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    What’s on TV This Week: Lots of Medical and Police Dramas

    ABC, NBC and Fox are all premiering new shows about doctors, cops or firefighters. The Voice is also returning, with Snoop Dogg joining the judges’ panel.For those who still enjoy a cable subscription, here is a selection of cable and network TV shows, movies and specials that broadcast this week, Sept. 23-29. Details and times are subject to change.Monday9-1-1: LONE STAR 8 p.m. on Fox. As we reminisce about “The West Wing” premiering 25 years ago and daydream about Rob Lowe’s Sam Seaborn (oh, just me?), it’s the perfect time to turn our attention to his current show about a fire station, which is returning for its fifth season.THE VOICE 8 p.m. on NBC. Gwen Stefani and Reba McEntire are back in their red swiveling judges’ chairs, this year joined by Snoop Dogg and Michael Bublé. While in Paris covering the Olympics, Snoop called the judges “a fearless foursome.”Zachary Quinto in “Brilliant Minds.”Rafy/NBCBRILLIANT MINDS 10 p.m. on NBC. If there’s something that we collectively can’t get enough of, it’s doctor shows. This one is inspired by the work of the famed neurologist and author Oliver Sacks, whose research and widely read writings illuminated disorders and cases he had studied or treated. The show stars Zachary Quinto as Dr. Oliver Wolf, a neurologist who works with his team not only to help solve their patients’ difficult cases, but also to deal with their own mental health.TuesdayMURDER IN A SMALL TOWN 8 p.m. on Fox. Based on the Karl Alberg books by L.R. Wright, this show follows Alberg (Rossif Sutherland), as he moves to a small town to become its police chief. And there is, of course, much more drama than expected in this seemingly idyllic community.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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    9 Surprising Songs Sampled in Classic Hip-Hop Tracks

    Hear where moments of Kraftwerk, Enya, Herb Alpert and more ended up in producers’ deft hands.Kraftwerk.Cyril Zingaro/Keystone, via Associated PressDear listeners,Today’s playlist is a celebration of a tried-and-true method of discovering new-to-you music: identifying the samples in hip-hop songs.In his recently released book “Hip-Hop Is History,” Questlove recalls a story from his childhood that speaks to this experience. When he couldn’t fall asleep, he’d listen to the radio in the middle of the night, when D.J.s were free to play the most outré sounds. “During those years,” he writes, “I heard a song that was bizarre synth music, completely compelling, pure hypnosis on the airwaves.” He tried to tape it but could never correctly anticipate when it would come on. Several years passed and he still hadn’t figured out what that elusive song was, but then one day he heard it — or something like it — at a roller rink birthday party. When he asked about it, the D.J. was so taken with his curiosity, he gifted him the 12-inch single. “It was ‘Planet Rock,’” he writes, referencing the legendary track by Afrika Bambaataa & Soulsonic Force. “It sampled the Kraftwerk song I had heard, which I learned was called ‘Trans-Europe Express.’ That party and that 12-inch made my day, my year and part of my life.”These days it’s much easier to track down the source of a sample, thanks to Google searches, apps like Shazam and websites like the invaluable database WhoSampled.com. But samples are still powerful portals between genres, cultures and music’s past and present. Sampling is the reason Dr. Dre is one degree of separation from the Scottish composer David McCallum, and why we know that Enya is a fan of the Fugees — and vice versa.There are so many great and unexpected samples in classic hip-hop songs that today’s playlist should be considered only a brief introduction. (Perhaps a sequel will arrive in a future Amplifier, too.) If you’re a true hip-hop head, listen to the playlist before reading the descriptions below and see how many tracks you can name from hearing the source material of their samples. And if you’re more familiar with the originals than the songs that sampled them, make sure you also check out the hip-hop classics linked in the descriptions below.We so tight that you get our styles tangled,LindsayListen 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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    Darryl ‘Joe Cool’ Daniel, Illustrator of Snoop Dogg’s First Album Cover, Dies at 56

