At 18, the “Dance Moms” and internet star is returning to reality TV as half of the first same-sex partnership on “Dancing With the Stars.”A few years ago, JoJo Siwa emerged as a tween wonder on the reality show “Dance Moms,” known for her brassy one-liners, rapid-fire pirouettes and rainbow-hued ensembles topped with huge hair bows.Today, Siwa, 18, is about to return to dance reality TV — as a budding queer idol. After coming out earlier this year, she will be part of the first same-sex partnership on “Dancing With the Stars.”Her wardrobe hasn’t changed much.“When I came out, people were like, ‘How did you not see this coming? She’s always literally been a walking Pride flag!’” Siwa said. “It’s the best compliment.”In many ways, Siwa remains the same playfully outrageous person fans first encountered on “Dance Moms.” But during the intervening years, she has built an empire on her glitter-and-rainbows star power.Siwa on tour in Queensland, Australia, in 2018.Dan Peled/Rex, via ShutterstockSiwa now has 36.4 million followers on TikTok, 10.9 million on Instagram and 12.3 million on YouTube, where her song “Boomerang” is approaching 1 billion views. She has headlined an arena tour and appeared in TV series and movies, most recently “The J-Team,” a film she also executive produced. She was named one of GLAAD’s 20 Under 20 for 2021, and one of Time’s Most Influential People of 2020. She has sold more than 80 million of her signature hair bows.From the beginning, legions of preteen girls bought into Siwa’s positive, anti-bullying messaging. Since coming out, she has begun to speak more directly to people her age, who tended to dismiss her as kid stuff. She heads to the 30th season of “Dancing With the Stars,” which premieres on Monday, with all those fans — a.k.a. Siwanatorz — in tow.“She’s like a living, breathing Mirrorball Trophy,” said Andrew Llinares, an executive producer of “Dancing With the Stars,” referring to its top prize. “She’s colorful in the way she looks, but she’s also colorful in her personality and her aura. She’s just an amazing sort of — being.”Siwa grew up immersed in dance. Her mother, Jess, owned a dance studio in the Siwas’ hometown, Omaha. Jess had JoJo in competitions when she was just 2, the toddler’s costumes concealing her diaper. “She could turn like nobody’s business, and her presence was unreal,” Jess said. “She would just captivate people.”JoJo Siwa with her mother, Jess, at her 13th birthday party at Madame Tussauds in Los Angeles in 2016.Paul Redmond/WireImage, via Getty ImagesMaking JoJo a star in the mold of Hannah Montana, the Disney Channel character played by Miley Cyrus, soon became the goal. “I didn’t know that Miley Cyrus and Hannah Montana were two totally different people,” JoJo said. “Hannah Montana was the only human that existed for me, and she was glittery and sparkly and a rock star, and I just wanted to be that human.”In 2013, the 9-year-old JoJo earned a spot on the “Dance Moms” spinoff “Abby’s Ultimate Dance Competition.” Soon, JoJo and Jess joined the main “Dance Moms” cast. Though not the strongest dancer on the show — she routinely landed at the bottom of its trademark pyramid ranking — JoJo’s outspokenness and unapologetic confidence made her a reality TV natural.“Dance Moms” offered JoJo a degree of fame, but limited control over her image. In 2015, she started a YouTube channel, which she described as a way to showcase her truest self. “As a 12-year-old, I was editing 10 videos a week, which is wild,” JoJo said. “But it was just my favorite, because I was in charge and I had freedom.”Millions of followers beyond the “Dance Moms” universe began tuning in to see her share the contents of her taco-print dance bag and make pink slime without using her arms. It was a celebrity rooted in her own eccentricities and enthusiasms, without the shaping of a teen-idol-generating corporation. “In traditional media, there’s kind of a manufacturing of stardom,” said Earnest Pettie, who is the culture and trends insight lead at YouTube. “But by coming to social media, JoJo was able to claim her voice for herself, to tell her own story.”An early version of Siwa style.via JoJo SiwaAs her audience ballooned, JoJo became an anti-bullying crusader, encouraging her young fans to be themselves, haters be darned. That positivity, in its shiny, bow-topped packaging, proved highly marketable. And JoJo proved a savvy businesswoman, taking a hands-on approach to her lines of bows and dolls and clothing. (Jess proudly described 13-year-old JoJo holding court in a room full of Walmart executives.)But despite earning the adoration of 6- to 10-year-olds, she faced increasingly venomous harassment online from fellow teens. “I’ve never really had kid friends my own age,” she said. “But teenagers hated me. I mean, literally hated me.” From her detractors’ perspective, she looked like a phony, forced to perpetually inhabit a lucrative persona created when she was 9.She wouldn’t have been the only “Dance Moms” cast member to feel trapped in amber. Zackery Lennon Torres, who identified as a boy when she was on “Abby’s Ultimate Dance Competition” and “Dance Moms” as a young teen, came out this spring as a transgender woman. Now 22, she said she “hit pause” on her feelings about gender and sexual identity during her years with the franchise, which had specific ideas about what gender roles Torres would play.