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    Fans Celebrate Hip-Hop’s 50th Anniversary

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    The start of hip-hop dates to Aug. 11, 1973, when DJ Kool Herc created continuous break-beats by working two turntables during a party in a rec room at 1520 Sedgwick Ave in the Bronx. On Friday night, exactly 50 years later, a concert was held at Yankee Stadium — roughly a mile and a half from hip-hop’s birthplace — to honor the occasion, featuring Run-DMC, Slick Rick, Ice Cube, Snoop Dogg, Lil’ Kim and Nas. DJ Kool Herc, 68, also appeared onstage to accept an award.Before the show, which was billed as “Hip Hop 50 Live,” the scene outside the stadium was heavy with fans of the sounds from the ’70s, ’80s and ’90s. Middle-aged couples on date nights arrived wearing matching Adidas track suits. A man strolled the promenade carrying a boombox and wearing a Kangol hat. Hawkers sold pins with pictures of Biz Markie and The Notorious B.I.G.Outside a McDonald’s opposite the stadium, a street musician performed Tupac Shakur hits, while an in-line skater entertained the crowd with basketball tricks. Stationed beside a subway entrance was an 8-year-old rapper, Hetep BarBoy, who, accompanied by his father, was selling CDs of his album. “I prefer old-school hip-hop,” Hetep said. “I like Rakim because of his flow and the clean message he was putting into the world. He rapped about positivity, and that’s also what my music is about.”In the edited interviews below, attendees reflected on hip-hop’s 50th. Some recalled witnessing the park jams and parties that defined the genre’s beginnings.Tamika TalbotExecutive assistantJutharat Pinyodoonyachet for The New York TimesPick a side: Old-school hip-hop or new? Old-school all day. I was at the rap battles in the parks. Hip-hop came from the dirt. You had to be a lyrical assassin then. If you weren’t, you were trash. I feel if you have something to say now, you’re seen as wack. Back then your flow had to be intact.Your old-school hero? Big Daddy Kane was once the prince of hip-hop. He had crazy lyrical flow. He was super-duper fly. He was unmatched.Richard ByarsCelebrity chefJutharat Pinyodoonyachet for The New York TimesWhich old-school hero are you here to see? Ice Cube. To me he represents the beginning of hip-hop’s renaissance. But I’d never use the term “old-school.” I call artists like him “true-school.”What’s a significant hip-hop history moment for you? The public access television show “Video Music Box” was essential to hip-hop’s growth in the 1980s. All the forefathers appeared on that show.Adam JenkinsFiber optics specialistJutharat Pinyodoonyachet for The New York TimesOld-school or new? I saw the birth of hip-hop as a kid growing up in the Bronx. I was at those Sedgwick Avenue parties. I saw Cold Crush Brothers and Afrika Bambaataa. So this all goes way back for me. It’s amazing to see how hip-hop has become a global force, but when I was a kid, it was just about having fun in the park. It wasn’t about how nice your car was or how much money you had.Do you ever boast about seeing hip-hop’s birth? I do sometimes tell young people that I saw the beginning of all this, but it usually falls on deaf ears, and they don’t get it. But that kind of response is also part of hip-hop to me, because it’s a genre that’s supposed to be always evolving from its past.Lesley SmithHome-care aideJutharat Pinyodoonyachet for The New York TimesOld-school or new? For me it’s still all about Melle Mel, the Sugarhill Gang and Kurtis Blow. They’re the originals. Back in the day hip-hop was wholesome and fun. I don’t even understand it now. Primo GonzalezSecurity guardJutharat Pinyodoonyachet for The New York TimesWhat’s a significant hip-hop history moment for you? I remember seeing “Beat Street” in the movie theater in the 1980s. It was a world I already knew from seeing B-Boys on University Avenue, but for many people, that was the first time they ever saw break dancing culture.Mary Olivette BookmanFordham University music studentJutharat Pinyodoonyachet for The New York TimesWho do you consider a pioneer? Missy Elliott. She had something to say. What she was doing was sonically unique, and her skill and individuality were always immediately visible in her rap style.Who are you here to see tonight? I’m here to see them all. I want to see hip-hop history. Tonight is music education for me.Gearni ThompsonMusic marketing professionalJutharat Pinyodoonyachet for The New York TimesWhat’s a significant hip-hop moment for you? I can still remember riding in a car with my friends when I heard “Rapper’s Delight” by the Sugarhill Gang for the first time.Old-school or new? I love the old-school. I feel like the new school is about all the wrong stuff, like buying jewelry and expensive cars. Grandmaster Flash was reaching the kids in a good way. Old-school rap was about