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      8 Rising Pop Girls You Should Hear Now

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      Reneé Rapp, Ethel Cain, Suzy Clue and more from prospects experimenting with undeniably modern modes while recognizing their place in the Pop Girl lineage.Reneé RappMario Anzuoni/ReutersDear listeners,This is Joe from The Times’s music team, once again filling in for Lindsay, a.k.a. taking any opportunity to foist my taste onto all of you.I’ve been thinking, as I often do, about the nature of stardom and whether its essential ingredients are becoming more scarce, or have long since dried up. Despite coalescing conventional wisdom, I’m invested, personally and professionally, in the idea that they have not, and that many of our most promising young musicians still possess an ineffable magnetism and some amazing hooks, even if they may never reach the heights of their monoculture forebears.Online, where music fandom gets messy but also meaty, the idea of the Pop Girls (and especially the Main Pop Girls) looms large. This constantly regenerating hierarchy includes — arguably; all of this is arguable and should be argued — the mostly emeritus legends (Madonna, Mariah, Britney), the modern imperialists (Beyoncé, Taylor, Ariana) and the lame duck in-betweeners (Katy, Gaga, Rihanna). Endless debates can be had about who fits where, and what that means for Billie, Cardi, Dua, Charli and anyone else who can get by with a single name.In the last few years especially, the field has blown open: Even the niches have niches and one person’s pop queen can be another’s “who?” (Justice for Rosalía, etc.) Even as Sabrina Carpenter and Chappell Roan have solidified their footing, not just on the internet but also the radio, streaming and IRL in concert, there are infinite iterating tiers of singers who are alternately reverent, irreverent, brash, manufactured, original and otherwise.These eight new songs are my summer picks from the current class of hot prospects, all of whom are doing something I see as undeniably modern, while also recognizing their place in the Pop Girl lineage, defined most broadly.Your money’s not coming with you to heaven,JoeWe 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

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      On Smaller Opera Stages, Daring Art Has More Room to Breathe

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      Unlike most countries, Germany has a network of minor but generously subsidized theaters whose vitality is remarkable, and unmatched.Near the end of Judith Weir’s opera “Miss Fortune,” there is an uncanny duet between the main character, Tina, and her fate. Tina is sung by a soprano, and Fate by a countertenor. Although their music is similar, the difference in their vocal timbres creates an unsettling clash.At a recent production of “Miss Fortune” that I attended at the Theater für Niedersachsen in Hildesheim, a small city in northern Germany, that scene had a memorable charge. Its strange lyricism was undercut by the humor of Tina telling her destiny to butt out as one might set boundaries with a problematic ex.It was a great operatic moment, and it played to a sparse audience in a city of just over 100,000 people.During the past season, Germany’s leading opera houses — in Berlin and Munich, in Stuttgart and Hamburg — offered largely familiar though well-rendered pleasures, along with a handful of new works by marquee artists in contemporary music. But, unlike almost any other country in the world, Germany also has a large network of smaller professional opera houses that step up, offering modernist masterpieces, overlooked rarities and work from this century. (According to the German Music Information Center, the country has 83 institutions presenting opera and music theater.)In addition to the Theater für Niedersachsen, I traveled to opera houses in Darmstadt, Dessau-Rosslau, Lübeck, Magdeburg, Bielefeld and Kassel throughout the season. Although the performances were often at a lower technical level than in the country’s opera capitals — the orchestral playing less polished, the singing rougher, the stagings and acting more beholden to clichés — they also showed a scene whose vitality remains unmatched, thanks to generous but increasingly precarious government funding.Germany’s smaller opera houses allow up-and-coming artists to hone their craft, giving onstage experience to generations of performers. Sonja Isabel Reuter, who gave an assured interpretation of Tina in “Miss Fortune,” is Theater für Niedersachsen’s only ensemble soprano. Last season, she sang four completely different vocal roles in the space of a week: Mimi from “La Bohème,” two different operetta characters and the solo soprano part in Dvorak’s cantata “The Specter’s Bride.” Her three seasons at the house, she said in a phone interview, “were like a crash course in how to be an opera singer.”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

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      Pusha T and Malice Reunite as Clipse, With Vengeance on Their Minds

