TIME Music

Watch Philip Glass Look Back on Decades of Bringing Music to Art

The iconic composer talks about his longstanding friendship with sculptor Richard Serra, his recent performance inside an art installation and his advice for young artists

Early in his career, Philip Glass gave intimate performances in art galleries and downtown New York City lofts. Today, at the age of 78, the acclaimed composer still hasn’t stopped playing in unconventional spaces.

“The kind of music that I was doing, that my friends were doing, was not welcomed in the concert halls,” says Glass. “But we had no problem playing in museums and galleries, so that’s where we went. And then we never really left them.”

Glass recently partnered with sculptor and longtime friend Richard Serra to organize a concert in which Glass and violinist Tim Fain perform inside Serra’s exhibition, Equal. The installation, currently on view at the David Zwirner Gallery in New York and recently acquired by MoMA, is composed of four pairs of stacked 40-ton steel cubes.

“His work possesses a very strong presence and identity,” says Glass. “So when we put music into a sculptural environment that his work is, it’s a real encounter.”

Yet Glass and Serra don’t talk explicitly about the relationship between music and sculpture.

“We’ve never discussed it, actually,” says Glass. “Yet over the last 30, 40 years—it’s a long time—there have been many times when we have put the music and sculpture together.”

One recent notable performance was in 2008, when Glass performed a solo piano concert at the Grand Palais in Paris inside another Serra exhibit. For their latest collaboration, the decision to put together the concert was simple. Serra had invited Glass to watch the process of installing his new work in the gallery—something Glass often does—and mentioned the idea to him.

“Richard said, ‘What would you think about playing here?’ And I said, ‘I think that’s a good idea,'” says Glass with a laugh. “That was it!”

They agreed to make the event a benefit concert to support House with Heart, an organization for women and abandoned children in Nepal that needed funds to rebuild their facilities following the earthquake in April.

As is evident in his relationship with Serra, Glass values collaborating with his peers in various fields. He advises young artists to do the same.

“When I talk to young composers, I always encourage them to find people their age who make music and make dance,” he says. “Don’t work with the older people. Work with the people your age, because then you’ll grow old with them. You’ll have them for your lifetime.”

TIME Comedy

Why Darrell Hammond Modeled Himself After Eddie Murphy

The comedian with a skill for impersonations on how it all started

Comedian Darrell Hammond’s first impressions came at age seven alongside his mother, who liked doing impersonations of the neighbors. Hammond realized he, too, had a knack for impressions and was soon doing voices of Scrooge from A Christmas Carol, cartoon characters like Foghorn Leghorn and Popeye, and a host of others.

Fifty years later, Hammond’s repertoire includes dozens of celebrities, including Bill Clinton, Donald Trump and Sean Connery, all of whom he made famous in the 1990s and early 2000s as the longest-serving cast member in the history of Saturday Night Live. His latest character is Colonel Sanders, the founder and mascot of fast-food chain KFC, who Hammond has resurrected as an off-kilter, mandolin-loving Southern goofball just a bit out of touch with 2015.

Hammond recently stopped by TIME’s offices to discuss his latest transformation, Eddie Murphy’s outlandish impressions, and what it’s like being back at SNL as the show’s new announcer.

TIME Comedy

Watch Darrell Hammond Break Down His President Clinton Impression

It's all about the "vocal crinkle"

Comedian Darrell Hammond is the longest-serving cast member in the history of Saturday Night Live and for 14 seasons was often the sketch comedy show’s go-to impressionist. Before he left SNL in 2009, Hammond honed impressions of dozens of celebrities, but he’s probably best-known for one of them: President Bill Clinton, which was an almost weekly occurrence on the show in the late 1990s thanks to the Monica Lewinsky scandal.

Hammond, who recently took on the role of Col. Sanders in a new advertising campaign for KFC, is back at SNL as the show’s announcer, and his lip-biting, thumb-wagging Clinton has returned as well. Last week, Hammond stopped by TIME’s offices and shared a few tricks on how to become the former president. (Hint: Perfect a “vocal crinkle.”)