community and where we came from. It changed our lives.Ricardo VaronaStreet ball entertainerJutharat Pinyodoonyachet for The New York TimesYour old-school hero? Snoop Dogg. When he and Dr. Dre came out with “The Chronic” it shook the world. Everyone followed their way after that.What’s a significant hip-hop moment for you? An important artist who I feel is too little known now is Lisa Lisa & Cult Jam. Her hit “Can You Feel the Beat” was impossible to not want to sing and dance to when it came out.Wisdom McClurkinHospitality professionalJutharat Pinyodoonyachet for The New York TimesWho do you want to see tonight? Lil’ Kim. She’s a pioneer. She’s from the block. She’s the queen of everything. She was the blueprint. If it wasn’t for her, there would be no Nicki Minaj.William GainesRetired chefJutharat Pinyodoonyachet for The New York TimesOld-school or new? I grew up in the boogie-down Bronx, so I went to all those legendary park jams. They’d hook up the turntables and speakers, and the cops would eventually come to turn it all off. You’d see Biz Markie and Doug E. Fresh. It was a good time. It all started from nothing and became something. But it all began with us just saying to each other: “Yo, they’re having a party on Sedgwick Avenue tonight. Want to go?” More

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      Barclays Center Drops SeatGeek and Returns to Ticketmaster

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      The Brooklyn venue replaced Ticketmaster, the industry leader, in 2021 in favor of SeatGeek, a competitor. It is not clear why it changed direction again.In 2021, Barclays Center in Brooklyn made a surprising announcement about its business: After nearly a decade with Ticketmaster, the industry leader, as its ticketing vendor, the arena was switching to SeatGeek, an aggressive upstart.Now, barely a year into what had been a seven-year contract, BSE Global, the parent company of Barclays — the home of the Brooklyn Nets and New York Liberty basketball teams, and a destination for major concert tours — is canceling its partnership with SeatGeek and returning to Ticketmaster.The change was revealed on Friday when Barclays announced a concert by the singer and producer Jackson Wang on May 11 with a link to Ticketmaster. SeatGeek, which remains the ticketer for many events already on Barclays’s calendar, will gradually be replaced by Ticketmaster in coming months as new concerts and sporting events go on sale.The abrupt switch, at a high-profile venue in one of the biggest markets in the world, is head-spinning news in the lucrative ticketing business, where Ticketmaster’s dominance has long been a matter of debate and scrutiny.“It’s very rare for such a cancellation,” said Larry Miller, the director of the music business program at New York University’s Steinhardt School of Culture, Education and Human Development.“Ticketing platform deals with venue owners are not of short duration,” Mr. Miller added. “I can’t think of a time over the last decade where a major venue has dropped a ticketing platform early on in the deal cycle.”The reasons for the change at Barclays were not immediately clear. Neither BSE Global nor SeatGeek would comment about whether there were any problems with ticketing that may have prompted a switch.In a statement, a spokeswoman for BSE Global said that SeatGeek “provided our fans with a first-class game day ticketing experience, and we’re appreciative of the time and energy they put into our work together.”The president of SeatGeek, Danielle du Toit, expressed no upset at Barclays’ change of direction. “It’s never easy to part ways with a client,” she said in a statement, “but as we look to the future, SeatGeek is grounded in our strategy and road map that are geared towards solving the challenges that plague the live entertainment experience.”Since its founding in 2009, SeatGeek has positioned itself as an industry disrupter. Initially just a resale platform, it has sought to challenge Ticketmaster’s dominance in the so-called primary market — sales directly from a venue’s box office, on behalf of sports teams or performing artists. When BSE Global announced its SeatGeek deal, which took effect in October 2021, the venue company praised its new partner’s “best-in-class mobile platform.”SeatGeek’s clients include major sports franchises like the Dallas Cowboys and the New Orleans Saints, as well as Jujamcyn Theaters, one of Broadway’s major theater owners.But SeatGeek, and other ticketing companies, all still lag far behind Ticketmaster, which sold 485 million tickets in 2019, the last year of business unaffected by the Covid-19 pandemic, an amount that swamps its competitors. Regulators have been monitoring Ticketmaster’s market share since it merged in 2010 with the concert giant Live Nation in a deal that critics suggested would damage competition in the ticketing industry, a consequence