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      For over two decades, Pusha T and Malice — the Virginia brothers who make up the rap duo Clipse — have tended to a very specific corner of hip-hop. As a unit and apart, they have been the purists, the moralists, the keepers of a traditionalist flame that lies perilously close to nostalgia, but somehow remains alive with possibility. While the genre has iterated countless times around and beside them, the pair remained faithful to a subject (drug dealing) and a style (ice pick-sharp minimalism) that might not have made them superstars, but has cemented them as a connoisseur’s pick, immune to trends.“Let God Sort Em Out,” out July 11, is the fourth Clipse studio album and first since 2009. Produced in full by Pharrell Williams, a longtime collaborator and benefactor, it is like a familiar cold plunge: harsh, reassuring, invigorating. The LP is a clear continuation of the work they did in the 2000s that made them favorites of street-rap realists and internet-fueled curio seekers.But the duo has also focused its single-minded pugnaciousness, turning it into a refined marketing savvy. For years, Clipse’s commitment to form and code has put them at odds with key figures in the genre. The most recent is Travis Scott, rap’s big-tent carnival barker, whom Pusha T calls on the carpet on a new single, “So Be It.”Once cordial acquaintances in the Kanye West universe, the two diverged following an incident in Paris, when Scott premiered new music for Clipse and Pharrell while withholding that he was collaborating with Drake, a known foe. “That was corny,” Pusha T said recently in an interview for Popcast, The New York Times’s music podcast. “He’s shameless.”Pusha T’s long-running feud with Drake — it was he who announced to the world, in “The Story of Adidon,” from 2018, that Drake had a son — has hovered over much of the music Pusha T has released in the last few years.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

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      As Sean ‘Diddy’ Combs Took a Victory Lap, He Planned Sex Nights, Prosecutors Say

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      Questioning its final witness, the government laid out flight plans, escort prices, hotel reservations and a web of payments for sexual encounters in 2023.It was September 2023, and Sean Combs was on top of the world.On the 12th day of that month, he accepted the global icon award at the MTV Video Music Awards, celebrating his decades of success as a trailblazing record producer and media mogul.Three days later, he released “The Love Album: Off the Grid,” his first solo studio LP in 17 years, and Mayor Eric Adams of New York gave him the key to the city, recognizing Mr. Combs as “the embodiment of the New York City attitude.”That month, Mr. Combs was also busy planning sexual encounters involving his girlfriend “Jane” and hired male escorts, at hotels in New York and Miami Beach, Fla. These encounters, which the government has described as elaborate, drug-fueled sex marathons that Mr. Combs coerced two women to participate in, are central to the prosecution’s case; he is charged with sex trafficking and racketeering conspiracy.The arrangements for those encounters — flight plans, hotel reservations, negotiations over escort rates and a web of payments — were laid out in detail at Mr. Combs’s trial on Monday. Maurene Comey, the lead prosecutor, asked a special agent with Homeland Security Investigations to read from text messages, American Express bills and other records as the 34th and final witness for the government before it rests its case.Mr. Combs has pleaded not guilty and denied the accusations against him. His lawyers have argued consistently throughout the seven-week trial that Mr. Combs’s sexual arrangements were all consensual, and that no criminal conspiracy exists.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

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      On Haim’s ‘I Quit,’ a Breakup Is an Inspiration

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      “I Quit,” the band’s fourth album, leans into heartache and moving on.Experience has a way of undermining certainties — especially ones about people. Simple hero-villain narratives develop gray areas, motives are reassessed. Blame gets reapportioned, ambivalences creep in.On “I Quit,” Haim’s fourth album, the sisters Danielle, Alana and Este Haim apply the same generation-spanning pop expertise and ambition that they’ve previously brought to simpler scenarios. It’s a breakup album, but one that navigates all sorts of mixed emotions: recriminations and apologies, righteousness and doubts, longing and renunciation.The songs on “I Quit” move through regrets and second-guessing to find relief, even liberation, in being single. “Now I’m gone, now I’m free / Born to run, nothing I need,” Danielle Haim sings in “Gone,” the album’s agenda-setting opening track. Lest anyone miss the point, the song samples the gospelly chorus of George Michaels’s “Freedom! ’90.”Haim’s 2013 debut album, “Days Are Gone,” introduced a band with classic-rock skills and 21st-century resources. Singing quick-tongued, fine-tuned harmonies, Haim reconfigured decades of physical and computerized California sounds: Fleetwood Mac above all, with its vocal harmonies and panoply of guitar tones, but also Sheryl Crow, Michael Jackson, Tom Petty, Beck and more.Haim used that vocabulary, much of it from before the sisters were born, to sing about matters of the heart with an implicit family solidarity. Their early videos often showed them striding together down Los Angeles streets.Onstage, Haim performs straightforwardly in real time, with the sisters switching among instruments. Meanwhile, in the studio, Haim slips all sorts of clever details and sly electronic textures into natural-sounding tracks.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

