Police: Stalker broke into Taylor Swift’s NYC home, took nap

Musician Taylor Swift performs onstage during the 2017 DIRECTV NOW Super Saturday Night Concert at Club Nomadic on February 4, 2017 in Houston, Texas. (AFP)
Updated 21 April 2018
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Police: Stalker broke into Taylor Swift’s NYC home, took nap

NEW YORK: Police say a stalker broke into Taylor Swift’s New York City townhouse and took a nap.
Police say officers investigating a reported break-in Friday found 22-year-old Roger Alvarado asleep in the pop star’s home in the Tribeca neighborhood.
Alvarado, of Homestead, Florida, was arrested on charges of stalking, burglary, criminal mischief and trespassing.
It’s not clear whether he has an attorney who can speak for him.
Alvarado was arrested at the same address on Feb. 13 on charges of breaking the front door with a shovel.
Swift was not home during Friday’s break-in.
The multiplatinum-selling recording artist has dealt with stalkers on both coasts.
Police said a Colorado man arrested April 14 outside a Beverly Hills home owned by Swift had a knife, a rope and ammunition.


Chip Wickham ushers in winds of change on the jazz scene

Updated 22 May 2018
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Chip Wickham ushers in winds of change on the jazz scene

PARIS: The hotly hyped “British jazz invasion” has been the toast of international scenesters for some months now, with breathy adjective-heavy sprawls penned on both sides of the Atlantic paying tribute to a fresh generation of musos who grew up not in the conservatoires but the clubs, channelling the grit and groove of grime into a distinctly hip, 21st century strain of freewheeling, DIY improvised music.

Now the Arab world has its own outpost in the form of Chip Wickham, a UK-born flautist, saxophonist and producer whose second album grew out of extended stints teaching in the GCC. “Shamal Wind” takes its name from the Gulf’s primal weather patterns, and there’s a distinctly meditative, Middle Eastern vibe to the title track, a slow-burning, moody vamp, peppered with percussive trills, with hints of Yusef Lateef to be found in Wickham’s wandering woodwind musings.

There’s rather less goatee-stroking to be found across the four further up-tempo cuts, which swap soul-searching for soul-jazz, soaked in the breezy bop of a vintage Blue Note release. Recorded over a hot summer in Madrid, a heady Latin pulse drives first single, “Barrio 71” — championed by the likes of Craig Charles — with Spanish multi-percussionist David el Indio steaming up a block party beat framing Wickham’s gutsy workout on baritone sax.

Having previously worked with electronic acts, including Nightmares on Wax and Jimpster, one imagines the dancefloor was a key stimulus behind Wickham’s rhythmically dense, but harmonically spare compositional approach. Phil Wilkinson’s sheer, thumped piano chords drive the relentless nod of second single “Snake Eyes,” Wickham’s raspy flute floating somewhere overhead, readymade to be skimmed off for the anticipated remix market.

In truth, Manchester-raised Wickham is both too thoughtful, and too thoughtless, to truly belong to the London-brewed jazz invasion — Shamal Wind yo-yos between meditative meandering and soulful strutting with a wilful disrespect for trend.