that Live Nation has denied.As a condition for its approval of the merger, the Justice Department entered into a regulatory agreement with Live Nation that, among other things, prohibited it from retaliating against venues that do not sign with Ticketmaster by withholding shows it controlled. The agreement, known as a consent decree, was extended by five years in 2020 after federal regulators found that Live Nation had “repeatedly” violated it. At the time, Live Nation did not admit to any wrongdoing, and said that extending the decree was “the best outcome for our business, clients and shareholders.”In an interview, Joe Berchtold, the president of Live Nation, acknowledged that the company is always under scrutiny for its actions in the marketplace. In recent weeks, for example, lawmakers have expressed concern over Ticketmaster’s botched ticket sale for Taylor Swift’s latest tour, and the company was widely condemned for its mishandling of a Bad Bunny concert in Mexico City.But Mr. Berchtold was unequivocal in stating that the company did not break any of its regulatory guidelines with Barclays Center.“I can absolutely confirm,” he said, “that there was no retaliation at Barclays for not using Ticketmaster, in terms of the routing of any concerts.”Tracking the blips and dips in tour dates for concert venues can be an inexact science. But data from Pollstar, a trade publication that covers the live music business, shows that Barclays Center received 13 Live Nation-promoted tours in the year after SeatGeek took over the venue’s ticketing business — a drop for Barclays, which in the years before the pandemic had tended to get about two dozen Live Nation events annually.However during the same period, from 2016 through 2019, the data also indicates the venue hosted fewer shows from independent promoters — those not associated with Live Nation or its major competitor, AEG Presents — from an average of more than 50 a year to less than 20 in the year after SeatGeek took over.SeatGeek and BSE Global declined to comment on the data.Barclays Center competes with Madison Square Garden, as well as the Prudential Center in Newark and the new UBS Arena in Elmont, N.Y., for major concert tours to fill out its schedule. Since 2019, BSE Global has been owned by Joseph Tsai, a Taiwanese-born tech billionaire, who bought out its previous owner, the Russian mogul Mikhail Prokhorov. More

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      From a Burger King to a Concert Hall, With Help From Frank Gehry

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      The Los Angeles Philharmonic’s ambitious new home for its youth orchestra is the latest sign of the changing fortunes of Inglewood.INGLEWOOD, Calif. — Noemi Guzman, a 17-year-old high school senior, usually has to find a corner someplace to practice violin — the instrument she calls “quite literally, the love of my life.” But the other Saturday morning, Guzman joined a string ensemble practicing on a stage here that is nearly as grand and acoustically tuned as the place she dreams of performing one day: Walt Disney Concert Hall, the home of the Los Angeles Philharmonic.“This is beautiful,” Guzman said during a break from a practice session at the Judith and Thomas L. Beckmen YOLA Center, her voice muffled by a mask. “To have a space you can call your own. It is our space. It is created for us.”Inglewood, a working-class city three miles from Los Angeles Airport that was once plagued by crime and poverty, is in the midst of a high-profile, largely sports-driven economic transformation: The 70,000-seat SoFi Stadium, which opened here last year, now the home of the Rams and the Chargers, will be the site of the Super Bowl in February and will be used in the 2028 Summer Olympics. Construction is underway on an 18,000-seat arena for the Los Angeles Clippers, the basketball team.But the transformation of Inglewood, historically one of this region’s largest Black communities, is also showcased by the 25,000-square foot building where Guzman was practicing the other morning. The building, which opened in October, is the first permanent home for the Youth Orchestra Los Angeles, and is the product of a collaboration involving two of the most prominent cultural figures in Los Angeles: Gustavo Dudamel, the artistic director of the Los Angeles Philharmonic, which oversees YOLA, and Frank Gehry, the architect who designed Walt Disney Concert Hall.Mario Raven, right, led students in a singing and music reading class: “Here we go — one, two, three!”Rozette Rago for The New York Times“This was an old bank,” said Dudamel, who has long been friends with Gehry, a classical music lover who can often be spotted in the seats of the hall he designed. “Then it was a Burger King — yes, a Burger King! Frank saw the potential. What we have there is a stage of the same dimensions as Disney Hall.”The $23.5 million