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    What Comes After Trauma and a TikTok Hit? Gigi Perez Is Finding Out.

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    The artist, 25, struck platinum with “Sailor Song.” Her debut album is a tribute to her lost sister, and an attempt to make sense of a few rudderless years.Gigi Perez walked into a Brooklyn restaurant last week with a toothpick wedged in her mouth, stood up after dinner and slid in another one. She had glanced at a clear box of them sitting on the table periodically, like she was seeking comfort or reinforcement. But for two hours, she mostly kept her gaze fixed to the side, avoiding eye contact while she spoke — as she often finds herself doing — about death.“Getting older, watching the people in your family get older — I feel like I’m on a conveyor belt that’s going to this inevitable end,” she said.At 25, Perez speaks with a weariness of someone at least twice her age. She was at one of her favorite Japanese spots in Williamsburg, not too far from where she used to live; she was days away from releasing her debut album and 10 hours from a brutally early wake-up call for “The Today Show.”Like many young musicians, Perez is figuring out what comes next after virality. Her lilting, guitar-powered anthems have blazed through TikTok, amassing millions of streams and a fervent fan base. “Sailor Song,” a ballad about lusting after a girl who looks like Anne Hathaway (yes, it was based on a real woman), went platinum and has been planted on Spotify’s most-streamed songs in the United States for months; it became a No. 1 single in the United Kingdom last fall. But Perez’s career hasn’t been built on celebration. She is carving a catalog out of grief.“When you’re a kid, music is verbalizing things you don’t know how to say — you don’t have the vocabulary to understand. You’re discovering how you feel in real time,” Perez said. OK McCausland for The New York TimesOne of her first songs to garner attention on SoundCloud, “Sometimes (Backwood),” took off six months after her older sister, Celene, died suddenly in 2020. Perez’s LP, “At the Beach, in Every Life,” released less than a week ago, is largely a tribute to her. It is also an attempt to shape and sharpen the last, often rudderless years of her own life.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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      Overlooked Clue Sheds Light on Shakespeare’s Marriage

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      New research undermines the traditional view that Shakespeare was a distant, neglectful husband to his wife, Anne.Any clue about William Shakespeare’s life usually excites scholars, but one piece of evidence had been neglected for decades. Now, a new analysis of that overlooked document seems to shatter a longstanding narrative about the Bard’s bad marriage.Shakespeare was 18 in 1582 when he married Anne Hathaway, the daughter of a family friend in Stratford-upon-Avon who was in her mid-20s and pregnant. For centuries, it was thought that the writer left his wife and children behind to lead a literary life in London, seeking to avoid “the humiliation of domestic feuds,” as one influential 19th-century essayist put it.This view of Shakespeare’s wife as a “distant encumbrance” suited scholars who thought “Shakespeare was far too interesting to be a married guy,” Matthew Steggle, a literature professor at the University of Bristol in England, said in an interview. The perception was bolstered by the fact that Shakespeare had famously bequeathed her his “second best bed” in his will.But Mr. Steggle’s new research, expected to be published this week in the journal Shakespeare, suggests that the writer was not detached from his marriage after all.The hint lies in a fragment of a 17th-century letter addressing a “Mrs Shakspaire,” found in the binding of a book published in 1608. The letter’s existence was noted in 1978 by an amateur historian, but it got minimal attention, even after the book was unbound in 2016, revealing what appeared to be part of a reply from Shakespeare’s wife, Mr. Steggle said.He was working on a Shakespeare biography when he learned of the 1978 find, and was surprised it wasn’t better known. Technological advances allowed him to track down people mentioned in the long-ago correspondence, along with other evidence indicating that it included the playwright’s wife, he said.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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      Mario Vargas Llosa: An Appreciation

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      The Peruvian author Mario Vargas Llosa was the world’s savviest and most accomplished political novelist.Once upon a time, during the last quarter of the 20th century, it was possible to argue that one person was America’s best novelist and best literary critic. I am talking about John Updike, whose long and elegant reviews in The New Yorker set reading agendas.Such was Updike’s influence that readers paid heed when, in the mid-1980s, he developed a sustained literary man-crush on the Peruvian writer Mario Vargas Llosa, who died on Sunday at 89.More than once in his reviews of Vargas Llosa’s novels, Updike took note of the author’s handsomeness and urbanity. He was more impressed by Vargas Llosa’s substantial intelligence, his learning, his versatility and his imagination, which could conjure the comic fussiness of a tiny left-wing splinter group in solemn session, or the nauseated feelings of a young wife who discovers that her husband is gay, or the mixed feelings of a citified idealist engaging in a gun battle in the Andes while beset with altitude sickness.Vargas Llosa “has replaced Gabriel García Márquez” as the South American novelist North American readers must catch up on, Updike wrote in 1986, four years after García Márquez received the Nobel Prize in Literature and 24 years before Vargas Llosa himself would.Even Updike was two decades late to the writer’s work. Vargas Llosa had already published most of his major and enduring novels, including “The Time of the Hero” (1963), “The Green House” (1966), “Conversation in the Cathedral” (1969) and “The War of the End of the World” (1981). These grainy, raunchy, politically minded and mind-expanding books found a worldwide audience but were slower to catch on in the United States.Vargas Llosa had helped start, in the early 1960s, a movement that became known as the Boom, a term applied to a freewheeling and socially conscious new generation of Latin American writers: García Márquez, Carlos Fuentes, Julio Cortázar, Juan Rulfo, Guillermo Cabrera Infante, José Donoso and Miguel Ángel Asturias, among others.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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      She Worked in a Harvard Lab to Reverse Aging, Until ICE Jailed Her

