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      Ka Made Rap on His Own Terms. Hear How in 7 Songs.

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      Remembering the hip-hop artist (and New York City firefighter), who died over the weekend at 52.Ka onstage in 2014.Brecheisen/WireImage, via Getty ImagesDear listeners,One of the great joys of being a pop music critic is being able to ingest an artist’s whole body of work, find the throughlines and themes and meaningful resonances, and then be a bullhorn, sharing them with the world. And perhaps the job’s greatest grimness is to do the very same, but in service of memorial.That’s what I’ll be doing below, about the unfailingly and perspective-shiftingly great Brooklyn rapper Ka, who died this weekend, at a far-too-young 52.Ka’s music was a frame of mind as much as a sound — beginning in the late 2000s, when he was in his mid-30s, he made rap music as if by ancient, tattered blueprint. His raw material was the hip-hop of the late 1980s through the mid-1990s, but he didn’t seek to faithfully remake it. Instead, he distilled it, burned off its excesses, and created a thing of extreme concentration, thick poetry and icy tone.He was an inheritor of the woozily intricate narrative work of MF Doom, of the cocksure twistiness of his childhood friend Smoothe Da Hustler, and the more esoteric members of the Wu-Tang Clan, like GZA and Killah Priest.Ka produced most of his own music, though words were always his primary concern. Sometimes, he went drumless, or something very close to it — a negative-space perversion that served to outline his words in hard chalk.“They’re not for the radio, the club or the masses,” Ka wrote of his songs, in an early biographical statement on his website. “My music is for those who miss early ’90s hip-hop when pain and struggle were the dominant themes.”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

    • 150 Shares179 Views

      in Music

      Ka, Lone Soldier of New York’s Underground Rap Scene, Dies at 52

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      The rapper, whose name was Kaseem Ryan, was known for self-producing 11 albums while also a maintaining a career with the New York Fire Department.Kaseem Ryan, who built a small but fervent following as an underground Brooklyn rapper known as Ka while maintaining a career as a New York City firefighter, died in the city on Saturday. He was 52.His death was announced by his wife, Mimi Valdés, on Instagram, as well as in a statement posted on his Instagram page. No cause was given, though the statement said that he had “died unexpectedly.”First with the mid-1990s underground group Natural Elements, and then on 11 solo albums he produced himself and released over nearly two decades, Ka gripped hard-core hip-hop listeners with gloomy beats and vivid descriptions of street life and struggle.In a 2012 review of his second album “Grief Pedigree”, The New York Times pop music critic Jon Caramanica described Ka as “a striking rapper largely for what he forgoes: flash, filigree, any sense that the hard work is already done.”Kaseem Ryan was born in 1972 and raised in the Brownsville neighborhood of Brooklyn in New York. During his teen years, he dealt crack and sold firearms.He spent much of the 1990s trying to make a name for himself as a rapper, but then quit music altogether, only to come back a decade 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 Movies

      How the Dance Scenes in ‘Once Again (for the Very First Time)’ Came to Life

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      Jeroboam Bozeman and Rennie Harris’s careers have wound through street and concert dance. The two shaped the movement in “Once Again (for the Very First Time).”A man is falling from the sky. Even as he plummets, you can tell he’s a dancer: There is grace in the twisting of his wind-buffeted limbs. He lands not with a thud but a whisper, on the tips of his toes.That’s how the hip-hop fantasy “Once Again (for the Very First Time)” begins. (The movie opens in theaters on Oct. 18.) The film’s dream logic follows an unresolved love affair between a dancer, DeRay, played by Jeroboam Bozeman — the falling man of the opening sequence — and a spoken-word artist, Naima (Mecca Verdell).Neither Bozeman, a former member of the Alvin Ailey American Dance Theater, nor the film’s choreographer, the street dance poet Rennie Harris, had made a movie before. Plunged into the world of film, both landed softly, feet first. The dance scenes in “Once Again” — blistering battles, a solo of muffled rage, a duet that weaves through a club — reveal Bozeman and Harris discovering their natural affinity for the camera.Mecca Verdell with Bozeman in a scene from Boaz Yakin’s “Once Again (for the Very First Time).”Indican PicturesBoaz Yakin, the film’s writer and director, is a dance devotee. His parents are pantomimes who have taught movement for actors at Juilliard; his 2020 movie “Aviva” featured choreography by the gutsy contemporary dancer Bobbi Jene Smith. “Using movement to convey things that other modes can’t, that has always been part of my life,” he said in an interview.In “Once Again,” Yakin wanted hip-hop battles to be “a metaphor for this idea of both life and art as a struggle,” he said. A colleague recommended Harris, 61, a guiding light in hip-hop, renowned for translating street dance styles to the stage. And Harris suggested Bozeman for DeRay.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