project is a high-water mark for YOLA, the youth music education program that was founded here 15 years ago under Dudamel and that he calls the signature achievement of his tenure. It serves 1,500 students, from ages 5 to 18, who come to study, practice and perform music on instruments provided by the Los Angeles Philharmonic. It was patterned after El Sistema, the youth music education program in Venezuela where Dudamel studied violin as a boy.And it is one of the most vivid examples of efforts by major arts organizations across the country to bring youth education programs out into communities, rather than concentrating them in city centers or urban arts districts. “You can’t just do it downtown,” said Karen Mack, the executive director of LA Commons, a community arts organization. “If you really want it to have the impact that’s possible with that program you have to bring it out to the community. It has to be accessible.”Gehry called that idea the “whole game.”“It becomes not the community having to go to Disney Hall,” he said, “but the Disney Hall coming to the community.”For Inglewood, the new YOLA Center is a notable addition to what has been a transformative wave of stadium and arena construction, which has spurred a wave of commercial and housing development (and with that, concerns about the gentrification that often follows this kind of development). Until 2016, Inglewood was known mainly as the home of the Forum, the 45-year-old arena where the Lakers and Kings once played before moving to what was known as the Staples Center in downtown Los Angeles, and Hollywood Park Racetrack, which closed to make way for SoFi stadium.Some instruments cannot be played through masks; those lessons are often held outdoors these days.Rozette Rago for The New York Times“We’ve never been known for cultural enrichment,” said James T. Butts Jr., the mayor of Inglewood. “That is why this is so important to us. What’s happening now is a rounding out of society and culture: we will no longer be known for just sports and entertainment.”Even before Beckmen Center opened, YOLA could be a heady experience for a school-age student contemplating a career in music. Guzman, who joined the youth orchestra seven years ago, has played bow to bow with members of the Los Angeles Philharmonic, under the baton of Dudamel. YOLA musicians have joined the Philharmonic at Disney Hall, the Hollywood Bowl and on tours to places including Tokyo, Seoul and Mexico City.Christine Kiva, 15, who started playing cello when she was 7, is now studying with cellists from the Philharmonic. “It’s helped me develop my sound as a cellist, and work on a repertoire for cello,” she said.Inglewood is the fifth economically stressed neighborhood where the youth organization has set up an outpost. But in the first four locations, it shares space with other organizations, forced to fit in without a full-fledged performing space or practice rooms. “We were making the project work in spaces that weren’t specifically designed for music,” said Chad Smith, the chief executive of the Los Angeles Philharmonic.Now, the words “Judith and Thomas L. Beckmen YOLA Center,” named after the philanthropists and vineyard owners who made the largest donation to the project, stretch out across the front of the renovated building overlooking South La Brea Avenue and the old downtown. Dudamel has an office there. Members of the Los Angeles Philharmonic regularly show up to observe practice and work with students.This building has plenty of rooms for students to practice. There are 272 seats on benches in the main hall, which can be retracted into a wall, allowing the room to be divided in half so two orchestras can practice at once. The acoustics were designed by Nagata Acoustics, which also designed the acoustics at Disney Hall.YOLA, the youth music education program founded 15 years ago, now serves 1,500 students from ages 5 to 18.Rozette Rago for The New York TimesThe building had been owned by Inglewood, which sold it to the Los Angeles Philharmonic. “When we first walked into it, it still had the greasy smell of a Burger King,” said Elsje Kibler-Vermaas, the vice president for learning for the Los Angeles Philharmonic. Gehry, who had worked with Dudamel on projects before — including designs for the opera “Don Giovanni” in 2012­ — agreed to take a look at the building, a former bank that opened in 1965.He said that when they brought him there, he was struck by the low ceilings from its days as a bank.