TIME Music

Watch Ciara Walk You Through Her Most Memorable Dance Videos

The second part of TIME's interview with the singer focuses on her fancy footwork

Ciara just embarked on her first tour in six years to promote her new album Jackie, but don’t think the “I Bet” singer has gotten rusty with the choreography. Whether it’s the floor hump from “Ride” or her The Matrix-style back bend from “Like a Boy,” she’s still breaking out her best-known routines on the road.

“Sometimes you get bored of the same moves, but you know that there are those moves that those fans love,” she tells TIME. “And you better not change those moves or you might create a little confusion! It’s those key moments that people remember because they mark the special creative moments you shared. It’s only right that you give them that thing they’ve loved from the beginning of the song or era.”

So when TIME sat down with Ciara to talk about how motherhood influenced her new record, it was only right that we asked her to walk fans through some of her most memorable moves and dance videos as well. See her reflect on “Gimmie Dat,” “Promise,” “Work,” “1, 2 Step” and more in the video above.

Read next: Review: Ciara Stays in Her Lane on Jackie—And That’s A Good Thing

Read next: Ciara: Motherhood Inspired Me to Swear a Lot More on My New Album

TIME Music

Ciara: Motherhood Inspired Me to Swear a Lot More on My New Album

Part one of TIME's interview with the Jackie singer

Ciara doesn’t like to curse. The “Body Party” singer won’t use profanity in front of you, and when she started using more colorful language on her 2010 album Basic Instinct after years of resistance, she censored the actual four-letter word to keep it from getting too vulgar. So it’s a surprise, then, to hear the singer call herself a “bad motherf-cker” close to two dozen times on “Jackie (B.M.F.),” the opening track off her new album, Jackie.

“I was really thinking about everything I had been through, so when I went in the studio, I just felt like screaming it out,” she says of recording the song. “There was a whole newfound confidence that came over me after having my son.”

Ciara spoke to TIME about becoming a mom to baby Future, how the music industry has changed since “Goodies” and why she decided to get more personal on her new album.

On what it means to be B.M.F.: “B.M.F. is purely confidence. We all have an inner B.M.F. in us. It’s that moment when you’re embracing who you are. If you feel like you’ve been through things in your life and have been able to push through those things, you are a B.M.F. If you’re a mom who’s been working her butt off and delivered a child and had to raise them, you are a B.M.F. It’s for any person who’s being courageous. If you feel a little insecure and a little doubtful, you need to look in the mirror and tell yourself, ‘I am a B.M.F.’ That’s the attitude you have to have.”

On addressing her breakup on “I Bet”: “Having a child with someone, you’re always going to be respectful of that. But the song ‘I Bet’ was honestly inspired by my life experiences — I can’t just say it’s from one experience. It’s one of those songs that’s very real. I would talk to people in the studio, and we’d talk about real-life things that everyone can relate to, not just the women, but the men too. It was one of those songs that felt necessary for the universe. It’s so good when I see young girls come up to me and say, ‘I love ‘I Bet,’ it’s helping me, that’s my song.’ That’s what you want your music to be: you want it be something that touches someone. It does feel good to know that it speaks to someone’s heart and can inspire them.”

On social media: “You can either allow social media to be helpful for you or it can be harmful. I like to let it be helpful. It allows me to have instantaneous interactions with my fans — you didn’t have that luxury before. It is cool when you put something up on Instagram and get the response right then instead of waiting to see what the world thinks tomorrow. I like how it allows me — a person who used to always be so private — the opportunity to grow and push myself. Sometimes sharing a photo is really O.K. because you never know how it can inspire someone. Or writing a tweet of what your thoughts are — you can show people you feel what they feel.”

On looking back at scrapped singles like “Sweat”: “You just have to keep it moving. There are a few songs where I definitely go, ‘Eh, I knew this one song wasn’t going to work.’ But I had to do it! There are some songs where you’re like, ‘I really like this song,’ and it just didn’t work out how you thought it would. That’s life. You win some, you lose some. You can’t dwell on it. I can’t be worried about the past. I’ve got to keep it moving and stay focused on the future — pun intended.”

Read next: Review: Ciara Stays in Her Lane on Jackie — and That’s a Good Thing

TIME Food & Drink

Inside Cronut Inventor Dominique Ansel’s New ‘Impossible’ Bakery

The cronut inventor's new bakery, Dominique Ansel Kitchen, will offer made-to-order pastries

From the cronut to the chocolate chip cookie milk shot, chef Dominique Ansel has made a name for himself as an inventor of viral baked goods.

This time, his latest creation isn’t just a pastry — it’s a bakery with a unique business model.

Dominique Ansel Kitchen, which opens in New York City on April 29, offers made-to-order items that will be ready within a minute or two after an order is placed.

“A lot of people told me it was impossible or too hard to do,” says Ansel. “It will require us to change the entire organization of the business, but I believe it’s possible.”

Ansel has a flair for pulling off the unexpected. When he first opened Dominique Ansel Bakery (now known as the home of the cronut) in 2011, he was advised to sell cupcakes rather than French pastries, to cater to the tastes of the public. Instead, he built a launching pad for a series of edible inventions that quickly caught the nation’s attention.

“When you think of pastries, it’s still a world that hasn’t been explored as much. [In New York City] there are bakeries from different countries, but there’s nothing as exciting,” Ansel says. “There are no experimental bakeries, there are no bakeries that really push themselves to do something unique and different.”

Ansel believes Dominique Ansel Kitchen will be the first bakery of its kind, with 70% of the menu assembled to order. To him, time is an ingredient, meaning that the time elapsed between the moment the pastry is completed and when a customer takes his first bite is crucial. Over the past few months, Ansel has kept timing a priority when planning his menu, which includes made-to-order chocolate mousse, a 1:1 lemon yuzu butter tart, mini matcha beignets and more.

“To me, having a dessert assembled when you order it, there’s nothing better than that.”

TIME

Nick Kroll Says All Movie Characters Shouldn’t Sound Like 30-Year-Old White Guys

The "Adult Beginners" star on sibling dynamics, the importance of strong female voices and his dream to be on "The Real Housewives of Atlanta"

Nick Kroll has played a radio host called The Douche (Parks and Recreation), a spin instructor named Tristafé (Unbreakable Kimmy Schmidt) and a German foosball enthusiast named Juergen (Community). But in the new movie Adult Beginners, which hits theaters (and iTunes and video on demand) Friday, Kroll plays a character that’s a little less hyperbolic and a little more relatable.

In the film, viewers meet Jake, a failed entrepreneur who moves in with his pregnant sister (Rose Byrne) and her husband (Bobby Cannavale, Byrne’s real-life boyfriend), and becomes a nanny to their young child. The story was inspired by Kroll’s own experience as the youngest of four siblings and uncle to a dozen nieces and nephews. After developing the idea with Mark Duplass, his co-star from The League, he enlisted husband-and-wife team Liz Flahive and Jeff Cox to write the screenplay.

“I wanted to have a female voice in helping to put the script together, because it’s really as much about me as it is about my sister in the movie,” he says. “A lot of movies are written by 30-year-old white guys, and you don’t want your characters all to sound like 30-year-old white guys.”

Fans who know Kroll from his recently retired Comedy Central sketch show Kroll Show, on which he played characters like the tuna-loving Gil Faizon and craft services extraordinaire Fabrice Fabrice, may be surprised by how normal a character Jake is. But Kroll insists that the gulf between Faizon and Jake is not so gaping, after all.

“The goal is to create something that just feels really believable, whether it’s a grounded character in a dramedy or a toilet baby who has been forced into becoming a father himself. How does that guy talk, how does he walk, how does he feel about his mom, how does he feel about his sister,” Kroll explains. “I’m trying to do the same homework regardless.”

TIME Rwanda

Scars and the Smell of Grass: One Survivor’s Lasting Reminders of Genocide

Survivors of the Rwanda genocide in 1994, which left hundreds of thousands of people dead, still grapple with its brutal legacy

More than two decades after the Rwandan genocide, the smell of grass in the summer still gives Consolee Nishimwe nightmares.