    • 138 Shares139 Views

      in Music

      Sean ‘Diddy’ Combs’s Sex Trafficking Trial Is Set for May 5

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      The music mogul, wearing tan jail clothes at a court hearing, waved and smiled at six of his children and his mother in the gallery.Sean Combs, the embattled music mogul, is scheduled to stand trial next May in New York, a federal judge said at a hearing on Thursday.Judge Arun Subramanian of Federal District Court for the Southern District of New York, who was recently assigned to the case, set May 5 as the start of Mr. Combs’s trial on charges of racketeering conspiracy, sex trafficking and transportation to engage in prostitution.Mr. Combs, 54, has been held in a federal detention center in Brooklyn for the past three weeks after being arrested at a New York hotel and then twice denied bail. He will remain in jail until the trial, pending another appeal that his lawyers filed this week.Mr. Combs was present at the hearing on Thursday. Wearing tan jail clothes, he walked into the courtroom waving and smiling at his family assembled in the gallery, including his mother and six of his children, and he embraced some of his lawyers.The hearing had been set as a routine scheduling matter. But it came one day after Mr. Combs’s lawyers filed a motion in which they accused government agents of leaking footage of Mr. Combs assaulting his former girlfriend Cassie to CNN. Without citing direct evidence, the lawyers theorized in court papers that the Department of Homeland Security, the agency that raided Mr. Combs’s homes in March, had been behind the leak. They said they might ask for the video to be barred as evidence at the trial.Emily A. Johnson, one of the prosecutors, commented briefly at the hearing about the defense’s accusation of leaks, saying, “The government believes the motion is baseless and it is simply a means to exclude a damning piece of evidence.” She said the government would be filing a response to the defense’s motion.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

    • 113 Shares139 Views

      in Movies

      ‘Piece by Piece’ Review: Pharrell Williams’s Life, in Legos

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      The producer and musician gets the biographical documentary treatment — with an unexpected twist.Credit where it’s due: In a sea of formulaic biographical documentaries about musicians, “Piece by Piece,” about the life of the hitmaker and entrepreneur Pharrell Williams, stands out boldly. Not because it doesn’t follow the usual narrative formula. It absolutely does: humble beginnings, rocket toward stardom, crash and then, inevitably, resurrection. That’s all so standard to the genre that it’s practically calcified.No, “Piece by Piece” pops because everyone — including Williams and the film’s director, Morgan Neville — is played by animated Legos.This choice, which was Williams’s idea, comes off less gimmicky than it sounds. Legos have proven to be remarkably versatile utility players in the past decade. They’ve performed as Ninjas and Batman and themselves ever since “The Lego Movie” (2014) opened and became both a staggering commercial hit and an instant classic. The movie was clever and inventive, but the choice of toy worked, too: Legos are recognizable, beloved and, most important, endlessly open to reinterpretation. There’s no reason not to mingle your Lego Hogwarts set with your Lego Star Wars set in the shadow of your Lego Eiffel Tower alongside your little cousin’s Duplo trucks, and that’s the fun of them — the potential for chaos and imagination.For “Piece by Piece,” the Legos are taking on a new challenge: playing real people. Animated feature-length documentaries have become more common in recent years — “Waltz With Bashir” (2008) and “Flee” (2021) are two significant examples — but here the animation is aggressively nonrealistic, on purpose. The subjects, which include Gwen Stefani, Jay-Z, Justin Timberlake and Daft Punk, show up rendered as cylinder-headed, block-bodied minifigures, Lego parlance for the people-shaped pieces. Minifigure Williams and Minifigure Neville sit across from each other, chatting about the movie and Williams’s life. The voices are real — Neville interviewed the plethora of collaborators and artists that Williams has worked for and with — but we only ever see their Lego versions, with some distinguishing facial hair or outfit.The playfulness fits Williams’s aesthetic, which ranges from producing beats and albums for that dizzying array of artists to recording his own megahit “Happy” to collaborating on lines of streetwear, fragrances, eyeglasses, sneakers and skin care. He’s clearly bursting with ideas all the time, and that’s the narrative of the film: This is a man who never stops dreaming of ways to remix the world. It’s his playground, his sandbox. Legos fit right in.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

