Grammys Moments: A Rap Tribute for the Ages, Beyoncé Triumph

Queen Latifah performs "U.N.I.T.Y." at the 65th annual Grammy Awards on Sunday, Feb. 5, 2023, in Los Angeles. (AP)
Queen Latifah performs "U.N.I.T.Y." at the 65th annual Grammy Awards on Sunday, Feb. 5, 2023, in Los Angeles. (AP)
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Grammys Moments: A Rap Tribute for the Ages, Beyoncé Triumph

Queen Latifah performs "U.N.I.T.Y." at the 65th annual Grammy Awards on Sunday, Feb. 5, 2023, in Los Angeles. (AP)
Queen Latifah performs "U.N.I.T.Y." at the 65th annual Grammy Awards on Sunday, Feb. 5, 2023, in Los Angeles. (AP)

As he accepted an innovator’s award named for him, Dr. Dre mused about what he had in common with many of the people he saw from the Grammy Awards stage.

“Where would a lot of people in here be without hip-hop?” the renowned rapper, producer and entrepreneur said.

The 2023 Grammy Awards may ultimately be remembered as the year the music industry’s top event tried to embrace rap, whose leaders have regarded the institution with suspicion for almost as long as the 50 years of history that were celebrated on Sunday.

It was only four years ago that song of the year winner Childish Gambino boycotted the show over perceived disrespect for rap. Kanye West and Eminem were among past stars with groundbreaking work overlooked for more middling fare and, for years, rappers complained their work was banished from TV.

The 15-minute Questlove-curated travel through time was a joy that brought dozens of stars to the stage, including Grandmaster Flash & the Furious Five, Run-DMC, Public Enemy, Ice T, Missy Elliott, Queen Latifah, Method Man, Salt-N-Pepa ... the list goes on, and still there were those you wished were there.

Nearly as important was the eight-minute version of DJ Khaled’s “God Did” that closed the show — Khaled took public note of the length — that featured a spellbinding appearance by Jay-Z.

Quavo’s tribute to Takeoff of Migos was arguably the highlight of a packed and memorable “in memoriam” segment to artists who died over the past year.

Kendrick Lamar gave an incisive acceptance speech after “Mr. Morale & the Big Steppers” won a Grammy for best rap album, his third trophy in this category.

It was a night it seemed the Grammys finally accepted rap as music’s dominant form. Will rappers finally accept the Grammys? That remains to be seen.

Queen Bey’s haul

Beyoncé took a place in history on Sunday when her four Grammys gave her a career total of 32, better than anyone else.

And yet...

The Grammys have a clear pecking order, with four of its awards the most prestigious: song, record and album of the year, and best new artist. Beyoncé has won only one of those awards, when “Single Ladies (Put a Ring on It)” was named top song in 2010.

She’s been nominated eight times for record of the year, and never won. Her most memorable Grammy moments came when two peers stood onstage with their own trophies and saluted her: when Adele said Beyonce’s “Lemonade” should have won instead of her in 2017, and Sunday when Lizzo spoke of skipping school in fifth grade to see Beyoncé perform.

Thirty-two trophies. It’s still hard to shake an empty feeling.

Trivia question: Whose record did Beyoncé beat? That would be classical conductor Georg Solti.

Raitt’s triumph

It may take Bonnie Raitt a few days to lose that look of shock. The 73-year-old guitarist won best song for “Just Like That,” a piece inspired by a story of a heart transplant, where she tried to emulate the writing style of the late John Prine. It was especially gratifying because Raitt is more of an interpreter. “I don’t write a lot of songs, but I’m proud that you appreciate this one,” she said. It was 33 years after “Nick of Time” was named album of the year.

Noah’s night

Show host Trevor Noah skillfully played the role of a fan, instead of serving snark from the stage, moving through the audience “like a floating Chinese balloon,” he said. And why not? With Adele, Lizzo, Beyoncé, Taylor Swift, Harry Styles and the like around, there was plenty of star power. Noah was neither insulting nor obsequious. And one delightful device — having fans talk about their favorite albums — paid off when a memorable grandma got to announce Styles’ album of the year win.

