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“Memories, there are too many to count,” Barbra Streisand said on video at an all-star concert celebrating the life of lyricist Alan Bergman on Thursday (Sept. 11) at the Broad Stage in Santa Monica, Calif. You can see what she did there, opening her personal tribute to two of her closest colleagues and friends with the opening word of “The Way We Were,” their most famous song (and her first No. 1 hit on the Billboard Hot 100). Streisand said she first met Alan and his wife Marilyn Bergman in 1960 when she was just 18, performing at a tiny club, the Bon Soir, in Greenwich Village. She was just starting out. They had already achieved success, co-writing “Nice ’N’ Easy,” a hit that year for Frank Sinatra. “We had been close friends for 62 years when (Marilyn) passed three years ago.” Streisand said. Streisand recorded 63 songs by the Bergmans, including another of her No. 1 Hot 100 hits, “You Don’t Bring Me Flowers” – a 1978 duet with Neil Diamond – and an entire 2011 tribute album, What Matters Most – Barbra Streisand Sings the Lyrics of Alan & Marilyn Bergman,which received a Grammy nomination for best traditional pop vocal album. “We all became a family,” Streisand said. She noted that Marilyn “was a mother figure to me,” and that Alan “made all women, including me, feel safe and seen.” This concert event was originally planned as a 100th birthday celebration for Alan Bergman – yesterday would have been his 100th birthday. It pivoted to a celebration of his life after he died on July 17. Comedian Paul Reiser, a long-time friend of the Bergmans, hosted. Trey Henry served as musical director. Musicians included Mitch Forman, Peter Erskine, Greg Phillinganes, Bob Sheppard, Bill Cantos, Jason Crosby, Serge Merlaud, Tamir Hendelman, Shelly Berg and David Finck. The event also included video messages from Bill Charlap and Pat Metheny. Bergman finished writing the lyrics to nine Metheny tunes for an upcoming album shortly before he passed. The Bergmans are best-known for writing exquisite ballads such as “What Are You Doing the Rest of Your Life,” “Pieces of Dreams” and “How Do You Keep the Music Playing?,” but they couldn’t be typecast. They also wrote witty and zesty theme songs for such TV series as Maude, Good Times and Alice. The Bergmans won three Academy Awards, three Grammys (including song of the year for “The Way We Were”), four Primetime Emmys and two Golden Globes. They were inducted into the Songwriters Hall of Fame in 1980 and received that organization’s highest honor, the Johnny Mercer Award, in 1997. They received a trustees award from the Recording Academy in 2013. Not a word of this was mentioned in the concert program, or even in the printed program that was handed out at the event. When songs are this good, and talent this evident, you don’t need the hype. Here are the seven best moments from “Celebrating the Extraordinary Life of Alan Bergman,” followed by a full set list. They are listed in the order they appeared in the show. Aloe Blacc Shines on a Ray Charles Classic Image Credit: Lester Cohen/Getty Images Aloe Blacc did an excellent job on the bluesy “In the Heat of the Night,” which the Bergmans co-wrote with Quincy Jones for the 1967 Oscar winner for best picture. Ray Charles sang the original version, which became a top 40 hit on the Hot 100. The song showed the Bergmans’ range. Though best-known for highly literate pop/adult contemporary ballads, they could excel in other styles. (They demonstrated that again on their streetwise lyric for the theme song to Good Times – not performed here, unfortunately). Blacc, who had a pair of top 10 Hot 100 hits in 2013-14 (Avicii’s “Wake Me Up!,” on which he was featured, and his own “The Man”) made a very strong impression. To paraphrase Taylor Swift in her recent lyric about Charlie Puth, I declare Aloe Blacc “should be a bigger artist.” Patti Austin and Jason Gould Nail It on (Probably) the Bergmans’ Best Song Image Credit: Lester Cohen/Getty Images What’s the Bergmans’ best song? That’s impossible to say, but very high on the list would be “How Do You Keep the Music Playing?” which they co-wrote with Michel Legrand for the 1982 Burt Reynolds/Goldie Hawn movie Best Friends. (That would probably also top the list of famous songs that originated in barely-remembered films.) Austin recorded the version heard in the film with the late James Ingram. She sang it here with Jason Gould, whose mother, Barbra Streisand, recorded it for her 2003 album The Movie Album. Austin is a superb (and