    The 1993 album “Doggystyle” went on to sell millions of copies around the world and solidified the career of Mr. Daniel, known as Joe Cool, as a hip-hop illustrator.Darryl Daniel, a hip-hop illustrator who designed the cover for his cousin Snoop Dogg’s genre-defining 1993 album “Doggystyle” and went on to lend his distinctive artistic flair to brands like Adidas and Supreme, has died. He was 56.His sister Diondra Daniel confirmed his death, and Snoop Dogg acknowledged it on Monday on social media, but neither provided additional information.Mr. Daniel, known in the hip-hop world as Joe Cool, became synonymous with the bright colors, block letters and bawdy canines featured on the cover of “Doggystyle,” which sold millions of copies around the world.His style from then on would always be linked to the album’s hits, including “Gin and Juice” and “Lodi Dodi,” which were heard on the streets and at house parties throughout Long Beach, Calif., greater Los Angeles and ultimately the country in the early 1990s, when “Doggystyle” helped usher in an era of G-funk music and became foundational for West Coast hip-hop.The artwork depicts two dogs in suggestive postures while several others peer over a brick wall above a dumbstruck dogcatcher. The risqué content drew negative reactions in the early ’90s, with some critics saying the depictions were demeaning to women, but Snoop Dogg fervently promoted Mr. Daniel’s work.On an episode of “The Arsenio Hall Show” in 1994, Mr. Hall asked Snoop Dogg if he had anything to say about the artwork.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 Underdoggs’ Review: Guess Who the New Coach Is, Kids

    Snoop Dogg, as an egomaniacal retired football star, turns community service into a sport when he sees a chance to rekindle romance with a player’s mom.It’s not until the film’s postscript that “The Underdoggs” suddenly makes sense: The movie, starring Snoop Dogg as a retired athlete coaching a Pop Warner team, is inspired by the Snoop Youth Football League, the real-life organization that he started in 2005. The film, directed by Charles Stone III, is perhaps best understood as something meant as a fun dedication to the program — but it makes for a forgettable, often aggressively perfunctory work.Snoop plays Jaycen Jennings, a former star wide receiver who’s become an insufferable has-been and, after a reckless driving charge, is forced to do community service in his hometown. After running into his old flame (Tika Sumpter), whose son is on a helpless youth football team, he decides to coach the squad to burnish his public image and cozy up to his former sweetheart.It’s a familiar narrative — an embittered narcissist, down on his luck, forced by circumstances to coach, and eventually connect with, a ragtag group of kids — a situation the film knowingly plays with, making frequent references to the Emilio Estevez character in “The Mighty Ducks.” But it can’t come up with any memorable jokes or genuine heart to fill in the beats that it mostly slogs through. The kids in the film are simply too young to make an impact, and Snoop, who is fine enough as an actor, ultimately doesn’t possess the charisma necessary to elevate a lazy script.What we’re left with instead is the occasional chuckle from Mike Epps as the hapless class clown he usually plays, and the vague outline of other movies that have done this story with more charm.The UnderdoggsRated R for pervasive language, sexual references, drug use and some underage drinking. Running time: 1 hour 41 minutes. Watch on Prime Video. More

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    Mahogany L. Browne’s Love Letter to Hip-Hop

    It was a clear black night, a clear white moon. Warren G, “Regulate” (1994)Originally appearing on the soundtrack of the Tupac Shakur film “Above the Rim,” this song is built around a sample of Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near).” I’m looking like a star when you see me make a wish. […] More

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    California Bill Could Restrict the Use of Rap Lyrics in Court