      The Viral Choreographer Changing the Way Women Move

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      In February 2023, Rihanna took the field during the Super Bowl LVII halftime show for her first performance in five years. As the opening notes of “Rude Boy” played, a group of dancers in identical puffy white suits and sunglasses gathered in the middle of the stage, moving with forceful precision, gathering speed as the […] More

    • 138 Shares159 Views

      in Music

      Sean ‘Diddy’ Combs Lawyers Accuse Government of Leaking Cassie Assault Video

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      The hip-hop mogul’s legal team said in a filing on Wednesday that it may ask for the widely published video to be barred from his trial.Lawyers for Sean Combs, the hip-hop mogul who is battling federal racketeering and sex trafficking charges, accused the government on Wednesday of leaking hotel surveillance footage of him brutally beating his former girlfriend to CNN, saying that they may ask for the widely published video to be barred from his trial.Prosecutors have made clear in court papers that the video — which shows Mr. Combs assaulting the singer Cassie in a hotel hallway in 2016 — is a key piece of evidence in their case. The surveillance footage was published by CNN in May, prompting Mr. Combs to apologize publicly for “inexcusable” behavior.It has never been clear how the footage made its way to the news organization, but in the court filing on Wednesday, lawyers for Mr. Combs, who has pleaded not guilty and has vehemently denied the criminal charges, accused the Department of Homeland Security, which executed raids of the defendant’s homes in March, of being responsible for the leak.“The videotape was leaked to CNN for one reason alone: to mortally wound the reputation and the prospect of Sean Combs successfully defending himself against these allegations,” the lawyers, Marc Agnifilo and Teny Geragos, wrote.The court filing cited a federal rule of criminal procedure that prohibits prosecutors or government agents from disclosing matters occurring before a grand jury.The lawyers did not cite direct evidence that Homeland Security officials had leaked the tape. But they accused the agency of a series of leaks, including in anonymous comments to The New York Post, that they said “all but ensured” that the grand jury and a potential trial jury would be tainted. The lawyers asked for a hearing to determine the government’s culpability in the leaks.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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      Is It Too Late Now to Say Sorry? 8 Songs for the High Holy Days.

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      Apology, forgiveness, moving on: These are some of humanity’s richest themes, and they have rich songs to match.Bob DylanFiona Adams/Redferns, via Getty ImagesDear listeners,As Lindsay mentioned on Friday, she’s out on book leave for the rest of the month. Starting next week, a series of knowledgeable Times staffers will sub in to provide thoughtfully curated playlists each Tuesday. This week, however, you are stuck with me: a reporter on the Culture desk who has written about Dylan and the Dead, and whose current Spotify rotation includes CoComelon’s “Wheels on the Bus” and the “Encanto” soundtrack (possibly Lin-Manuel Miranda’s finest work).For some of us, this is a week of reflection, repentance and weaning ourselves off caffeine: It’s the Days of Awe, the 10 days between Rosh Hashana, the Jewish New Year, which was last Thursday and Friday, and Yom Kippur, the Day of Atonement, which begins this Friday night. There are more superficially appealing holidays; Yom Kippur in particular is a fast day and is not supposed to be “fun.” But I earnestly don’t know what I would do without this time of year and the space it provides to pause and take stock. You don’t need to belong to any particular faith to find that a useful exercise.A High Holiday playlist might appear a tricky proposition. Popular music is not typically a space for solemnity and self-denial. On Yom Kippur itself, sex and nonessential drugs, to say nothing of rock ’n’ roll, are prohibited. But apology, forgiveness, moving on: These are some of humanity’s richest themes, and they have rich songs to match. While we cannot skimp on some of the most obvious artists — hello, Barbra; nice to see you, Leonard — we are also including Stevie Wonder and Outkast.I hope you reflect and enjoy. And, if you celebrate, have a sweet new year and a meaningful fast.Gut yontif,MarcListen 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