under-heralded) singer. Gould admirably kept up with her. Michael Feinstein Scores Twice Feinstein excelled on another of of the Bergmans’ best songs, “Where Do You Start?,” a song about a break-up and how hard it is to separate two lives that have become entwined. (It was a work of projection on their part, because they had, by all accounts, a happy and stable marriage.) The Bergmans co-wrote the song with composer Johnny Mandel. Streisand included it on her 2009 album Love Is the Answer, which topped the Billboard 200. Later in the show, Feinstein sang “Nice ’N’ Easy,” which, as he noted, was the Bergmans’ first big hit. The Bergmans co-wrote the song with Lew Spence, who is credited with introducing the couple. Frank Sinatra’s original version reached the Hot 100; his album of the same name topped the Billboard 200 for nine weeks in 1960, longer than any of his other albums. The song brought the Bergmans their first of four Grammy nods for song of the year. “Nice ’N’ Easy” extols the virtues of taking it slow in a romance. As with most Bergman songs, the lyric is smart and witty: “We’re on the road to romance/ That’s safe to say/ But let’s make all the stops along the way/ The problem now of course is/ To simply hold your horses/ To rush would be

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Earlier this year, at the age of 70, Chandrika Tandon won her first Grammy — and it may not be her last. After taking home the award in February for best new age, ambient or chant album for her project Triveni, Tandon — a renowned businesswoman, philanthropist and grandmother — is now vying for her third Grammy nomination, but this time in the best global music album category, with a new project called Soul Ecstasy that she quietly released just before the Aug. 30 deadline to submit nominations for the 68th Grammy Awards. “I was really trying to show [Indian] classical music in a simpler light — make it more accessible, make it more singable,” Tandon tells Billboard of the album, her seventh, which features 14 classical Indian ragas — melodic frameworks — with complex 6-, 7-, 8-, 10- and 16-beat rhythms. Having built what she describes as a “mini cult following” around her first six albums, now, she says: “I would really love to broaden the audience.” Blending ancient Vedic verses and Indian classical traditions with vibrant instrumentation and choral arrangements, Soul Ecstasy is part of Tandon’s mission of spreading joy through both economic and emotional empowerment. The eight-song collection was recorded in New York and India with Tandon’s longtime collaborator Pandit Tejendra Narayan Majumdar. “This album is about giving listeners access to their own joyous state in a blissful way,” says Tandon. “The songs are more high-energy than my past work, and the choral elements invite people to experience that ecstasy together.” But producing the new album wasn’t easy: To do it, Tandon and her collaborators assembled 75 musicians from Calcutta who played more than 25 different traditional Indian instruments, as well as 16 classical singers whom they trained to sing together as a choir — a tall order and unorthodox idea given that “a lot of Indian music, classical music, is about individual expression.” Chandrika Tandon, “Soul Ecstasy” Shervin Lainez Born and raised in India, Tandon now lives in New York, serving as the current artist-in-residence for Young People’s Chorus of New York City. She was the first Indian-American woman to be made partner at consultancy giant McKinsey and Co. and then founded her own Tandon Capital Associates, but studied music at every opportunity, taking vocal lessons in her free time, training between her business meetings with Indian music masters and singing for 10 hours a day on days her daughter was occupied at summer camp. In recent years, she has devoted herself to philanthropy, supporting education and economic empowerment through the Krishnamurthy Tandon Foundation, donating $100 million with her husband 10 years ago to establish the NYU Tandon School of Engineering, and earning honors that include the Ban-Ki Moon Award for Women’s Empowerment and NYU’s Gallatin Medal. She releases her music through her nonprofit label Soul Chants Music. To promote her new album, Tandon is planning immersive performances at The Town Hall in New York and Carnegie Music Hall in Pittsburgh, where she’ll lead meditation, sing-alongs, and “sacred sound experiences.” “I want my music to be a beautiful offering to the world,” Tandon reflected. “My prayer is that Soul Ecstasy helps listeners begin