Harry’s style

OK, while he was performing “As it Was” Styles was dressed a little like one of those holiday tinsel decorations you thought you’d put away. The smooth pop composition clearly served him well. Later, he marveled at the quality of the competition and how hard it is to pick a winner. “You never know with this stuff,” he said backstage. “I don’t think you can look at any of the nominees and not feel as if they’re deserving. I’m really grateful they chose us.”

Introducing...

One element that worked less well was an effort to have family or friends introduce performances. You lose the idea of “real people” when Madonna is one of the choices. The best was the first — Catherine Shepherd, the proud wife, and the two children of Brandi Carlile (the kids also debuted in a hotel ad). “I’m a very, very lucky queer,” Carlile said backstage.

Why am I here?

The Rock as one of the Grammy presenters? Jill Biden? James Corden? At least the outgoing talk show host noted the incongruity of him giving an award for dance and electronic music. There’s enough musical firepower in the room that would surely relish the opportunity to present an award. And while we’re asking why someone was there, Ben Affleck turned himself into an unwanted internet star when the camera panned to him in the audience and it seemed like he’d rather be anywhere else. Don’t actors know how to fake looking like they’re having a good time?



Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
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Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)

Perry Bamonte, keyboardist and guitarist in The Cure, has died at 65, the English indie rock band confirmed through their official website on Friday.

In a statement, the band wrote that Bamonte died "after a short illness at home" on Christmas Day.

"It is with enormous sadness that ‌we confirm ‌the death of our ‌great ⁠friend and ‌bandmate Perry Bamonte who passed away after a short illness at home over Christmas," the statement said, adding he was a "vital part of The Cure story."

The statement said Bamonte was ⁠a full-time member of The Cure since 1990, ‌playing guitar, six-string bass, ‍and keyboards, and ‍performed in more than 400 shows.

Bamonte, ‍born in London, England, in 1960, joined the band's road crew in 1984, working alongside his younger brother Daryl, who worked as tour manager for The Cure.

Bamonte first worked as ⁠an assistant to co-founder and lead vocalist, Robert Smith, before becoming a full member after keyboardist Roger O'Donnell left the band in 1990.

Bamonte's first album with The Cure was "Wish" in 1992. He continued to work with them on the next three albums.

He also had various acting ‌roles in movies: "Judge Dredd,About Time" and "The Crow."


First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
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First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP

A Danish video game studio said it was delaying the release of the first James Bond video game in over a decade by two months to "refine the experience".

Fans will now have to wait until May 27 to play "007 First Light" featuring Ian Fleming's world-famous spy, after IO Interactive said on Tuesday it was postponing the launch to add some final touches.

"007 First Light is our most ambitious project to date, and the team has been fully focused on delivering an unforgettable James Bond experience," the Danish studio wrote on X.

Describing the game as "fully playable", IO Interactive said the two additional months would allow their team "to further polish and refine the experience", giving players "the strongest possible version at launch".

The game, which depicts a younger Bond earning his license to kill, is set to feature "globe-trotting, spycraft, gadgets, car chases, and more", IO Interactive added.

It has been more than a decade since a video game inspired by Bond was released. The initial release date was scheduled for March 27.


Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
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Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)

“Everybody wants to rule the world,” goes the Tears for Fears song we hear at a key point in “Marty Supreme,” Josh Safdie’s nerve-busting adrenaline jolt of a movie starring a never-better Timothee Chalamet.

But here’s the thing: everybody may want to rule the world, but not everybody truly believes they CAN. This, one could argue, is what separates the true strivers from the rest of us.

And Marty — played by Chalamet in a delicious synergy of actor, role and whatever fairy dust makes a performance feel both preordained and magically fresh — is a striver. With every fiber of his restless, wiry body. They should add him to the dictionary definition.

Needless to say, Marty is a New Yorker.

Also needless to say, Chalamet is a New Yorker.

And so is Safdie, a writer-director Chalamet has called “the street poet of New York.” So, where else could this story be set?