    The bill, which applies more broadly to other forms of creative expression, has unanimously passed the Senate and Assembly and could become law by the end of September.A California bill that would restrict the use of rap lyrics and other creative works as evidence in criminal proceedings has unanimously passed both the State Senate and Assembly, and could soon be signed into law by Gov. Gavin Newsom.The bill, introduced in February by Assemblyman Reginald Jones-Sawyer, a Democrat who represents South Los Angeles, comes amid national attention on the practice following the indictment of the Atlanta rappers Young Thug and Gunna on gang-related charges. Prosecutors have drawn on the men’s lyrics in making their case.The California measure, however, would apply more broadly to any creative works, including other types of music, poetry, film, dance, performance art, visual art and novels.“What you write could ultimately be used against you, and that could inhibit creative expression,” Mr. Jones-Sawyer said Wednesday in an interview. He noted that the bill ultimately boiled down to a question of First Amendment rights.“This is America,” he said. “You should be able to have that creativity.”Mr. Newsom has until Sep. 30 to sign the bill into law. If he neither signs nor vetoes the bill by that date, the measure would automatically become law. The law would then go into effect on Jan. 1, 2023, Mr. Jones-Sawyer said.When asked whether Mr. Newsom planned to sign the bill, his office said that it could not comment on pending legislation. “As will all measures that reach the governor’s desk, it will be evaluated on its merits,” it said.Though the bill’s genesis is in preventing rap stars’ lyrics from being weaponized against them, the measure loosely defines “creative expression” to include “forms, sounds, words, movements, or symbols.”It would require a court to evaluate whether such works can be included as evidence by weighing their “probative value” in the case against the “substantial danger of undue prejudice” that might result from including them. The court should consider the possibility that such works could be treated as “evidence of the defendant’s propensity for violence or criminal disposition, as well as the possibility that the evidence will inject racial bias into the proceedings,” the bill says.“People were going to jail merely because of their appearance,” Mr. Jones-Sawyer said. “We weren’t trying to get people off the hook. We’re just making sure that biases, especially racial biases toward African Americans, weren’t used against them in a court of law.”The bill would require that decisions about the evidence be made pretrial, out of the presence of a jury. For decades, prosecutors have used rappers’ lyrics against them even as their music has become mainstream, with critics and fans arguing that the artists should be given the same freedom to explore violence in their work as were musicians like Johnny Cash (did he really shoot a man in Reno just to watch him die?) or authors like Bret Easton Ellis, who wrote “American Psycho.”In other cases, though lyrics were not used as evidence, they were discussed in front of the jury, which “poisoned the well” by allowing bias to enter the court, according to Mr. Jones-Sawyer’s office. It also noted that while country music has a subgenre known as the “murder ballad,” it is only the lyrics of rap artists that have been singled out.Charis E. Kubrin, a professor of criminology, law and society at the University of California, Irvine, who has extensively researched the use of rap lyrics in criminal proceedings, said that the way prosecutors have used defendant-authored lyrics in court was unique to rap.The practice, she said, essentially treated the lyrics as “nothing more than autobiographical accounts — denying rap the status of art.” The California bill is significant, Dr. Kubrin said, because it would require judges to consider whether the lyrics would inject racial bias into proceedings. “This is bigger than rap,” she said.Among the first notable times the tactic was used was against the rapper Snoop Dogg at his 1996 murder trial, when prosecutors cited lyrics from “Murder Was the Case.” The rapper, whose real name is Calvin Broadus, was acquitted.Snoop Dogg entering a Los Angeles court in 1996, where a prosecutor cited his lyrics during a murder trial. He was acquitted.Mark J. Terrill/Associated PressMost recently, the charges against Young Thug and Gunna have called national attention to the tactic. Both men, who have said they are innocent, were identified as members of a criminal street gang, some of whom were charged with violent crimes including murder and attempted armed robbery.Young Thug, whose real name is Jeffery Williams, co-wrote the Grammy-winning “This is America” with Childish Gambino and is one of the most influential artists to emerge from Atlanta’s hip-hop scene.In November, two New York lawmakers introduced a similar bill that would prevent lyrics from being used as evidence in criminal cases unless there was a “factual nexus between the creative expression and the facts of the case.” It passed the Senate in May.In July, U.S. Representatives Hank Johnson of Georgia and Jamaal Bowman of New York, both Democrats, introduced federal legislation, the Restoring Artistic Protection Act, which they said would protect artists from “the wrongful use of their lyrics against them.”The California bill is supported by several other music organizations and activist groups, including the Black Music Action Coalition California, the Public Defenders Association and Smart Justice California, which advocates criminal justice reform.In a statement of support from June, the Black Music Action Coalition, an advocacy organization that battles systemic racism in the music business, said that prosecutors almost exclusively weaponized rappers’ lyrics against men of color.“Creative expression should not be used as evidence of bad character,” the organization said, maintaining that the claim that themes expressed in art were an indication of the likelihood that a person was violent or dishonest was “simply false.”Harvey Mason Jr., the chief executive of the Recording Academy, which runs the Grammy Awards, said that the bill was intended to protect not only rappers, but also artists across all genres of music, and other forms of creativity.“It’s bigger than any one individual case,” Mr. Mason said. “In no way, at no time, do I feel that someone’s art should be used against them.” More

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    ‘Day Shift’ Review: Stakes Out

    Jamie Foxx is a blue-collar vampire hunter and a steadying hand on the tiller of this frenzied action comedy.A series of baroque action sequences strung on twin wires of corn and cliché, the vampire comedy “Day Shift” starts out at a gallop and keeps right on moving. And motion is everything in this Netflix caper — J.J. Perry’s first feature as a director after more than three decades in stunt work — those action scenes hogging most of the filmmakers’ attention and much of their imagination. Jamie Foxx might have top billing, but right there beside him are the professional contortionists whose eye-popping moves are more commonly seen in Las Vegas showrooms than on movie screens.Even so, Foxx, as you might expect, has got this. As Bud Jablonski, a cash-strapped pool cleaner-cum-vampire hunter, the actor radiates blue-collar competence in the midst of escalating buffoonery. Bud has an estranged, exasperated wife and a darling young daughter in need of expensive dental work and school tuition. To pay for both, he must rejoin the union that expelled him for his unorthodox hunting practices. Vouched for by his friend Big John (Snoop Dogg), a cool, cowboy-hatted lady-killer, Bud promises the aggrieved union boss that he will behave. Uh-huh.Set in a sunny San Fernando Valley literally crawling with the undead, “Day Shift” has some sly touches (the übervamp, played by Karla Souza, sells real estate) and an uptight sidekick in Seth (Dave Franco), Bud’s union representative. A dorky desk jockey, Seth is the familiar foil for the hero’s one-liners, but Franco plays him with a sweetness that keeps his fussiness from grating. Frenzied and goofily good-natured, “Day Shift” is all sensation and not much sense — except, of course, in its belief in the absolute utility of a union card.Day ShiftRated R for bloody massacres galore. Running time: 1 hour 53 minutes. Watch on Netflix. More