their own journey into inner bliss.” Tandon talked to Billboard about her devoted fanbase, and the goal of traditional Indian music and why Grammy voters and contenders should listen. You have a cult following, receiving thousands of messages after the release of your Grammy-nominated debut album, Soul Call, in 2009. Who are your fans? Funnily enough, the 18- to 40-year-old man is my biggest demographic. Which is not what I would expect. There’s a big demographic who like India and Indian classical music. And there’s also a big demographic of that group that likes spiritual music of any kind — anything devotional. The yoga community. I would love to broaden the audience, so that’s part of the idea. You’ve spent time recording music all over the world, from Lebanon to Brazil. What makes traditional Indian music different? In Indian music, you have to really settle your mind, because a lot of it is around pitch and resonance. There are a lot of areas around a note, but the best teachers try to get you to the purity of that thin point of the note. That requires your mind to be quiet. I’d walk into a class and the teacher would say, “You know, you’re not here, you’re elsewhere, your mind is distracted. Let’s spend the next 45 minutes on one note.” You do that for 10 minutes and it’s a little boring. By about the 20th minute, you’re in a bit of a zone. And then remaining 10 minutes, you’re in a space of such a peace that you find yourself. So then I said, “Well, this is very interesting. I’ve got to get into meditation. I’ve got to understand why I feel so happy.” Because that’s what was happening. Music helped me find myself. I started writing “love, light, laughter” on every email I wrote. What can other Grammy contenders take from this album? If you look at the goal of what Indian music is, what my earliest teachers have told me, from the very beginning is that music is, you do music to find the divine in you. And then, and then they say when you step out of the way, the divine takes over. Soul Ecstasy is a very important title, and a very important goal, and a state of being that we can always aspire to, because when we reach deep inside us, it’s not just about peace and quiet. There’s a part when you really get to a beautiful, quiet spot and you can really bubble up with joy. Where do you keep your Grammy that you won for Triveni? In my prayer room. Source link

El Congreso de la República sorprendió a los internautas al anunciar la apertura de su propio canal en la plataforma de streaming Kick, luego de aceptar el reto lanzado por el alcalde de Ate, Franco Vidal. A través de un video publicado en sus redes sociales oficiales, la institución confirmó: “¡Aceptamos el reto, alcalde Franco! ¡Nos sumamos a Kick!”. La iniciativa, según señalaron, busca acercar las actividades parlamentarias a la población de manera más directa y en tiempo real. Sin embargo, la noticia no pasó desapercibida y rápidamente desató un intenso debate en redes sociales. Te puede interesar Maju Mantilla: productora revela otra supuesta infidelidad con actor colombiano Críticas al Congreso por el uso de Kick Aunque algunos celebraron el ingreso del Congreso a una plataforma digital que conecta con las nuevas generaciones, gran parte de los usuarios reaccionó con ironía y duras críticas. En los comentarios de Facebook y TikTok se leyeron frases como: “¿En esto gastan los impuestos?”, “¿En serio no tienen nada que hacer?” y “¿Y si se ponen a legislar?”. Otros fueron más allá y cuestionaron la posibilidad de que la cuenta sea utilizada para generar ingresos económicos, ya que Kick ofrece opciones de monetización. “¿Quién administrará el dinero que se genere con la plataforma?”, preguntaron varios cibernautas. Te puede interesar Ibai anuncia el cierre de votaciones: esta es la fecha en que se conocerá al campeón del ‘Mundial de Desayunos’ Cibernautas apoyan la propuesta en Kick Pese a la ola de críticas, hubo quienes respaldaron la iniciativa destacando su potencial para acercar la política a los jóvenes. “Esta propuesta permitirá llevar la legislación peruana a las nuevas generaciones”, señalaron algunos usuarios. La cuenta ya superó los 1.900 seguidores, lo que refleja el impacto de su llegada al mundo del streaming. Con esta movida digital, el Congreso del Perú se suma a la tendencia de instituciones y personalidades que apuestan por Kick, aunque la recepción de los ciudadanos sigue dividida entre la curiosidad y la crítica. @congresodelperu Aceptamos el reto, @francovidalm ¡Nos sumamos a KICK! Invitamos a todos los peruanos a seguirnos en esta plataforma y conocer de cerca el trabajo del Congreso de la República. . #congresodelperu #congresoperuano #congresoperu #loultimo #politicaperu ♬ sonido original – Congreso de la República La entrada Congreso de la República abre canal en Kick y desata críticas en redes se publicó primero en Radio Onda Cero. Source link