“I said, ‘is it possible to make an intervention?’” recalled Gehry who, even at 92, is involved in a series of design projects across Los Angeles.By cutting a hole in its ceiling and putting in a skylight, and cutting a hole in the floor to make the hall deeper, he was able to create a performance space with a 45-foot-high ceiling, close to what Disney Hall has. “The kids will have a real experience of playing in that kind of hall,” he said.That turned out to be a $2 million conversation; the total price, including buying the building and renovating it, jumped from $21 million to $23.5 million to cover the additional cost of raising the roof, installing a skylight and lowering the floor.The building was bustling the other day. Students had come for afternoon music instruction from elementary schools, most in Inglewood, and after snacks — bananas, apples, granola bars — they raced to their lessons in reading music, percussion and how to follow a conductor.“Pay attention!” said Mario Raven, leading his students in a singing and music reading class. “Here we go — one, two, three!”The brass players were outdoors because of Covid-19 concerns (it’s hard to play a French horn while wearing a mask). As planes flew overhead, they performed High Hopes by Panic! at the Disco, suggesting that a youth orchestra need not live by Brahms and Beethoven alone.Students typically sit through 12 to 18 hours a week of instruction for 44 weeks a year. About a quarter of them end up majoring in music. Smith said that was reflected in the broader aspirations for the program. “Our goal wasn’t we were going to train the greatest musicians in the world,” he said. “Our goal was we were going to provide music education to develop students’ self-esteem through music.”Dudamel said his experience as a boy in Venezuela had been formative in bringing the program to Los Angeles. “I grew up in an orchestra where they called us, in the press, the ‘orchestra without a ceiling,’” he said in a Zoom interview from France, where he is now also the music director of the Paris Opera. “Because we didn’t have a place where to rehearse. We have materialized a dream where young people have the best things they can have. A good hall. Great teachers.”“Look, this is not a regular music school,” he added. “We don’t pretend be a conservatory. Maybe they will not be musicians in the future. But our goal is that they have music as part of their life, because it brings beauty, it brings discipline through art.” More

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      What Is March Madness Without the Bands?

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      Neither the men’s nor women’s N.C.A.A. basketball tournaments will allow bands this year — and canned music just can’t compare.INDIANAPOLIS — In a normal year, when a player sinks a buzzer-beating shot in a N.C.A.A. tournament game, tens of thousands of fans erupt in celebration.This year will prove to be a bit quieter, even if the venue is larger.The men’s Final Four tournament will take place at Lucas Oil Stadium, a 70,000-seat arena home to the N.F.L.’s Indianapolis Colts. The crowd will be capped at 25 percent of capacity, with fans masked and seated in socially distanced pods of two, four or six. And the area reserved for each 29-member band will be empty.“I understand the N.C.A.A’s decision,” Jake Tedeschi, 22, a senior tenor saxophone player in the No. 1 seed University of Illinois’s basketball pep band, said in an interview on Thursday. “But man, I wish I could be there. I’m hoping they’ll reconsider for the Final Four.”But now, that dream is dashed, too.After previously excluding bands only through the Elite Eight, an N.C.A.A. associate director of communications, Christopher Radford, said in an email on Friday that no bands would be allowed at any of the games in either the men’s or women’s N.C.A.A. basketball tournaments this year.The decision, he said, was based on health and safety protocols developed with local health authorities, which “led to reductions in the size of official travel parties and limits on overall capacity in venues.”The six Indiana venues that will host this year’s games, he said, will still play school fight songs and anthems. They will screen cheer video performances, and other band music will be in rotation.But the honking tubas and energy-building improvisation of pep bands are what attracts many fans to the college game — they are the antithesis of the N.B.A.’s reliance on canned noise to punctuate big blocks and thunderous dunks. And bands have an even more crucial role in the N.C.A.A. tournament, Barry L. Houser, the director of the University of Illinois’s marching and athletic bands for the past 10 years, said.“There’s nothing like live music to bring a stadium or arena alive,” he said in an interview on Thursday. “The playing of a fight song after a great play or going into a hot timeout after an amazing play for the team can really get the crowd riled up.”Tedeschi, the University of Illinois band member, believes a band can “absolutely” change a game.“We scream a lot,” he said. “And, especially late in the game, we do our best to distract the other team’s players.”There will be no band for players to interact with at this year’s tournaments.Richard Shiro/Associated PressBut pep band players aren’t just passionate about school fight songs or “Sweet Caroline” — they’re some of the biggest basketball fans in the arena and the spark that ignites most student sections.