“I didn’t have time to think about where I was in my growth as a person,” Torres said. “After I left the show and went back to high school, I had to figure out that, like, Oh, I wanted a boyfriend. What does it mean to come out? Who am I?”Siwa, who overlapped a bit with Torres on “Dance Moms,” is quick to express sympathy for her. But Siwa maintains that her “Dance Moms” experience didn’t stifle or alter her, and neither did her ensuing fame.“Nothing I’ve ever done has been something I didn’t want to do,” Siwa said. “If I wanted to create an alternate identity, I could do that — it’d be easy. I didn’t. This is me.”Tracy Nguyen for The New York Times“Nothing I’ve ever done has been something I didn’t want to do,” she said. “If I wanted to create an alternate identity, I could do that — it’d be easy. I didn’t. This is me.”Since quarantine, however, there has been a new sense of vulnerability and transparency to Siwa’s online presence. On TikTok her posts became winkingly self-aware. “I started showing people, like, hey, I know you make fun of me, but guess what? I’m game!” she said. “They got to meet a human that maybe they actually like.” After turning 18 in May, she began experimenting with slightly toned-down looks, giving the hair bows a rest.Siwa came out and introduced her girlfriend, Kylie Prew, in a series of posts in January and February — an undeniably honest moment met, overwhelmingly, with cheers. (She is still figuring out how best to describe her sexuality; for the moment, she said, she’s going with “queer, because it covers it, and it’s cute.”) She has disavowed her homophobic trolls.“I want to be a role model for people who love love,” she said. “I don’t want to be a role model for people who think being gay is wrong. I don’t need those people in my corner.”Siwa with her girlfriend, Kylie Prew. “When I came out, people were like, ‘How did you not see this coming? She’s always literally been a walking Pride flag!’” Leon Bennett/Getty ImagesThough Siwa’s ambitions extend to music, acting and production, her “Dancing With the Stars” turn comes at an especially dance-focused moment in her career. Her new film “The J-Team” centers on a dance team, and she is the choreographer in the coming streaming series “Siwa Dance Pop Revolution,” a collaboration with her mother. “Dance has always been home for me,” she said.“Dancing With the Stars” will help twine Siwa the dancer and Siwa the queer role model together in the public imagination. (There has been some grumbling online about her dance background giving her an unfair advantage on the show, but “Dancing” frequently includes trained dancers in its star lineup.) When the “Dancing” team first approached her earlier this year, they asked whether she’d like to perform with a male or a female pro. “I immediately chose female,” she said. “How awesome is it that I get to be the first, that I get to make history and inspire people this way? That is huge.”It is huge. And, in some encouraging ways, it isn’t. “Dancing” follows in the footsteps of its BBC cousin, “Strictly Come Dancing,” which featured its first same-sex partnership last year, and the Danish “Dancing With the Stars,” which has already awarded its Mirrorball Trophy to a male-male duo. Since 2019, the National Dance Council of America, the official governing council of traditional ballroom dance in the United States, has defined a couple in ballroom as “a leader and follower without regard to the sex or gender of the dancer.”Siwa, once seen as stuck in time, is now helping network TV catch up with the times. And her Siwanatorz? They’re already caught up.“I think the best part,” Torres said, “will be for these young kids to see her dancing with a girl on TV, and not even bat an eye.” More

Our critic listened to the cast recordings of all the nominated musicals and picked one of his favorite tracks from each.Great Broadway musicals must feature great songs, but not all the great songs are found in great musicals. That’s why I collect cast albums: There are obvious gems and hidden ones. To explore that range at the end of a generally fine and unusually eclectic Broadway season, I picked a song from every show that received a Tony Award nomination in any category. (The exception: “Pirates! The Penzance Musical,” which will record its New Orleans-inflected Gilbert and Sullivan score after the awards are doled out on CBS this Sunday.) Some of the songs are delicate, others brassy. Some jerk tears, others laughs. Some forward the show and others stop it cold. In any case, even if you never see them onstage, they all repay a deep listen.‘Up to the Stars’ from ‘Dead Outlaw’Thom Sesma crooning “Up to the Stars” as Thomas Noguchi, a.k.a. the “coroner to the stars,” in “Dead Outlaw,” the Broadway musical about a long-lived corpse.Sara Krulwich/The New York TimesThom Sesma as Thomas Noguchi (Audible and Yellow Sound Label)For most of its 100 minutes, “Dead Outlaw,” a death-dark comedy about a man who became a mummy, accompanies its posthumous picaresque with songs (by David Yazbek and Erik Della Penna) in a genre you might call rockabilly grunge. But near the end, the palette radically changes, when a formerly secondary character emerges as the show’s perfect avatar. He is Thomas Noguchi, the real-life Los Angeles “coroner to the stars” from 1967 to 1982. In a hilarious yet philosophical number called “Up to the Stars,” filled with sparkling, macabre lyrics, he details his most famous cases and corpses in the finger-snapping Rat Pack style of Dean Martin. As Noguchi, Thom Sesma sells what may be the best number ever about buying the farm.