Limp Bizkit are back with their first new song in four years and it is a classic Bizkit banger. “Making Love to Morgan Wallen” bursts out of the gate with a funky wah-wah guitar riff before a marching band beat bubbles up and singer Fred Durst launches into a sung-rap tribute to some fallen rock heroes. Explore See latest videos, charts and news “Damn, I miss you Chester/ Sending love from a bass compressor/ Ground control with a soul like Bowie/ And I’ll chop you up if I’m under pressure,” Durst raps in the opening couplet paying homage to late Linkin Park singer Chester Bennington and rock icon David Bowie. From there, if you can believe it — and if you’ve ever listened to a single Bizkit song before, you can — it gets way, way weirder.  “Bizkit beats from the pirate band/ Signed this deal with a lobster hand/ Freestyle like a bowling pin/ Flex these bars on a dolphin fin,” Durst raps over the spare backing track. “Life’s too short, but I can’t complain/ Doin’ backflips on a candy cane/ Ride my scooter with a cape at night/ And I’ma high-five me a traffic light.” Naturally. By the time the explosive, Beastie Boys-nodding “Hey, ladies” chorus comes around, true Bizkitheads might be having flashbacks to the band’s beloved 2000 Billboard 200 No. 1 album Chocolate Starfish and the Hot Dog Flavored Water, which featured similarly absurdist shout-it-out-loud nu-metal anthems such as “Rollin’ (Air Raid Vehicle)” and “My Way.” Durst isn’t done climbing to the top of mount weird, also claiming in the lengthy first verse that he got “kicked out of the Trump resort” in a seeming reference to Donald Trump’s Florida Mar-a-Lago residence. The second verse is no less random, with lyrics about moonwalking on a UFO, dropping bars while brushing teeth and a shout out to legendary 2001 blaxploitation-adjacent comedy Pootie Tang.  Propelled by one of guitarist Wes Borland’s hypnotic riffs, crunching beats, old-school record scratches and the group’s signature shouty choruses, the whole thing comes crashing to a close with a pummeling final chorus that finally nods to the country star in the title. “I make this motherf—ker diamond plated/ Makin’ love to Morgan Wallen in an elevator/ I’ll be turnin’ on you b–ches like a generator,” Durst spits over the titanic beat with no context whatsoever for the shout-out to the country chart dominator.  In keeping with their determination to put the biggest target on their own back, Durst ends with a classic DGAF Bizkit kiss-off, “I’ll be the greatest motherf—ker that you ever hated/ That you ever hated.” The new single is the first fresh music from the band since 2021’s “Dad Vibes” single from their sixth studio album, Still Sucks. They teased it in their patented jokey fashion last week by pretending to be outraged that L.A. drummer Kristina Rybalchenko “leaked” the song by playing along to it in a video. “Kristina, that’s our new song, it’s now out yet, how did you get that?” an annoyed Durst says in the clip after busting through the door and wagging his finger at her while warning not to post it online. Listen to “Making Love to Morgan Wallen” below. Source link

Garth Brooks will play his first show in the U.K. in nearly 30 years when he takes to the stage for the 2026 BST Hyde Park festival in London on June 27. Brooks is the first announced act for next year’s series and at press time his support acts for the gig on the Great Oak Stage had not yet been announced.  Explore See latest videos, charts and news In a statement, AEG Presents UK and European Festivals CEO Jim King said, “Announcing Garth Brooks as our first BST Hyde Park headliner for 2026 is a landmark moment. He joins the line of legendary artists who have defined BST over the years. A true global icon, Garth’s songs have connected with audiences everywhere, and his influence has paved the way for many of the country stars we celebrate today.” An American Express UK cardmember pre-sale is open now and will run through 9 a.m. BST on Sept. 18. A BST Hyde Park pre-sale will go live at 10 a.m. BST on Tuesday (Sept. 16) here. The general on-sale begins at 10 a.m. BST on Sept. 18. Brooks, who has not played a show in the U.K. since 1998, only has one other gig on his roster at the moment, an Oct. 18 performance on the Germania Super Stage at the 2025 Formula 1 MSC Cruises U.S. Grand Prix in Austin, Texas. While no other acts have been announced for next year’s BST Hyde Park festival yet, this year’s lineup featured a predictably stacked roster, including Olivia Rodrigo, Zach Bryan, Noah Kahn, Sabrina Carpenter, Neil Young and the Chrome Hearts and Stevie Wonder. Check out the BST Hyde Park 2026 Brooks poster below. Get weekly rundowns straight to your inbox Sign Up Source link