“The chance to travel with the team and be their number-one supporter is a big reason I do athletic bands,” Tedeschi said. “It takes time away from my other coursework, especially when we’re traveling more, but it’s a sacrifice I’m willing to make. It’s near and dear to my heart.”But seniors like Tedeschi will never get the chance to play at an N.C.A.A. tournament game —- a big part of why he joined the pep band his freshman year, he said. (The Illini did not make the men’s or women’s N.C.A.A. tournament his first two years, and the pandemic derailed last year’s games.)He understands the N.C.A.A.’s decision to prohibit bands in the first two rounds, but thinks they could have been allowed for games later in the tournament. “The bracket is smaller, and fewer teams’ bands would show up,” he said. “It would mean less other fans, but for seniors, it’s the only chance we have. Mid-major teams don’t make it every year.”Michael Martin, a 21-year-old senior at Ohio State who plays snare and bass drum in the pep band, has never been to any of the N.C.A.A. tournaments. And he’s now missed his chance.“I prepared myself for it,” he said. “But I’m still really disappointed. I was looking forward to playing ‘Buckeye Swag’ for everyone.”Houser, the University of Illinois band director, feels terrible for his seniors — especially in a year that the men’s team is a No. 1 seed.“The teams went through a lot of challenges, and now they’re doing so well,” he said. “I just wish our students had the opportunity to cheer them on in this situation.”But having steeled themselves to the reality of a tournament without live music, band directors are looking forward to the coming year with optimism.Christopher Hoch, who is in his fourth year as director of the Ohio State University marching and athletic bands, has been persevering with his athletic bands class, even absent opportunities to play at games.“I felt it was important for students to continue to have the opportunity to play, even though they weren’t necessarily performing at events,” he said.Now, Hoch is preparing his students for the halftime show they typically do at the spring football game. “We love being there to support the team and university,” he said. “And I’m hopeful we’ll be able to get back to doing that soon.” More

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      Behind the Scenes at the Super Bowl Halftime Show

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      #masthead-section-label, #masthead-bar-one { display: none }Super Bowl 2021N.F.L.’s Most Challenging YearGame HighlightsThe CommercialsHalftime ShowWhat We LearnedAdvertisementContinue reading the main storySupported byContinue reading the main storyBehind the Weeknd’s Halftime Show: Nasal Swabs and Backup PlansPutting on a Super Bowl halftime show is always a mammoth undertaking. The pandemic introduces many more logistical puzzles.The Weeknd is headlining this year’s Super Bowl halftime show, which has had to adapt to the challenges of mounting a live performance during a pandemic.Credit…Isaac Brekken/Getty ImagesFeb. 5, 2021[Follow the Super Bowl live between the Chiefs and Buccaneers.]When the Weeknd headlines the Super Bowl halftime show on Sunday, the stage will be in the stands, not on the field, to simplify the transition from game to performance. In the days leading up to the event, workers have visited a tent outside Raymond James Stadium in Tampa, Fla., to receive nasal swabs for Covid-19 tests. And though a smaller crew is putting on the show this year, the bathroom trailers have been going through three times as much water as usual — because of all that hand-washing.Amid a global pandemic, the gargantuan logistical undertaking that is the halftime show has gotten even more complicated.In a typical year, a massive stage is rolled out in pieces onto the football field, sound and lighting equipment is swiftly set up by hundreds of stagehands working shoulder to shoulder, and fans stream onto the turf to watch the extravaganza. This year, there is a cap on how many people can participate in the production, dense crowds of cheering fans are out of the question. And only about 1,050 people are expected to work to put on the show, a fraction of the work force in most years.The pandemic has halted live performances in much of the country, and many televised spectacles have resorted to pretaped segments to ensure the safety of performers and audiences. The halftime show’s production team, however, was intent on mounting a live performance in the stadium that they hoped would wow television audiences. To fulfill that dream, they would need contingency plans, thousands of KN95 masks and a willingness to break from decades of halftime-show tradition.