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      Aide Who Was Sean ‘Diddy’ Combs’s ‘Right Hand’ Draws Scrutiny at His Trial

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      Kristina Khorram, the mogul’s former chief of staff, was not charged in his indictment, but the government has identified her and other staff as co-conspirators.For years, anyone who wanted access to Sean Combs had to go through Kristina Khorram first.An employee at his company since 2013, becoming his chief of staff in 2020, Ms. Khorram was the mogul’s “right hand,” as he once called her. Before leaving her role in the last year, she commanded a rotating army of personal assistants for Mr. Combs and was the central go-between for his multifaceted business empire.While much of her work related to Mr. Combs’s businesses, she also made doctor’s appointments for his girlfriends. Made sure their rent was paid. Apprised them of the boss’s daily moods.“Don’t know how I’d function without her,” Mr. Combs wrote in a Facebook shout-out in 2021.The actions of Ms. Khorram and others who worked for Mr. Combs over the years are now being scrutinized in federal court, where prosecutors are trying to convince jurors that Mr. Combs is guilty of sex trafficking and racketeering conspiracy, asserting that he ran a “criminal enterprise.”Ms. Khorram, 38, has not been charged in the case, has not been called as a witness and has denied wrongdoing in the past. But her presence is woven through various accounts given at the trial of wrangling hotel logistics for the sex marathons that are at the heart of the case, or of arranging for drugs to be transported by plane to the music mogul.“Her duties as Mr. Combs’s chief of staff were extremely broad,” Meredith Foster, a prosecutor, told the judge this month. “They involved setting up hotel nights,” she added, “facilitating the transportation of narcotics, various items such as that.”During the trial, prosecutors have described the behavior of various bodyguards and staff at Mr. Combs’s companies, as well as Ms. Khorram, as they argue to the jury that the conduct of the employees was not just the work of dutiful assistants, but of racketeering co-conspirators.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

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      Dr. Demento Announces His Retirement After 55 Years on the Air

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      Barry Hansen, mostly known by his D.J. name, said he’d end his show’s run after 55 years of playing parody songs. His syndicated show was once heard on more than 150 radio stations.“Monster Mash.” “Another One Rides the Bus.” “Grandma Got Run Over By a Reindeer.”The D.J. most responsible for lodging these earworms in listeners’ heads, Barry Hansen, better known as Dr. Demento, said last month that he would retire from the airwaves in October, on the 55th anniversary of his radio debut.Mr. Hansen, 84, started on KPPC-FM, a free form and progressive rock station in Pasadena, Calif., (now KROQ-FM) in 1970 and soon began focusing on what he called “funny music” because of listener requests for songs that made them laugh.After he played “Transfusion,” a song by Nervous Norvus, which had been banned on many radio stations in the 1950s, another D.J. at the station called Mr. Hansen demented.“Transfusion” — featuring the sound effects of vehicle crashes — is about a reckless driver who repeatedly gets seriously injured in car crashes by breaking traffic laws. In the lyrics, the driver gets a blood transfusion after each crash and vows to drive safely, before getting into another one.The novelty song struck a chord with Mr. Hansen, who would spin up similar parodies for his playlists for the next half century. The nickname Dr. Demento, which he adopted shortly afterward, also stuck.He referred to his fans as dementoids and dementites.“I have been doing this show for nearly 55 years, about two-thirds of my life,” Mr. Hansen said on his May 31 show, which broadcasts online. “It’s been a blast, but I have come to the decision that I need to hang up my top hat soon. The show you just heard is the last of my regular shows.”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

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      Lou Christie, ‘Lightnin’ Strikes’ Pop Crooner, Is Dead at 82

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      A late-1960s throwback to the days of clean-cut teen idols — he called himself “the missing link” — he rode his gymnastic vocal range to a string of hits.Lou Christie, who with his heartthrob persona and piercing falsetto rode high on the mid-1960s pop charts with hits like “Lightnin’ Strikes” and “Two Faces Have I,” while transcending teen-idol status by helping to write his own material, died on Wednesday at his home in Pittsburgh. He was 82.His family announced the death on social media, saying only that he died “after a brief illness.”With his perky doo-wop-inflected melodies and his gymnastic vocal range, Mr. Christie was at times compared to Frankie Valli of the Four Seasons. