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    Dr. Demento Announces His Retirement After 55 Years on the Air

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    Barry Hansen, mostly known by his D.J. name, said he’d end his show’s run after 55 years of playing parody songs. His syndicated show was once heard on more than 150 radio stations.“Monster Mash.” “Another One Rides the Bus.” “Grandma Got Run Over By a Reindeer.”The D.J. most responsible for lodging these earworms in listeners’ heads, Barry Hansen, better known as Dr. Demento, said last month that he would retire from the airwaves in October, on the 55th anniversary of his radio debut.Mr. Hansen, 84, started on KPPC-FM, a free form and progressive rock station in Pasadena, Calif., (now KROQ-FM) in 1970 and soon began focusing on what he called “funny music” because of listener requests for songs that made them laugh.After he played “Transfusion,” a song by Nervous Norvus, which had been banned on many radio stations in the 1950s, another D.J. at the station called Mr. Hansen demented.“Transfusion” — featuring the sound effects of vehicle crashes — is about a reckless driver who repeatedly gets seriously injured in car crashes by breaking traffic laws. In the lyrics, the driver gets a blood transfusion after each crash and vows to drive safely, before getting into another one.The novelty song struck a chord with Mr. Hansen, who would spin up similar parodies for his playlists for the next half century. The nickname Dr. Demento, which he adopted shortly afterward, also stuck.He referred to his fans as dementoids and dementites.“I have been doing this show for nearly 55 years, about two-thirds of my life,” Mr. Hansen said on his May 31 show, which broadcasts online. “It’s been a blast, but I have come to the decision that I need to hang up my top hat soon. The show you just heard is the last of my regular shows.”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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      Review: ‘The Comet/Poppea’ Merges Opera’s Past and Present

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      A Monteverdi masterpiece and a new work by George Lewis are played simultaneously in an American Modern Opera Company production at Lincoln Center.When you enter the David H. Koch Theater for “The Comet/Poppea,” you are directed not into the auditorium but through some passageways and onto the stage. It’s a rare perspective to be facing a hall full of empty seats, with the delightful, rebellious undercurrent of being where you’re not supposed to be.Being where you’re not supposed to be is one of the few threads tying together the two operas that are played more or less simultaneously over the following 90 minutes. Monteverdi’s “L’Incoronazione di Poppea” (1643) charts the improbable climb of Nero’s mistress to the throne of the Roman Empire. George Lewis’s “The Comet” (2024), set about a century ago, imagines a Black man who finds himself in a once segregated, now abandoned space after an apocalyptic event.The idea of intermingling these very different works came from the director Yuval Sharon, who is always cooking up half-mad ideas like this, and the American Modern Opera Company, or AMOC, a collective exploring its capacious vision of the art form over the next month during a residency at Lincoln Center.The audience for “The Comet/Poppea,” which opened on Wednesday and runs through Saturday, sits in two sections facing each other across the stage. Between them is a large circular platform that has been divided in two. One side is the realistic, amber-lit restaurant of “The Comet”; the other, where “Poppea” plays, is a heavenly vision of a pristinely white Roman bath, the walls encrusted with white plaster flowers.This turntable is constantly rotating, in an effort to convey a sense of “a visual and aural spiral,” as Sharon writes in a program note. But while “The Comet/Poppea” tries to conjure a cyclone, whipping together past and present, Black and white, high class and low, naturalism and stylization, it ends up feeling more like a trudge.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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      Review: ‘The Counterfeit Opera’ on Little Island Falls Short

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      At Little Island, “The Counterfeit Opera” falls short of its wildly successful historical models.After weeks of rain that interrupted rehearsals, conditions seemed perfect at the start of “The Counterfeit Opera” Wednesday on Little Island, with balmy temperatures and zero chance of precipitation. As members of the cast swarmed the stage shouting questions into the steeply raked rows of the amphitheater, conditions also seemed ripe for some political rabble-rousing.After all, this show with a libretto by Kate Tarker and music by Dan Schlosberg was billed as a new take on John Gay’s “Beggar’s Opera,” which punctured the cultural pretensions of 18th-century London and inspired Brecht’s darker indictment of social inequality in “The Threepenny Opera” (1928).“Can you afford your rent?”“No!” the audience shouted back.“Can you afford health insurance?”“No!”“Can you afford to support a lawless, self-serving government of con men?”This time, the “no” came out as a roar.At that point, it almost seemed possible that a revolution might start up right here on this artificial island developed by the billionaire Barry Diller. But as the sun set, the heat drained out of the day and with it the performance. With toothless satire, goofy humor and an absence of memorable tunes, “The Counterfeit Opera” falls short of its wildly successful historical models.The closing chorus — “Class wars repeat. Con men don’t sleep. Fight to break the dark spell of a world made of deceit!” — was met with mild-mannered applause and a version of a standing ovation that masks competition for the exits. The meteorological chance of political action breaking out was back to zero.More unforgivably, perhaps, the piece fails to infuse the material with a distinct New York flavor. Aside from a few quips at the expense of Boston and New Jersey, this self-declared “Beggar’s Opera for a Grifter’s City” feels like it could unfold anywhere.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 “Pet Sounds” Became the Beach Boys Masterpiece

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      Brian Wilson’s 1966 masterpiece is now considered a crowning achievement of music. The album’s reputation grew over time.Making a list of the best rock albums ever is easy: Something old (the Beatles), something new (or newer; perhaps Radiohead), something borrowed (the Rolling Stones’ blues or disco pastiches) and Joni Mitchell’s “Blue.”And, of course, bursting into the top 10 — and often higher — of any respectable list: “Pet Sounds.”The overwhelming brainchild of Brian Wilson, the Beach Boys’ chief songwriter whose death at 82 was announced on Wednesday, “Pet Sounds” is beautiful — with gorgeous vocal harmonies, haunting timbres and wistful lyrics of adolescent longing and estrangement. It was a landmark in studio experimentation that changed the idea of how albums could be made. But one thing that stands out about the Beach Boys’ masterpiece is how gradually it came to be widely celebrated, compared with many of its peers.“When it was released in the United States,” said Jan Butler, a senior lecturer in popular music at Oxford Brookes University in the United Kingdom, “it did pretty well, but for the Beach Boys, it was considered a flop.”Released in the spring of 1966, “Pet Sounds” represented a break from the catchy tunes about surfing, cars and girls that the group had consistently rode to the top of the charts. The opening track is called “Wouldn’t It Be Nice,” but previous Beach Boys songs had described how nice it was.The album peaked at No. 10 — low for one of the most popular acts at the time — and was the first Beach Boys album in three years not to reach gold status, Butler wrote in a chapter of an academic book. The Beach Boys’ record company, Capitol, rushed out a greatest-hits that outsold the album of original music.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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      Sly Stone Had a Whole New Look

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      In 1974, decades before Ye, then known as Kanye West, packed Madison Square Garden for a twin album-fashion spectacular, Sly Stone, the cosmically groovy singer-songwriter who died on June 9, offered his own extravaganza of dance, funk and flash on New York’s biggest stage.The occasion was a sold-out Sly & the Family Stone concert in front of more than 20,000 fans, and the centerpiece was Mr. Stone’s wedding to Kathy Silva — a gold and black display of fabulosity. The bride and groom (and the whole wedding party, band included) wore coordinated Halston looks. Mr. Stone wore a gleaming cape and jumpsuit, the waist cinched with a big gold belt buckle, so he looked like a cross between a disco superhero and a sci-fi lord come lightly down to earth. Behind them, a dozen models in black dresses carried gold palm fronds.It was, The New Yorker declared, “the biggest event this year.”Sly Stone and Kathy Silva during their wedding in June 1974.Oscar Abolafia/TPLP, via Getty ImagesMr. Stone in a signature crochet cap in Los Angeles, circa 1970 …Michael Ochs Archives/Getty Images… and befringed at Woodstock, 1970.Warner Bros/Kobal, via ShutterstockMr. Stone in London, 1973.Michael Putland/Getty ImagesIt was also seven years after Mr. Stone arrived on the music scene promising “A Whole New Thing,” and boy, had he delivered. He introduced not just a whole new sound but a whole new kind of style to the stage. Like his music, it crossed genre, race, gender and audience, offering unity in a psychedelic stew of fringe, rhinestones and lamé that was sometimes celebratory and sometimes chaotic, often outrageous, but almost always impossible to forget — whether it was on “The Ed Sullivan Show” or the Woodstock stage.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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      ‘So polarised’: Bruce Springsteen’s anti-Trump comments divide US fans

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      As the lead singer of a Bruce Springsteen cover band, Brad Hobicorn had been looking forward to performing at Riv’s Toms River Hub in New Jersey on Friday. Then came a text message from the bar’s owner, saying the gig was cancelled. Why? Because the real Bruce Springsteen had lambasted Donald Trump.“He said to me his customer base is redder than red and he wishes Springsteen would just shut his mouth,” Hobicorn recalls by phone. “It was clear that this guy was getting caught up in that and didn’t want to lose business. The reality is we would have brought a huge crowd out there: new customers that are Springsteen fans that want to see a band locally.”The culture wars have arrived in New Jersey, the state of Frank Sinatra, Jon Bon Jovi, Whitney Houston, comedian Jon Stewart and TV hit The Sopranos. Springsteen – revered for songs such as Born In The USA, Glory Days, Dancing In The Dark and Born To Run – has long been a balladeer of the state’s blue-collar workers. But last year, many of those same workers voted for the president.Now their split loyalties are being put to the test. Opening a recent tour in Manchester in Britain, Springsteen told his audience: “The America I love, the America I’ve written about that has been a beacon of hope and liberty for 250 years is currently in the hands of a corrupt, incompetent and treasonous administration.” He repeated the criticisms at later concerts and released them on a surprise EP.Trump responded by calling Springsteen highly overrated. “Never liked him, never liked his music or his Radical Left Politics and, importantly, he’s not a talented guy — just a pushy, obnoxious JERK,” he wrote on social media. “This dried out prune of a rocker (his skin is all atrophied) ought to KEEP HIS MOUTH SHUT until he gets back in the Country.”Trump, 78, also posted a video edited to make it seem as if he had hit 75-year-old Springsteen with a golf drive. Trump called for a “major investigation” into Springsteen, Beyoncé and other celebrities, alleging that they had been paid millions of dollars to endorse his Democratic opponent in the 2024 election, Kamala Harris.Harris beat Trump by six percentage points in New Jersey, significantly less than Joe Biden’s 16-point winning margin in 2020. In Toms River, a township along the Jersey Shore, Trump received twice as many votes as Harris, helping explain why Riv’s Toms River Hub got cold feet about hosting a Springsteen cover band.The bar and restaurant cancelled the 30 May gig by No Surrender, a nine-person band that has played Springsteen songs for more than two decades, despite it being scheduled months in advance. Contacted by the Guardian, owner Tony Rivoli declined to comment.Hobicorn, 59, from Livingston, New Jersey, says the band suggested a compromise of playing classic rock other than Springsteen’s but Rivoli rejected the idea. Hobicorn also received some criticism from Springsteen fans for offering the partial climbdown.But he explains: “That’s where I made the point that not everybody in the band is aligned with Bruce Springsteen’s politics. Everybody’s got a different point of view but that’s OK. You can still be in a Springsteen cover band and not 100% agree with everything he says.”He adds: “My band is split. We’re half red, half blue. We have civilised conversations and then we go and play the music and it’s never been about politics. This thing got made into a political situation.”Springsteen is not new to the political arena. When former president Ronald Reagan referenced the singer’s “message of hope” at a campaign stop, Springsteen wondered if Reagan had listened to his music and its references to those left behind in the 1980s economy. Later, he was a regular presence on Barack Obama’s presidential election campaign.He has also challenged his audience politically beyond presidential endorsements. Born in the USA told of a Vietnam war veteran who lost his brother in the war and came home to no job prospects and a bleak future. My