Redacción Panamericana La productora de ‘Chimi Churri’ afirmó que existiría otra supuesta infidelidad de Maju Mantilla. El propio Gustavo Salcedo le habría contado detalles. En medio de la tormenta generada por el presunto romance de Maju Mantilla con Christian Rodríguez Portugal, ahora una productora del podcast ‘Chimi Churri’ lanzó una fuerte revelación. La exreina de belleza habría tenido una supuesta infidelidad con el actor colombiano . Según lo narrado en el espacio digital, las versiones habrían salido directamente del propio Gustavo Salcedo, esposo de Maju. La productora señaló que él le contó detalles y mostró supuestas pruebas que comprometerían a la conductora de televisión. Te puede interesar Maju parcha y manda indirectas a Gustavo Salcedo: “Hace 2 años no hice ningún señalamiento” Productora del pódcast asegura que hay pruebas Durante la conversación, el conductor Christian Bayro pidió más precisiones sobre lo mencionado, a lo que la productora respondió tajante: “No, no lo puedo mostrar todavía”. Aunque aclaró que aún no podía presentar evidencia concreta, dejó abierta la posibilidad de que en algún momento se difunda. La sorpresa creció cuando la productora rectificó la nacionalidad del presunto involucrado: “Yo pensé que era argentino y no, es colombiano”. En ese momento, el nombre de George Slebi, actor con el que Maju trabajó en la novela Te volveré a encontrar, empezó a sonar con fuerza en la transmisión y rápidamente se viralizó en redes sociales. Te puede interesar Maju Mantilla niega infidelidad a Gustavo Salcedo con productor de ‘Arriba mi gente’ ¿Mostrarán pruebas de la supuesta infidelidad de Maju Mantilla? La productora cerró su participación reiterando que Salcedo habría confirmado tener en su poder evidencias de esa presunta infidelidad con el actor colombiano. Sin embargo, aún no se sabe si dichos materiales verán la luz pública. Por ahora, Maju Mantilla no se ha pronunciado sobre estas nuevas acusaciones, pero la farándula nacional sigue expectante ante lo que podría convertirse en otro capítulo de uno de los casos más comentados del año. @riclatorrez 11.09/13: #VeronicaAlcantara productora de #ChimiChurri asegura que #MajuMantilla tuvo affaire con actor #GeorgeSlebi de novela #TeVolvereaEncontrar y que #GustavoSalcedo se lo contó . #fyp #parati #riclatorrez #riclatorre #chollywood #farandulaperuana #magalytvlafirme #magalymedina #amoryfuego #destacame #americahoy #lanochehabla #evdlv #elvalordelaverdad #foryou #fy #Viral #Peru #peruanos ♬ sonido original – Ric La Torre Source link

Pink Floyd’s landmark album Wish You Were Here will receive a 50th anniversary edition re-release, the band announced on Friday (Sept. 12). Wish You Were Here was first unveiled 50 years ago on this date, becoming Pink Floyd’s first album to top the U.K. Albums Chart, as well as the Billboard 200. The lyrics explored longing and disillusion, marking a thematic change for the band. It is now recognized as one of the greatest classic rock records ever made, having sold more than 20 million copies worldwide. The band’s ninth studio album has been restored, remastered and expanded with an additional 25 bonus tracks, spanning alternate studio takes and live recordings by the famed bootlegger Mike Millard at Pink Floyd’s Los Angeles Sports Arena concert on April 26, 1975. The audio restoration for the latter was overseen by producer and Porcupine Tree member Steve Wilson. Rarities on the set include “The Machine Song (Roger’s demo)”, the first home demo of the song that bassist/cofounder Roger Waters originally brought to the band; an instrumental mix of the track “Wish You Were Here”; and a complete version of the nine-part composition “Shine on You Crazy Diamond (Pts. 1-9).” Wish You Were Here 50 will be released digitally on Dec. 12 via Sony Music, as well as across multiple physical formats including 3LP, 2CD, Blu-ray and a box set. The former features a new Dolby Atmos mix by James Guthrie, whose work with Pink Floyd dates back to 1979’s The Wall. The Blu-ray edition, meanwhile, will include three concert films from the band’s 1975 world tour, plus a short film directed by the late Storm Thorgerson, with details not yet revealed. In addition, the box set will house all 2CD, 3LP and Blu-Ray material, plus a fourth clear vinyl LP, Live At Wembley 1974, a replica Japanese 7” Single of “Have A Cigar” and “Welcome To The Machine”, a hardcover photo book, a comic book tour program and a concert poster.  As a preview of what Wish You Were Here 50 will entail, the band shared an early recording of “Welcome to the Machine.” Previously titled “The Machine Song,” it is shorter in length than the original and is a demo track that has never been heard until now. Listen to it below: Source link

