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Tonight, Devonté Hynes will lead his project, Blood Orange, in the second show of a stand at Harlem’s legendary Apollo Theater with several guests, in charitable performances for Opus 118 Harlem School of Music. Along with the matinee performance this afternoon, Hynes’ two shows at the Apollo were highly anticipated and, as such, sold out almost as quickly as a Bruce Springsteen concert. For the latter, timelessness is an accepted standard; for the former, critical acclaim has become his typical accompaniment, and the Apollo shows should stand to be something of a turning point for Hynes in terms of popular recognition, even in the face of his highly-touted collaboration with Carly Rae Jepsen earlier this year, “All That,” which he co-wrote, and the Saturday Night Live appearance which followed.

Before you go jettisoning yourself into superstardom at the Apollo, however, you must prepare yourself for the endeavor. On Thursday night, in a secret show at Baby’s All Right in Brooklyn, Hynes did just that, with an exclamation point.

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In case you haven’t heard – or are willfully ignoring it, like the group of people who attempt to avoid discovering the victor of the Super Bowl every year – one of the great mysteries of pop music has finally come undone, albeit partially. In an interview with PEOPLE magazine, singer-songwriter and proto-Taylor Swift Carly Simon has revealed that the second verse, at the very least, of her seminal hit “You’re So Vain” is, as many suspected, about Warren Beatty. With a great sigh of relief, I’m certain, James Taylor can rock himself to sleep, and Mick Jagger has finally achieved some level of satisfaction, depending on the geography of his egotism in 2015.

What Simon also did in revealing Beatty as her muse, however, was take some of the intimacy out of listening to music. To be frank, I’d really rather she wouldn’t have done that. It isn’t so much that she’s ruined “You’re So Vain” – the classic rock stations in Charlotte, North Carolina, that seem to think Simon only ever released one song already achieved that in my youth – but she did manage to remind us that, as much as we want to feel closer to the musicians we love, they are eternally out of reach, mingling with people more famous than we in parties on yachts, dressed in white clothing after Labor Day like the bourgeois bottles on the top shelf that they are.

To be clear, I’m only half-serious, but that half is deadly serious.

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