San Francisco’s stately Fairmont Hotel earlier this week, wearing a black beanie over her pulled-back, gray-flecked dreads.Over the past decade, the singer and songwriter has remained nearly silent, though the past two years have brought renewed fervor for her tenderhearted folk music. In 2023, Luke Combs released a smash cover of her 1988 debut single, “Fast Car,” and the two performed a deeply stirring duet at last year’s Grammys. Still, Chapman has remained resolutely out of the public eye, passing on interviews about the second life of “Fast Car” and declining to show up at the Country Music Awards, where it took song of the year, making her the first Black woman, and Black songwriter, ever to win a CMA.But Chapman, 61, agreed to this interview because she wants to talk about something she is particularly excited about: the vinyl reissue of her multiplatinum self-titled debut, which arrived on Friday. “This is an opportunity for me to be able to say why I wanted to do this project and what it means to me,” she said, “instead of letting the chatter speak for myself.”Flowers bloomed around her in rich shades of lilac and orange, but Chapman was attired in unobtrusive neutrals: a pale pink button-up under a black zip-up sweater beneath a casual, blazer-like jacket. (“The key to your comfort is to have layers,” she said of her longtime home city’s fickle climate.) Over an hour, she spoke about the album, and also much more — like that emotional Grammy performance (afterward, she “was weepy for weeks”), her penchant for notebooks (she recommended Roland Allen’s “The Notebook: A History of Thinking on Paper”), her disinterest in streaming music and the current state of that elusive shadow her best songs have always chased: the American dream.Tracy Chapman onstage in 1999. Her self-titled debut album arrived 11 years earlier, when she was 24.Frank Micelotta/Getty ImagesFor a figure who has become better known for her reserve than her public statements, Chapman was remarkably warm and open, quick with an easy, amiable laugh. She is a thoughtful and considered talker, speaking in full sentences that sometimes pause for long parenthetical asides, yet always close cleanly, returning to her original point.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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      Miley Cyrus’s Apocalyptic Pop, and 9 More New Songs

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      Hear tracks by Bruce Springsteen, Elton John and Brandi Carlile, Wet Leg 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.Miley Cyrus, ‘End of the World’Miley Cyrus has announced that her album “Something Beautiful,” due May 30, will be a “pop opera” and a “visual experience,” with a film to follow in June. One of its early singles, “End of the World,” is a luxurious pop extravaganza with songwriting collaborators including Jonathan Rado from Foxygen and Molly Rankin and Alec O’Hanley from the group Alvvays. A pumping beat, stacked-up guitars, orchestral underpinnings and a platoon of backup vocals abet Cyrus as she calls for one last, desperate chance at pleasure. “Let’s pretend it’s not the end of the world,” she urges. She probably didn’t know she’d be singing through an economic crisis. JON PARELESBruce Springsteen, ‘Rain in the River’Bruce Springsteen was hoarse and howling when he recorded “Rain in the River,” now released as a preview of “Tracks II: The Lost Albums,” an 83-song collection from his archives that will be released in June. It’s a booming, arena-scale cry of anguish with Springsteen’s guitars pealing, droning and spinning gnarled leads. His character gets spurned, told that “Your love means no more to me than rain in the river.” What happens next is ambiguous — and possibly fatal. PARELESElton John and Brandi Carlile, ‘Little Richard’s Bible’Layers of fandom inform “Who Believes in Angels?,” the new duet album by Elton John and Brandi Carlile. Carlile grew up as an ardent fan of John’s songwriting and flamboyant gay identity, while the producer Andrew Watt, who collaborated on the songwriting (along with John’s longtime lyricist, Bernie Taupin), spurs longtime musicians to rediscover their youthful spark. The album’s two opening tracks pay tribute to songwriters that John admired: Laura Nyro and, in this song, Little Richard. John, now 78, sings about Little Richard’s swings between carnality and faith, with high harmonies from Carlile, and he pounds out piano chords as a lifetime rock ’n’ roll believer. PARELESWet Leg, ‘Catch These Fists’A deadpan near-spoken vocal, bristling bass and guitar riffs and a beat that stomps its way into the chorus: those were the ingredients of the English indie-rock band Wet Leg’s 2021 smash, “Chaise Longue.” The group deploys similar elements in “Catch These Fists,” but trades the drolleries of “Chaise Longue” to contend with a more fraught situation: an unwanted pickup attempt at a club. “I know all too well just what you’re like,” Rhian Teasdale tells the suitor. “I don’t want your love — I just wanna fight.” PARELESThe Hives, ‘Enough Is Enough’The swaggering Swedish punks the Hives are back — so soon! — with the first single from an album due Aug. 29 called “Play It Again Sam.” The quintet paused after its 2012 LP “Lex Hives” until 2023, when it returned with “The Death of Randy Fitzsimmons.” (“It was like a slow, 10-year-long panic,” the frontman Howlin’ Pelle Almqvist joked then. “It was never an outright panic because we continued to be so immensely popular worldwide.”) “Enough Is Enough” rides four chords and a wave of frustration to a delightfully tuneful bridge. In the video, Almqvist is the king of the ring — until he takes a punch that lands him in the hospital. Like his powder keg of a band, he rallies. CARYN GANZWe 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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      Bruce Springsteen Will Release Seven ‘Lost Albums’ in June

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      The singer and songwriter announced a boxed set featuring 83 songs, of which 74 have never been officially released in any form.Bruce Springsteen is opening his vault — and unleashing seven “lost” LPs.On June 27, Springsteen will release “Tracks II: The Lost Albums,” a collection of 83 songs on seven CDs (or nine vinyl LPs), of which 74 have never been officially released in any form, according to an announcement from the star on Thursday.Fans have long known that Springsteen has withheld many songs throughout his career. Over the years the singer-songwriter has made stray comments about shelved or unfinished recordings, sometimes seeming to itch to get them completed and released.But even many Bruceologists may be surprised at the scale of “Tracks II,” which is organized as seven discrete projects from 1983 to 2018, each with its own production and stylistic approach. Among them are working tapes from Springsteen’s fruitful pre-“Born in the U.S.A.” period and a hip-hop-influenced album from the early 1990s.“‘The Lost Albums’ were full records, some of them even to the point of being mixed and not released,” Springsteen, 75, said in a statement.“LA Garage Sessions ’83” has 18 songs from the period when Springsteen was developing “Born in the U.S.A.,” his monster 1984 hit, a moment of transition from the raw solo demos that were released as “Nebraska” (1982). Many of those titles, like “Fugitive’s Dream” and “Don’t Back Down on Our Love,” have long circulated among fans as bootlegs, but are getting their first official release on “Tracks II.”“Streets of Philadelphia Sessions” peels back the curtain on another phase of Springsteen’s career. After using synthesizers and a drum machine to record “Streets of Philadelphia,” a solo song for Jonathan Demme’s 1993 film “Philadelphia” — which went on to win best original song at the Academy Awards — Springsteen continued to experiment with the format, and word filtered out about a dark LP with a “hip-hop edge.” But even after fully preparing it for release, Springsteen opted to hold the album back.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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      What’s His Age Again? Blink-182’s Mark Hoppus (Now 53) Looks Back.

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      In early March, Mark Hoppus, the singer and bassist for the long-running pop-punk trio Blink-182, and his wife, Skye, were special guests at a Sotheby’s modern and contemporary art auction in London. The sale featured a piece from their collection, a rare Banksy titled “Crude Oil (Vettriano),” up alongside works by Yoshitomo Nara, Gerhard Richter and Vincent van Gogh.“It was such rarefied air that we’ve never been a part of before,” Hoppus recalled at his home a week later, outfitted in chunky black glasses, a Dinosaur Jr. long-sleeve T-shirt, navy blue Dickies and Gucci Mickey Mouse sneakers. The painting sold for nearly $5.5 million, part of which will go to charity.It would have been hard to predict such a highfalutin turn for Hoppus back in 1999, when Blink-182 released its magnum opus, “Enema of the State,” which catapulted the band to MTV “Total Request Live” stardom and sold five million copies domestically. The video for the album’s first single, the jocular “What’s My Age Again?,” famously features the band members running unclothed through the streets of Los Angeles. (“Naked dudes are so ridiculous,” Hoppus said. “It just looks comical to me.”) Blink-182 followed up that LP with its first No. 1 album, “Take Off Your Pants and Jacket,” two years later.Despite Blink-182’s reputation for high jinks, naughty puns and charmingly adolescent hits like “All the Small Things,” Hoppus is remarkably thoughtful in person. Jim Adkins, whose group, Jimmy Eat World, supported Blink-182 and Green Day on a 2002 tour, said in an interview that Hoppus exhibited “human empathy.”“I know ‘Mark from Blink-182 is emotionally mature’ might seem like an oxymoron if you don’t know him,” Adkins admitted, “but I would say that.”Blink-182, from left: Mark Hoppus, Travis Barker and Tom DeLonge in 1999.Lester Cohen/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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      Joe DePugh, Pitcher Who Inspired Bruce Springsteen’s ‘Glory Days,’ Dead at 75

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      A gifted athlete, he gave a clumsy teenage Bruce Springsteen his first nickname, Saddie. Years later, the Boss returned the favor, memorializing him in a song.Joe DePugh, the Little League teammate of Bruce Springsteen who inspired the rocker’s hit song “Glory Days,” a rousing, bittersweet anthem to their hardscrabble childhoods in Freehold, N.J., where time passed by “in the wink of a young girl’s eye,” died on Friday in West Palm Beach, Fla. He was 75.The cause of death, in a hospice facility, was metastatic prostate cancer, his brother Paul said.In the early 1960s, before Mr. Springsteen became the Boss, he was a clumsy baseball player whose athletic abilities were so sad that Joe, the team’s star pitcher, gave him the nickname Saddie.“Bruce lost this big game for us one year,” Mr. DePugh told The Palm Beach Post in 2011. “We stuck him out in right field all the time, where you think he’s out of harm’s way. But this important game, we had a bunch of guys missing, and we had to play him.”In the last inning, Saddie dropped an easy fly ball.“Actually, it hit him on the head,” Mr. DePugh said, “and we lost the game.”They remained friends in high school, bonding over their turbulent home lives and their distant, alcoholic fathers. After graduation, Saddie took off to play rock ’n’ roll in bars and nightclubs. Joe, who excelled at multiple sports, tried out for the Los Angeles Dodgers but wound up playing basketball at King’s College in Wilkes-Barre, Pa.In 1973, when they had been out of touch for years, these two boyhood friends bumped into each other at the Headliner, a roadside bar in Neptune, near the Jersey Shore. Mr. Springsteen was walking in; Mr. DePugh was walking out.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