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    Carly Rae Jepsen’s Brand-New Boy Problems, and 7 More New Songs

    Hear tracks by DJ Khaled featuring Drake and Lil Baby, Panda Bear & Sonic Boom, the 1975 and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Carly Rae Jepsen, ‘Beach House’Boy problems? Carly Rae Jepsen’s got them in spades on “Beach House,” a cheeky earworm from her forthcoming album “The Loneliest Time.” Jepsen employs her deadpan sense of humor as she lists off the red flags and deal-breakers that marred relationships with “Boy No. 1” to “Boy No. I Can’t Keep Count Anymore.” Amid all the silliness, though (“I got a beach house in Malibu,” one prospect tells her, “and I’m probably gonna hurt your feelings”), the song effectively taps into the romantic frustration of endless, “Groundhog Day”-esque first dates and long-term singledom: “I’ve been on this ride, this roller coaster’s a carousel,” Jepsen sings on the anguished pre-chorus, “And I’m getting nowhere.” LINDSAY ZOLADZDJ Khaled featuring Drake and Lil Baby, ‘Staying Alive’A quizzically melancholic opening salvo from the upcoming DJ Khaled album “God Did,” “Staying Alive” nods casually to the Bee Gees on the way to somewhere far less ecstatic. In this construction, staying alive is an act of defiance, not exuberance. Drake bemoans “This life that allow me to take what I want/it’s not like I know what I want,” while in the video, he plays a doctor smoking hookah in the hospital and absently signing off on charts of patients who might need some help achieving the song’s title. JON CARAMANICABenny Blanco, BTS and Snoop Dogg, ‘Bad Decisions’Equally unimaginative as the BTS English-language breakthrough hit “Dynamite” but somehow less cloying, this collaboration benefits from the grandfatherly presence of Snoop Dogg, who at this stage of his career always raps as if his eyebrow is arched, and he can’t quite believe what he’s called upon to do either. CARAMANICAThe 1975, ‘Happiness’“Happiness,” the latest single from the eclectic British pop group the 1975, manages to sound both sleek and a little spontaneous; the dense, ’80s-inspired production gleams but there’s always enough air circulating to keep the atmosphere well ventilated. The frontman Matty Healy sounds uncharacteristically laid back here, trading in his usual arch, hyper-referential lyrics for simpler sentiments: “Show me your love, why don’t you?” he croons on an ecstatic chorus that’s catchy without feeling overdetermined. The video, directed by Samuel Bradley, is a hoot, finding the group mugging in all variety of louche, gorgeously lit environments — basically the visual equivalent of the lush saxophone solo that drops in the middle of the song. ZOLADZBandmanrill, ‘Real Hips’A surprisingly luscious and nimble offering from the Newark rapper Bandmanrill that makes plain the through lines that connect drill music, Jersey club and bass music. CARAMANICAPanda Bear & Sonic Boom, ‘Edge of the Edge’Fans of Panda Bear’s beloved 2007 album “Person Pitch” will likely enjoy the sunny, collagelike “Edge of the Edge,” which will appear on “Reset,” the Animal Collective member’s collaborative album with Spacemen 3’s Sonic Boom, out next week. “Edge of the Edge” pairs a playful sample of the doo-wop group Randy & the Rainbows’ 1963 hit “Denise” with Panda’s serenely melodic vocals, which cut through the carefree, pop-psychedelic vibe with some light social critique: “Can’t say it’s what you bargained for,” he sings, wagging a finger at the frenzied escalation of technology, “It’s forever at the push of a button.” The song, in opposition, sounds contentedly off the grid. ZOLADZBonny Light Horseman, ‘Exile’The voices of Eric D. Johnson and Anaïs Mitchell entwine beautifully on “Exile,” the opening track from the folk trio Bonny Light Horseman’s upcoming second album “Rolling Golden Holy.” The song is a duet in the truest emotional sense, as Mitchell swoops in to finish some of Johnson’s lines and, on the chorus, provides a warm, glowing harmony that meets his lonely plea, “I don’t wanna live in exile.” ZOLADZYoungBoy Never Broke Again featuring Rod Wave, ‘Home Ain’t Home’The two loneliest howlers in hip-hop unite for a meditation on the joylessness of fame. CARAMANICA More