Between 250,000 and 500,000 women were raped during the 1994 genocide in Rwanda, according to the United Nations. At 14, Nishimwe survived a brutal attack that left her emotionally and physically scarred for years. As a result of the assault, she is now HIV positive. Her father and brothers—aged 18 months, 7 and 9—were all killed.

“I will never forget what happened to me,” Nishimwe, who has vivid memories of hiding in the bushes from Hutu militias, told TIME in a recent interview. “Physical violence happened to me, and also living with HIV as a result of that, it’s something I will never forget—that will never go anywhere, that I have to live with.”

This week, as Rwanda’s government commemorates the 21st anniversary of the genocide, many survivors like Nishimwe are faced with unavoidable reminders of the physical and emotional toll of the conflict.

When asked about forgiveness, Nishimwe, who now lives in New York City, spoke of a work in progress. “That’s a really difficult word,” she said. “I think I did… I think 20 years is still early to me.”

Nishimwe’s book, Tested to the Limit: A Genocide Survivor’s Story of Pain, Resilience, and Hope, is an account of her experience as a survivor.

TIME relationships

Here’s What One Woman Learned From Taking a Year Off From Her Marriage

Lessons from a year spent sowing wild oats

Robin Rinaldi did what many women dream of but few actually do: she took a year off from her marriage and made an agreement with her husband that they could both sleep with other people for a set period.

Rinaldi’s book, The Wild Oats Project, is a summary of what she learned during the year she spent in an open marriage. The idea came to her when her husband got a vasectomy after a long battle over whether they would have children — she wanted them, he didn’t. Faced with a future without a family, Rinaldi made a decision: “I refuse to go to my grave with no children and only four lovers,” she wrote, “If I can’t have one, I must have the other.”

That’s when she embarked on the Wild Oats Project. Rinaldi and her husband had three rules: no serious relationships, no sex with mutual friends and no sex without condoms. Both broke multiple rules over the course of the year, and it eventually took a toll on their relationship, but Rinaldi says the project wasn’t as much a choice as “a calling.”

“It was unlike me to act that way,” she says. “I had always been a very cautious and somewhat anxious person, I had always played by the rules. It was something instinctual, and something very female driving me to do this. It wasn’t really planned and strategized as much as felt.”

Still, Rinaldi found that, while many of her friends were supportive, some people thought her project was threatening, even terrifying: “The tale of a woman giving up security, even in an above-board way and allowing her husband to do the same thing, giving up all that security in pursuit of passion and adventure, is a scary idea for a lot of people,” she says. “I certainly didn’t write it to intentionally push anyone’s buttons.”

And ultimately, for Rinaldi and her husband, this was their last chance at saving their marriage. “We knew how risky it was, and we might not make it through, but it was really the only choice we had,” she says. “So we both agreed, two consenting adults, to try this first.” Ultimately, she and her husband went their separate ways, but Rinaldi says the project taught her much more than a simple divorce would have.

The biggest thing Rinaldi says she learned from the Wild Oats Project is that she was putting too much pressure on her husband. “Expecting your spouse to provide passion and security and purpose, it’s a lot,” she says. “I was asking too much of that one person… So now, as a result, I don’t look to someone else to kind of unfairly provide all of those things. That’s the biggest thing I learned from it, and I couldn’t have learned it unless I actually went through it.”

She also learned a lot about sex, and about her own body. Rinaldi spent much of the project in new-age sexual workshops and orgasmic meditation classes, so she came away a greater awareness of her sexuality. “The sex was the classroom, but the sex was not the lesson,” she says. “Your body has wisdom, that is very powerful and can kind of show you your path, and you don’t always have to think it through or necessarily act based on other people’s rules.”

Still, Rinaldi wouldn’t necessarily recommend that other women take exactly the same path she did. Instead, she’d advise younger women to “sow your wild oats before you settle down — that’s a no-brainer.”

Read next: Who Needs Marriage? A Changing Institution

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