‘With One Look’ from ‘Sunset Boulevard’Nicole Scherzinger as Norma Desmond in Jamie Lloyd’s revival of “Sunset Boulevard.” Songs like “With One Look” evoke the drama of Desmond’s contradictions.Sara Krulwich/The New York TimesNicole Scherzinger as Norma Desmond (The Other Songs)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Joost Klein was thrown out of last year’s contest after being accused of threatening a camerawoman. On a new album, he’s still stuck in that moment.In the run-up to last year’s Eurovision Song Contest final, Joost Klein was amped for victory.Klein, a Dutch pop star, was a favorite to win with “Europapa,” a madcap song in which he raps over a bouncy beat and circling piano riff about a journey through Europe. The track ends in a hyperfast dance break, but the upbeat song also has a melancholy side: Klein wrote it as a tribute to his father, who died when Klein was 12.Then, just hours before the finale, Klein’s chance to honor his father vanished when Eurovision organizers threw the singer out of the contest, saying he had threatened a camerawoman. When Klein learned he was in trouble, he was backstage and dressed up in a comically large blue suit for a rehearsal. He begged to talk to the upset camerawoman, in a desperate bid to change his fate. But his pleas went nowhere: Klein was out.Nearly a year has passed, and the incident doesn’t appear to have hurt Klein’s career. He now has over three million monthly listeners on Spotify, and in February, he released a new album, “Unity,” to rave reviews in the Netherlands. After finishing a string of large European dates, this week he is embarking on his debut U.S. tour, including two shows at Irving Plaza in New York.Still, in a recent interview in London before a show, Klein, 27, was stuck under the cloud of his Eurovision misadventure. “Everyone’s like, ‘Hey, your career grew,’” Klein said. “I don’t care.”“Everyone’s like, ‘Hey, your career grew,’” Klein said. “I don’t care.”Jeremie Souteyrat for The New York TimesThe disqualification still “stings,” he said, and he didn’t expect to get over it soon. Klein said that both his parents died before he was 14, and it took him more than a decade to process their deaths. He feared that shrugging off the Eurovision fiasco could take just as long. His new album features several tracks brooding on the incident.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The pianist and vocalist was at once magnetically powerful and laid-back, glamorous and understated. A mix of musicians, writers and radio personalities share their favorites.We’ve spent five minutes with icons of the avant-garde, big-band heroes and saxophone titans. This time around, we’re putting the spotlight on one of jazz history’s rarest talents, the pianist and vocalist Shirley Horn, who would have turned 90 next month.Horn was at once magnetically powerful and laid-back, glamorous and understated. A daughter of Washington, D.C.’s Black bourgeoisie, Horn often attired herself in furs and white gloves, but she could outlast even the hardiest barfly as the night wore on. Her claim to fame will always be her way with a ballad — slow, smoothly poetic, not exactly beckoning but fully inviting — but she also had a ferocious knack for swing rhythm. As influenced as her musical language was by the French Romantics, like Ravel and Debussy, the blues was always her mother tongue.Born, raised and stationed throughout her life in the nation’s capital, educated in classical piano at Howard University, Horn developed a reputation in Washington by her mid-20s, but she had little interest in chasing the spotlight. She remained only a rumor in New York until Miles Davis — after hearing her 1960 debut album for the small Stere-O-Craft label — convinced Horn to bring her trio for an extended run opposite him at the Village Vanguard. The club’s owner had never heard of her, but Davis insisted: “If she don’t play, I ain’t gonna play.” Her showing there led to a contract with Mercury Records, and a solid run of recordings followed, including the Quincy Jones-arranged “Shirley Horn With Horns.”But Horn prized the comforts of hearth and community, and she had the benefit of plentiful local scene in Washington, where she had become a linchpin. For most of the 1970s she barely recorded. But she kept working, holding together the same trio of expert D.C. musicians for decades, with the bassist Charles Ables and the drummer Steve Williams. The three developed a joyous dynamic, not so much telepathic as alert from moment to moment, so that Horn’s suave but intensely improvised playing always had a plush bed to land in.Here the fact of her immense slowness — Horn often played at tempos so draggy that, at 30 or 40 seconds in, it felt like the song had barely begun — became an asset: You’ll often hear Ables reroute gamely in response to a rhythmic choice she’s made or a transitional chord she’s adjusted. The famed vocalist Carmen McRae loved the sound of that trio so much, she hired them as her backing group; on McRae’s final album, from 1991, Horn can be heard tossing glittery harmonies on ballads and driving the band on up-tempo tunes. It was around this time that Horn swept back into the spotlight, thanks to a deal with Verve Records, and enjoyed one of the great late-career renaissances in jazz history, in particular with her Grammy-winning 1992 album, the now-canonical “Here’s to Life.”Below, read a selection of appreciative takes on Horn’s distinctive sound from a mix of musicians, writers and radio personalities, some of whom knew Horn personally by way of the Washington scene. You can find a playlist at the bottom of the article, and be sure to leave your own favorites in the comments.