Hometown described the kind of economic decline and discontent that Trump has exploited: “Now Main Street’s whitewashed windows and vacant stores / Seems like there ain’t nobody wants to come down here no more.”Springsteen’s 1995 album The Ghost of Tom Joad bluntly documented the lives of struggling immigrants, including those from Mexico and Vietnam. His 2001 song American Skin (41 Shots), criticised the shooting by New York City police officers of an unarmed Guinean immigrant named Amadou Diallo, angering some of the blue-collar segments of his fanbase.But taking on Trump is a cause of a different magnitude. His “Make America great again” (Maga) movement has proved uniquely polarising in US culture, forcing many people to choose whether they are on the blue team or red team. The clothes people wear, the food they eat and the music they listen to have become signifiers of Maga. Even some in New Jersey, where Springsteen grew up and now lives in the town of Colts Neck, are having doubts.Hobicorn reflects: “As the country has become more and more divided, there’s certainly a real disdain for Springsteen and his politics in New Jersey. Most New Jerseyans are supportive of who he is, what he’s done for the state, what he’s done for our culture, what he’s done for music.“I feel like it’s not a lot of stuff in the middle like, yeah, he’s OK. It’s one way or the other. In New Jersey it’s mostly in a positive way: people love and respect Bruce for everything. But some are going to paint the picture of him: he’s a billionaire and he doesn’t give a crap about anybody but himself. That’s what they do.”View image in fullscreenNo Surrender has found an alternative venue. After the cancellation of its Toms River gig, Randy Now’s Man Cave, a record shop in Hightstown, New Jersey, stepped in and will host the band on 20 June. The shop will producers flyers and T-shirts that say: “Free speech is live at Randy Now’s Man Cave.”Owner Randy Ellis, 68, says: “The state is proud of Bruce Springsteen. He should become the state bird for all I know.”But he admits: “In the last election, Harris won the state but there were many more people for Trump than I ever expected in New Jersey. It’s so polarised now. We may have people in front of my store saying Springsteen sucks and all that. Who knows?”At a time when many of Trump’s critics have kept quiet, Springsteen is arguably his leading cultural foe. In 2020 he said: “a good portion of our fine country, to my eye, has been thoroughly hypnotised, brainwashed by a conman from Queens” – knowing the outer-borough reference still stung a man who built his own tower in Manhattan.Dan DeLuca, who grew up in Ventnor, New Jersey, and is now a popular music critic at the Philadelphia Inquirer newspaper, says: “The thing about Bruce that people love is this idea of being a truth teller. You see what you see and you need to speak on it. There’s a lot of people who are muttering things or speaking in private about what’s going on in America who are not speaking out for whatever reason. Maybe they don’t believe that politics and art should mix. Maybe they’re worried about their fanbase or something.“As he said, there’s a lot of crazy shit going on and it’s happened since he was last on the road. It’s good that he’s speaking his mind and he’s speaking what a lot of people want to hear but maybe are afraid to hear and it’s maybe giving some people courage.”But as the case of No Surrender demonstrated, there is a significant minority in New Jersey who see things differently in this hyper-partisan era. DeLuca reflects: “I grew up in south Jersey, which is less densely populated, less urban, and it’s Trump country now.“Springsteen has been true to what he sings about and the people he sings about and the blue collar concerns but then he’s open to target because he’s rich or hangs out with Obama. They probably think that Bruce has turned into a knucklehead socialist or something. I’m sure there are plenty of people who probably do have some divided loyalties.” More