It’s 1952, on Manhattan’s Lower East Side. Marty Mauser is a salesman in his uncle’s shoe store, escaping to the storeroom for a hot tryst with his (married) girlfriend. This witty opening sequence won’t be the only thing recalling “Uncut Gems,” co-directed by Safdie with his brother Benny before the two split for solo projects. That film, which feels much like the precursor to “Marty Supreme,” began as a trip through the shiny innards of a rare opal, only to wind up inside Adam Sandler’s colon, mid-colonoscopy.

Sandler’s Howard Ratner was a New York striver, too, but sadder, and more troubled. Marty is young, determined, brash — with an eye always to the future. He’s a great salesman: “I could sell shoes to an amputee,” he boasts, crassly. But what he’s plotting to unveil to the world has nothing to do with shoes. It’s about table tennis.

How likely is it that this Jewish kid from the Lower East Side can become the very face of a sport in America, soon to be “staring at you from the cover of a Wheaties box?”

To Marty, perfectly likely. Still, he knows nobody in the US cares about table tennis. He’s so determined to prove everyone wrong, starting at the British Open in London, that when there’s a snag obtaining cash for his trip, he brandishes a gun at a colleague to get it.

Shaking off that sorta-armed robbery thing, Marty arrives in London, where he fast-talks his way into a suite at the Ritz. Here, he spies fellow guest Kay Stone (Gwyneth Paltrow, in a wise, stylish return to the screen), a former movie star married to an insufferable tycoon (“Shark Tank” personality Kevin O’Leary, one of many nonactors here.)

Kay’s skeptical, but Marty finds a way to woo her. Really, all he has to say is: “Come watch me.” Once she sees him play, she’s sneaking into his room in a lace corselet.

This would be a good time to stop and consider Chalamet’s subtly transformed appearance. He is stick-thin — duh, he never stops moving. His mustache is skimpy. His skin is acne-scarred — just enough to erase any movie-star sheen. Most strikingly, his eyes, behind the round spectacles, are beady — and smaller. Definitely not those movie-star eyes.

But then, nearly all the faces in “Marty Supreme” are extraordinary. In a movie with more than 100 characters, we have known actors (Fran Drescher, Abel Ferrara); nonacting personalities (O’Leary, and an excellent Tyler Okonma (Tyler, The Creator) as Marty’s friend Wally); and exciting newcomers like Odessa A’Zion as Marty’s feisty girlfriend Rachel.

There are also a slew of nonactors in small parts, plus cameos from the likes of David Mamet and even high wire artist Philippe Petit. The dizzying array makes one curious how it all came together — is casting director Jennifer Venditti taking interns? Production notes tell us that for one hustling scene at a bowling alley, young men were recruited from a sports trading-card convention.

Elsewhere on the creative team, composer Daniel Lopatin succeeds in channeling both Marty’s beating heart and the ricochet of pingpong balls in his propulsive score. The script by Safdie and cowriter Ronald Bronstein, loosely based on real-life table tennis hustler Marty Reisman, beats with its own, never-stopping pulse. The same breakneck aesthetic applies to camera work by Darius Khondji.

Back now to London, where Marty makes the finals against Japanese player Koto Endo (Koto Kawaguchi, like his character a deaf table tennis champion). “I’ll be dropping a third atom bomb on them,” he brags — not his only questionable World War II quip. But Endo, with his unorthodox paddle and grip, prevails.

After a stint as a side act with the Harlem Globetrotters, including pingpong games with a seal — you’ll have to take our word for this, folks, we’re running low on space — Marty returns home, determined to make the imminent world championships in Tokyo.

But he's in trouble — remember he took cash at gunpoint? Worse, he has no money.

So Marty’s on the run. And he’ll do anything, however messy or dangerous, to get to Japan. Even if he has to totally debase himself (mark our words), or endanger friends — or abandon loyal and brave Rachel.

Is there something else for Marty, besides his obsessive goal? If so, he doesn’t know it yet. But the lyrics of another song used in the film are instructive here: “Everybody’s got to learn sometime.”

So can a single-minded striver ultimately learn something new about his own life?

We'll have to see. As Marty might say: “Come watch me.”