Monday, April 15

Alicia Keys Returns to Her Roots with Her New Musical, “Hell’s Kitchen”

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Alicia Keys’s brand-new musical is opening in a Broadway theatre about a ten-minute walk from where she matured, and she’s offered the program the name of that area: “Hell’s Kitchen.” It includes her tunes to narrate about a teen-ager called Ali who is maturing and discovering her love of music, and it is even embeded in the apartment where Keys was raised. She is determined that the program is not autobiographical, “due to the fact that a lot of individuals believe ‘autobiographical’ and they believe rather actually.” In casting the function of Ali, a girl quite like herself, Keys was searching for a “triple-threat” entertainer who likewise had “the energy of a real New Yorker. .. That’s the hardest part, since you can’t teach that.” Plus, a discussion with the artist Rhiannon Giddens, who plays banjo on Beyoncé’s No. 1 nation struck, “Texas Hold ‘Em.” Giddens’s music has actually long checked out the Black roots of c and w, and the outermost reaches of the African diaspora.

Alicia Keys Returns to Her Roots with Her New Musical, “Hell’s Kitchen”

In her musical opening on Broadway, Keys narrates quite like her own life, utilizing her own hit tunes– however do not call it autobiographical.

Rhiannon Giddens, Americana’s Queen, on Cultivating the Black Roots of Country Music

The vocalist, banjo gamer, music scholar, and opera author talks with David Remnick about the tradition of Black string music– and how not to be restricted by category.

The New Yorker Radio Hour is a co-production of WNYC Studios and The New Yorker.

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