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      A barracks-style detention center in Louisiana is jammed with around 90 immigrant women, mostly undocumented workers from central and South America, sharing five toilets and following orders shouted by guards.There is also, among them, a Russian scientist.She is 30 years old, shy and prone to nervous laughter. She cannot work, because her laptop was confiscated. She plays chess with other women when the guards allow it. Otherwise, she passes the time reading books about evolution and cell development.For nearly eight weeks, Kseniia Petrova has been captive to the hard-line immigration policies of the Trump administration. A graduate of a renowned Russian physics and technology institute, Ms. Petrova was recruited to work at a laboratory at Harvard Medical School. She was part of a team investigating how cells can rejuvenate themselves, with the goal of fending off the damage of aging.On Feb. 16, customs officials detained her at Logan International Airport in Boston for failing to declare samples of frog embryos she had carried from France at the request of her boss at Harvard. Such an infraction is normally considered minor, punishable with a fine of up to $500. Instead, the customs official canceled Ms. Petrova’s visa on the spot and began deportation proceedings. Then Ms. Petrova told her that she had fled Russia for political reasons and faced arrest if she returned there.This is how she wound up at the Richwood Correctional Center in Monroe, La., waiting for the U.S. government to decide what to do with her.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 Masters Helped Turn Ely Callaway Into a Golf Club Maker

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      He invented the Big Bertha driver, which changed the game of golf. Bobby Jones, a creator of the tournament, was a Callaway cousin.Ely Callaway, founder of the namesake golf club company, did something few golf enthusiasts could imagine doing. He declined an invitation from Bobby Jones to join the Augusta National Golf Club in 1957.Jones, a revered amateur golfer who won the Grand Slam in 1930 and was a co-founder of Augusta National with Clifford Roberts, was Callaway’s distant cousin and hero. Over the family’s mantel, long before the Masters achieved the major status it has today, hung a lithograph of Jones winning the Amateur Championship, also known as the British Amateur, and completing the Grand Slam. Across it was a personal handwritten inscription from Jones to Callaway and his first wife, Jeanne.Bobby Jones teeing off at St. Andrews in Scotland in 1928. Jones was Callaway’s distant cousin and hero.Getty ImagesNicholas Callaway said his father had practical reasons to turn down Jones.“Ely’s rationale later in life when he became the Callaway of Callaway Golf was that since Augusta was only open for a portion of the year, most of the year he would spend fielding calls from friends angling to get an invitation to play,” he said. His father’s posthumous memoir, “The Unconquerable Game: My Life in Golf & Business,” is being released this month.It worked out fine for him. “In the 1990s, he attended the Masters for many years and would get invited to play often in the days following the tournament,” his son said.The decision had to have been difficult. Something that comes across in Callaway’s memoir was the impact Jones had on him.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How a Black Progressive Transformed Into a Conservative Star

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      In the summer of 2020, Xaviaer DuRousseau was preparing to appear on a Netflix reality show called “The Circle,” where a group of strangers, isolated in separate apartments, compete for a cash prize and occasionally adopt fake digital personas to trick one another.Mr. DuRousseau, then 23, was a progressive who marched in Black Lives Matter protests, had pushed his university to require ethnic studies courses as a graduation requirement and voted for Senator Bernie Sanders of Vermont in 2016. For the TV show, producers wanted Mr. DuRousseau, a Black man, to pose as a white woman and lecture others about racial injustice, before revealing his true identity.Mr. DuRousseau spent hours boning up on right-wing politics to get ready for debates with conservative contestants.But as he watched videos from PragerU, the conservative advocacy group, and Candace Owens, a right-wing influencer, he found himself nodding along.Maybe, he began to think, the media really was targeting President Trump for taking on the political establishment. Maybe free college and free health care were unrealistic goals, despite what Mr. Sanders said. Maybe police brutality against Black people was less common than he thought.“I was getting so frustrated, because I kept agreeing with some of the stuff that they were saying,” he said. “I just kept debunking myself, over and over.”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

    • 63 Shares159 Views

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      The Caretaker of Muncy Farms