En medio de la tormenta generada por el presunto romance de Maju Mantilla con Christian Rodríguez Portugal, ahora una productora del podcast ‘Chimi Churri’ lanzó una fuerte revelación. La exreina de belleza habría tenido una supuesta infidelidad con el actor colombiano . Según lo narrado en el espacio digital, las versiones habrían salido directamente del propio Gustavo Salcedo, esposo de Maju. La productora señaló que él le contó detalles y mostró supuestas pruebas que comprometerían a la conductora de televisión. Te puede interesar Maju Mantilla niega infidelidad a Gustavo Salcedo con productor de ‘Arriba mi gente’ Productora del pódcast asegura que hay pruebas Durante la conversación, el conductor Christian Bayro pidió más precisiones sobre lo mencionado, a lo que la productora respondió tajante: “No, no lo puedo mostrar todavía”. Aunque aclaró que aún no podía presentar evidencia concreta, dejó abierta la posibilidad de que en algún momento se difunda. La sorpresa creció cuando la productora rectificó la nacionalidad del presunto involucrado: “Yo pensé que era argentino y no, es colombiano”. En ese momento, el nombre de George Slebi, actor con el que Maju trabajó en la novela Te volveré a encontrar, empezó a sonar con fuerza en la transmisión y rápidamente se viralizó en redes sociales. Te puede interesar Maju parcha y manda indirectas a Gustavo Salcedo: “Hace 2 años no hice ningún señalamiento” ¿Mostrarán pruebas de la supuesta infidelidad de Maju Mantilla? La productora cerró su participación reiterando que Salcedo habría confirmado tener en su poder evidencias de esa presunta infidelidad con el actor colombiano. Sin embargo, aún no se sabe si dichos materiales verán la luz pública. Por ahora, Maju Mantilla no se ha pronunciado sobre estas nuevas acusaciones, pero la farándula nacional sigue expectante ante lo que podría convertirse en otro capítulo de uno de los casos más comentados del año. @riclatorrez 11.09/13: #VeronicaAlcantara productora de #ChimiChurri asegura que #MajuMantilla tuvo affaire con actor #GeorgeSlebi de novela #TeVolvereaEncontrar y que #GustavoSalcedo se lo contó . #fyp #parati #riclatorrez #riclatorre #chollywood #farandulaperuana #magalytvlafirme #magalymedina #amoryfuego #destacame #americahoy #lanochehabla #evdlv #elvalordelaverdad #foryou #fy #Viral #Peru #peruanos ♬ sonido original – Ric La Torre La entrada Maju Mantilla: productora revela otra supuesta infidelidad con actor colombiano se publicó primero en Radio Onda Cero. Source link

“Everyone was invited — including the dog,” Devendra Banhart chuckles over Zoom, looking back on Cripple Crow, his sprawling 2005 opus that was part artistic manifesto, part communal love letter. Dubbed “freak folk” at the time, the genre-bending opus was, in his words, “a snapshot of community,” where Brazilian-inspired tropicalismo, psych-folk and radical inclusivity collided. Explore See latest videos, charts and news Recorded in home studios and retreats filled with friendships and free-spirited experimentation, Cripple Crow felt more like a collective effort than a solo project. Its debut at No. 24 on Billboard‘s Independent Albums chart suggested a modest arrival, but its legacy has only grown in the years since. Ahead of its time in both sound and perspective, Cripple Crow brought Banhart’s dual Venezuelan-American heritage into sharp focus, serving as an early example of bilingual experimentation. In an era when U.S. indie music rarely acknowledged deep ties to Latin American traditions, the album broke the mold, drawing inspiration from legends like Venezuela’s Simón Díaz, Argentina’s Mercedes Sosa and Brazil’s Caetano Veloso. Its impact continues to echo in a new wave of bilingual, U.S.