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Giddens said that the success of their opera “Omar” proves that “nobody has the lock on being a composer.”“I mean, look: I’m bowled over right now,” the polymathic musician Rhiannon Giddens said from her home in Ireland on Monday, shortly after winning the Pulitzer Prize for music.She was speaking in a phone interview with the composer Michael Abels, who joined separately by phone from the United States. Together, they wrote the Pulitzer-winner, “Omar,” an opera about Omar Ibn Said, a Muslim scholar who was captured in Africa in the early 1800s and sold into slavery in Charleston, S.C. It was there that the work premiered last May, at Spoleto Festival USA.Giddens wrote the libretto based on Said’s autobiography, and recorded self-accompanied demos that Abels then responded to with a fleshed-out score. The result was a multigenre, multicultural swirl — a tour through the sound worlds of Islam, bluegrass, spirituals and more — that I described in my review of the premiere as “an unforced ideal of American sound: expansive and ever-changing.”Abels has written for concert halls and films, including the “Get Out” soundtrack. Giddens is most famous as a folk musician but trained as a classical singer and has dipped her toes into opera in recent years, hosting the podcast “Aria Code” and performing works by John Adams. And now, to accolades like Grammy Awards and a MacArthur “genius” grant, Giddens, who never studied composition, can add the Pulitzer.“Nobody has the lock on being a composer,” she said. “We’ve got to stop with separation and who gets to be called a composer. There are a bunch of people who could write the next ‘Omar.’”In the interview, during which their phones could be heard ringing with calls and congratulations, Giddens and Abels reflected more on the creation of their opera and looked ahead to its future and theirs. Here are edited excerpts from the conversation.Where are your heads right now?RHIANNON GIDDENS It feels amazing, because Michael and I just put into this what we know. It was a love letter to my country. There’s so much to hate about it, but what I love about it is that ability that people have to come together and make some new amazing thing. American music is a spectrum.MICHAEL ABELS It shows the importance of telling all of our stories through our fine art, that people are waking up to the truth of that statement and the importance of our stories’ being part of our full artistic legacy. I’ve just come from seeing a couple of the shows in Boston, where it was playing to sold-out houses [at Boston Lyric Opera]. In each city, you’ve seen people who have never come to the opera before, feeling seen and feeling moved and being welcomed into an artistic space where they haven’t felt welcomed before.Rather than following the traditional route of a dramatic ending, the opera winds down with a communal, spiritual experience. Can you talk about why?GIDDENS There was a lot of instinctual writing. If you’d asked me this as I was writing the ending, I’d say, “I don’t know, I just need to do it this way.” Because the autobiography is so scant on details, I knew immediately that having a conventional narrative was not going to work.There have been American operas dealing with very American topics, but for African Americans, we had “Porgy and Bess.” It’s a beautiful opera, but now we’re starting to tell our stories. And we have to think about the story we’re telling, and how we want the audience to walk out of the theater. The end had to be about him and his faith, and it had to be about healing.ABELS It didn’t occur to me that it was unusual, that the first part was narrative and the last part wasn’t. Everything ended up where it needed to be. As a performing artist, [Rhiannon] constructs evenings for audiences all the time. I think her understanding that we need to take care of the audience at the end of this work comes from her being a performer.GIDDENS It shows that you don’t have to do it the same way everybody does it. I have not taken one composition class in my entire life. But I’ve lived composition in a different way.What does the future hold for this opera?GIDDENS The Ojai Music Festival commissioned a shorter concert version of “Omar.” And I’m going to be bold and say that I hope today pushes us to a recording. That would be my dream.And for you two as collaborators?ABELS Rhiannon is the most talented person I know, in terms of the variety and breadth of talent, and I’m thrilled to be part of her musical life.GIDDENS I’m not even blowing smoke when I say I don’t know what angel whispered Michael’s name — well, I do, because it was his soundtrack to “Get Out.” But I didn’t know what would happen. I had an instinct that it would work, and I don’t know how I lucked out so much in finding a collaborator. I can’t imagine us not doing more together. Watch this space. More