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      In November 1940, four children showed up after dark at a stone farmhouse in rural Pennsylvania. They arrived by car down a long dirt driveway. The headlights illuminated the tall elm trees surrounding the manor house, and the rooms inside were lit up brightly.Brian, Susan, Sheila and Malcolm Barlow, ages 12 to 5, had just endured the blackout of the London Blitz, the German bombing during World War II.To protect her children, Violet Barlow, their mother, had placed them on a boat from England to Canada, a 3,000-mile journey. The children then took a train to New York City, where they spent several weeks in immigration limbo, and then got on another train to the small town of Muncy, Pa.Awaiting them was Margaret Brock, who owned the farmhouse and country estate called Muncy Farms, dating to 1769 and set on more than 800 acres of fields and woods along the Susquehanna River. Muncy Farms was once part of a 7,000-acre estate. The original stone farmhouse dates to 1769. Some 85 years later, Malcolm Barlow, the youngest sibling, still remembered the menu that first night. “It was leg of lamb, brussels sprouts, roasted potatoes and apple pie à la Mode,” he said. “A very British dinner.”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 Actress Candy Clark Captured Some of the Most Famous Faces. Then She Put Them in a Drawer.

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      The actress Candy Clark documented her unlikely journey through 1970s Hollywood in a series of Polaroids, now published in a memoir.Jeff Bridges taught her how to drive in his Volkswagen bus. Steven Spielberg refused to flirt with her. She successfully talked the actor Rip Torn out of assaulting the director Nicolas Roeg on a movie set. While lying on a beach in Mexico with the painter Ed Ruscha, she was grazed by a stray bullet on the thigh. Once, she pinched David Bowie’s nipples.In Los Angeles, a city built on oversize lore and swaggering legend, where does one file away stories like these? Revealing but not gossipy. Candid but not lurid. Occasionally surreal but consistently sweet.“It’s a confessional era, right?” said Candy Clark, a former actress who wears a neat blonde bob and Warby Parker glasses, sitting in a booth at the Sunset Tower Hotel in West Hollywood, Calif. It was a recent Sunday afternoon, and Ms. Clark — the one behind the wheel of Mr. Bridges’s van, the starlet who tried to flirt with Mr. Spielberg, the peacemaker, the bullet-wound victim and the nipple-twisting culprit — was nibbling on pita and hummus.Dodging a life of mundane midcentury expectations, she started a modeling career in New York and went on to become a darling of the “New Hollywood” era in the 1970s. During her five decades onscreen, she collected over 80 film and television credits, establishing herself as a ubiquitous face who played mostly free-spirited lovers and burnouts like Debbie Dunham in “American Graffiti,” the part that earned Ms. Clark an Oscar nomination. It was her second-ever acting role.“It was my arrival,” she said, recalling the nomination. “You’re just the center of the universe, and it’s really wonderful.”A young Ms. Clark with the X-70 Polaroid camera she used to take photos of her fellow actors, before many of them became mega-famous.Candy ClarkWe 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

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      Scowl Made Hardcore Purists Angry. Now the Band Is Doubling Down.

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      The punk band fronted by Kat Moss wound its way from a local scene to national attention. Its second album, “We Are All Angels,” unpacks the pain of the journey.Last fall, on the second-floor stage of a cramped tavern called Neck of the Woods in San Francisco, Kat Moss was throwing elbows, shoving men twice her size into a packed circle pit and screaming into a microphone.Moss, the frontwoman for the Bay Area hardcore band Scowl, held her own. In the tight-knit circle of Northern California punks, this sweating, pulsing, tattoo-covered cluster of bodies were her people. Just before midnight, the crowd streamed out of the swampy bar into the cold air, bruised and smiling. In this crowd, stage diving, moshing and the occasional foot to the face all come from a place of love.But as Scowl’s star has risen from a group of underdogs playing house shows across the West Coast to a broader national audience, Moss and her four bandmates have been engaged in a different kind of fight — one with the gatekeepers who believe the band isn’t hardcore enough.The band was blasted on message boards and social media in 2023, accused of “selling out” when it struck a brand deal with a corporate sponsor. (Many hardcore contemporaries have done similar ones.) The group later took heat for putting out what some saw as pop sensibility masquerading as punk. Scenesters chafed when megastars like Post Malone and Hayley Williams of Paramore said they were fans of the group. And some of the most aggressive purists didn’t appreciate Moss’s proclivity for posting beauty tutorials on her personal social media channels. (Her mop of neon lime hair is hard to miss in a crowd.)Scowl isn’t shying away from the conflict. Instead, its members want to push the limits of their sound and what they feel hardcore music can be. With Scowl’s second album, “Are We All Angels” out April 4, the group is moving from the stalwart hardcore label Flatspot Records to Dead Oceans — home to Phoebe Bridgers and Mitski. It has enlisted Will Yip, a producer known for broadening the sound of punk bands. And it has leaned more into a slower, heavier sound with grungy riffs and catchier choruses.Scowl’s members want to push the limits of their sound and what they feel hardcore music can be. Mariano Regidor/Redferns, via 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