-born Latin artists, such as Cuco and Omar Apollo, who carry their roots beyond the boundaries of the indie scene. Now, as Banhart launches his new label, Heavy Flowers, and works on a forthcoming album with Ecuadorian-American artist Helado Negro, he’s marking the occasion with the release of Cripple Crow 20th Anniversary Deluxe Edition. Out Friday (Sept. 12), the reissue features nine new songs and previously unseen photos shared by friends — retrieved after Banhart set fire to his personal archives during a pandemic-era cleansing ritual. Additionally, the singer-songwriter also kicked off a nearly 30-date global tour on Thursday (Sep. 11), performing the 20-year-old album in its entirety. The trek stars in Homer, N.Y., with stops in Brooklyn and Boston before heading internationally to Japan, the Netherlands, France, Spain, Mexico, Chile, and culminating in Santa María de Punilla, Argentina, where he will take the stage at the Cosquín Rock festival on February 14 of next year. Here, the artist takes us back to the communal spirit, creative ethos, and cultural influences that shaped Cripple Crow in this brief oral history. Looking Back at Cripple Crow Devendra Banhardt: I feel warm vibes toward the innocence of that time — a combination of a lot of embarrassment and less embarrassment. I’m not the most social person, a bit but not totally agoraphobic or misanthropic. But I’m impressed by how much community there was back then. There’s something radical about physical community. [My artist friends and I] did everything together back then — we lived together, had venues and bars that we would play at almost every night. We had this little scene, and it would rub up against these other scenes. We were all friends, supportive of each other. It was an attitude of, “if I’m playing a show, you’re invited on stage.” Everyone was invited — including the dog, who is on the record.  It applied to visual art. I have to thank the San Francisco Art Institute [and pioneers of the ’90s Mission Arts scene] that came right before us, Alicia McCarthy, Barry McGee, Margaret Kilgallen, and more. Alicia, for example, had her first show at [Jeffrey] Deitch [art gallery] in New York. Everyone from SF came and could put a piece [of art] on her wall which was a big deal, a “wall of friends.” That ethos of “if I have a show, you have a show,” was born from that time in San Francisco, and it was applied to Cripple Crow.  Devendra Banhart Nicolas Lorden The Role of Bilingualism in Music of the ‘00s and Latin American Identity I would never make Cripple Crow today, I couldn’t and wouldn’t. It really is a product of its time. There are Spanish songs on that record because I am Venezuelan-American, and I exist in both of those worlds. My brain switches from Spanish to English. At the time, I was listening nonstop to Mercedes Sosa, Atahualpa Yupanqui, and Simón Díaz, [the latter] who we cover with “Luna de Margarita.” He’s the Caetano Veloso of Venezuela, the great poet.  [Simón Díaz] is so special because he combined two things that people typically would never think go hand in hand: poetry and comedy. He was a comedian and one of the most beautiful singers ever. I got to pay homage to somebody who influenced me so much that I grew up seeing on billboards. He was the most extraordinarily subversive person, because he was so mainstream and beloved. His songs were about the beauty of nature in Venezuela. He also has a couple of direct, explicitly anti-fascist songs. I don’t know if you know this, but Venezuela is a fascist country. He celebrates the people and never the regime. I’m really happy that I got to play this.  Then there’s the whole Brazilian influence — I was so obsessed with tropicalismo: Caetano Veloso, Maria Bethânia, Gal Costa, Novos Baianos. We were so influenced and inspired by that. We didn’t see that reflected in the world that we lived in. We’d see footage of the movement there and how revolutionary and radical it was. To be yourself, express yourself in the way that you feel most comfortable, to feel safe within the community, and to be a freak.  On “Freak Folk” and Queerness as Marginalization None of us made up “freak folk,” and none of us liked it when it came up. We didn’t think it was classy. We thought we were “classy” freaks. Then with the [SF drag pioneers of the late ‘60s] the Cockettes and the Angels of Light [communal theater]. We felt marginalized. I equate queerness with marginalization, in a nonsexual way. It’s about the oddness that comes from being yourself at the cost of being ostracized. That is what I think of a queer space; that’s the ultimate safe and artistic space. I remember seeing these two subcultures parallel from one another. Tropicalismo’s attitude was