“It’s going to be a different looking show, but it’s still going to be a live show,” said Jana Fleishman, an executive vice president at Roc Nation, the entertainment company founded by Jay-Z that was tapped by the N.F.L. in 2019 to create performances for marquee games like the Super Bowl. “It’s a whole new way of doing everything.”Last year’s halftime show, starring Jennifer Lopez, above, and Shakira, felt like an exultant, glittery party.Credit…Kevin Winter/Getty ImagesOne of the first logistical puzzles was figuring out how to pick staff members up from the airport and transport them to and from the hotel, said Dave Meyers, the show’s executive in charge of production and the chief operating officer at Diversified Production Services, an event production company based in New Jersey that is working on the halftime show.“Usually you pack everyone into a van, throw the bags into the back, everyone is sitting on each other’s laps,” Meyers said. “That can’t happen.”Instead, they rented more than 300 cars to transport everyone safely.Many of the company’s workers have been in Tampa for weeks, operating out of what they call a “compound” outside of Raymond James Stadium, the home of the Tampa Bay Buccaneers. The compound includes 50-foot-long office trailers, which used to fit about 20 employees each but now are limited to six. There are socially distant dining tents where people eat prepackaged food, and a signal for which tables have been sanitized: the ones with chairs tilted against them.Outside the perimeter of the event, there is a tent where halftime-show workers have been getting Covid-19 tests. Staff members have been getting tested every 48 hours, but now that game day is close, key employees, including those who are in proximity to the performers, are getting tested every day, Meyers said. Each day, workers fill out a health screening on their smartphones, and if they’re cleared, they get a color-coded wristband, with a new color each day so no one can wear yesterday’s undetected.It is unclear if this year’s show will mimic the high-budget elements of years past, like Katy Perry riding an animatronic lion.Credit…Christopher Polk/Getty ImagesEach time workers enter the stadium or a new area of the grounds, they scan a credential that hangs from around their necks so that in the event that someone tests positive for Covid-19 or needs to go into quarantine, the N.F.L. will know who else was in their vicinity. And there are contingency plans if workers have to quarantine: crucial employees, including Meyers, have understudies who stand ready to take their places.All of those measures are taken so that the Weeknd can step out onstage Sunday for a 12-minute act that aims to rival years past, when the country was not in the midst of a global health crisis.“Our biggest challenge is to make this show look like it’s not affected by Covid,” Meyers said.The challenge was apparent on Thursday at a news conference about the halftime show. When the Weeknd strode to the microphone, he took in the room and noted, “It’s kind of empty.” His words were perhaps a preview of how the stadium might look to people watching from home. (About 25,000 fans will be present — a little more than a third of its capacity — and they will be joined by thousands of cardboard cutouts.)During the 2017 halftime show, Lady Gaga clasped fans’ hands and embraced one of them, but the Weeknd is performing in an age of social distancing.Credit…Dave Clements/Sipa, via Associated PressBut the Weeknd (Abel Tesfaye), a 30-year-old Canadian pop star who has hits including “Can’t Feel My Face” and “Starboy,” is known for his theatrical flair. His work often has a brooding feel, an avant-garde edge, and even some blood and gore (he promised he would keep the halftime show “PG”).This will be the second Super Bowl halftime show produced in part by Jay-Z and Roc Nation, who were recruited by the N.F.L. at a time when performers were refusing to work with the league, in solidarity with Colin Kaepernick, the former San Francisco 49ers quarterback who began kneeling during the national anthem to protest police brutality and racial injustice.The N.F.L. and Roc Nation are keeping quiet about the details of the program to build anticipation, so it is unclear whether it will have the usual big-budget effects of halftime shows past, which have featured Jennifer Lopez dancing on a giant revolving pole, Katy Perry riding an animatronic lion and Diana Ross memorably exiting by helicopter.What is clear is that there is unlikely to be anything like the intimate moment Lady Gaga had with a few of her fans during her 2017 performance, when she clasped their hands and embraced one of them before going back onstage for “Bad Romance.” The Weeknd is taking the stage in a much more distanced world.Ken Belson contributed reporting.AdvertisementContinue reading the main story More