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      Austria Wins Eurovision 2025 Song Contest With JJ’s ‘Wasted Love’

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      Austria’s entrant, JJ, took the prize after a tense count that was neck-and-neck until the last votes were revealed.Austria narrowly edged out Israel to win the Eurovision Song Contest after a tense vote count on Saturday night in which the lead switched repeatedly and the victor became clear only at the last moment.Israel received the most points in the public vote, which accounts for half of the overall tally. Last year, the competition was overshadowed by protests over Israel’s involvement because of the country’s military campaign in Gaza.Austria was represented this year by JJ, a classically trained singer, who performed “Wasted Love,” a dramatic song about heartbreak. He received 436 points to Israel’s 357.Sweden, the pre-event favorite, came fourth.Austria last won the competition in 2014, when Conchita Wurst, a bearded drag queen, triumphed with “Rise Like a Phoenix.”JJ, a 24-year-old whose real name is Johannes Pietsch, is a countertenor, meaning that his vocal range most closely matches that of a female mezzo-soprano. He sings in the choir at the Opera School of the Vienna State Opera, and in recent months has appeared onstage in the company’s productions of Mozart’s “The Magic Flute” and Benjamin Britten’s “Billy Budd.”Accepting the Eurovision winner’s trophy, a tearful JJ thanked the voters and called on them to “spread more love” in the world.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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      Yuval Raphael, Israel’s Eurovision Entrant, Survived the Hamas Attacks of Oct. 7

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      Not long after the attacks, Yuval Raphael said, she resolved to follow her long-held dream of becoming a professional singer.When Hamas attacked the Nova music festival in Israel on Oct. 7, 2023, Yuval Raphael went from dancing with friends to hiding in a bomb shelter.After attackers broke into the shelter and started shooting partygoers, Raphael played dead, then lay beneath bodies for eight hours until she was rescued.That experience, Raphael told the Israel Hayom newspaper earlier this year, changed her outlook on life. “When I was there, I realized that everything could be over in a moment, and you don’t want your life to end without experiencing it,” she said. Not long after the attacks, Raphael said, she resolved to follow her long-held dream of becoming a professional singer.Now, Raphael, 24, is representing Israel at Eurovision with “New Day Will Rise,” a ballad in which she sings, over twinkling piano, “New day will rise / Life will go on / Everyone cries / Don’t cry alone.”As Israel’s retaliation to the Oct. 7 attacks grinds on, some Eurovision fans have called on the competition organizers to expel Israel from the contest over the country’s conduct in the war.At last year’s final, some audience members booed Israel’s singer as she performed, though others cheered her. Raphael told the BBC this week that she was expecting a hostile reception during her performance and that she had been rehearsing with distracting sounds playing in the background. Indeed, on Thursday in Basel, a small group of protesters blew whistles and waved flags to disrupt one of Raphael’s public rehearsals.But, she told the broadcaster, she was trying to avoid the furor and stay focused on winning. Eurovision’s slogan is “United by music,” she said, adding, “That’s what we are here for.” More

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      Estonia’s entry, ‘Espresso Macchiato,’ brewed trouble in Italy.

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      When Tommy Cash, a rapper and singer from Estonia, won his country’s Eurovision selection with “Espresso Macchiato,” he barely had time to celebrate before a backlash began.In the song, Cash sings in a cheesy Italian accent that he is “sweating like a Mafioso” from working so hard, and just wants a coffee. “Me like mi coffee,” he says: “Very importante.”Cash’s riff on Italian clichés did not go down well in some parts of Italy. Gian Marco Centinaio, a lawmaker with Italy’s far-right League Party, posted on Instagram that Eurovision should ban the song. “Is this the idea of ​​European brotherhood that the organizers of the Eurovision Song Contest have in mind?” he wrote.The flap also made headlines because Codacons, an Italian consumer rights organization, complained that the song “conveys a message of a population tied to organized crime.”In a recent interview, Cash said that he found the reaction over the top. He hadn’t meant to insult Italians, he said: “I love Italy. I love the people. I’m drawn to them because they’re so passionate.”In earlier songs, he rapped in English with his own heavy Eastern European accent, he said, and he also made a track with a German-accented chorus. His comedic Italian voice in “Espresso Macchiato” was no different than those, he said.Cash — who has made several tracks with Charli XCX — has many fans in Europe who love his left-field vibe and provocative videos, but he’s never been close to a household name. But in Italy, at least, he is now a star. Cash said that he had performed on Italian TV many times since “Espresso Macchiato” blew up. On a recent trip to Milan, he added, fans chased him down the street.He had a simple message for anyone who still felt insulted. “Drink a coffee,” he said: “Chill!” More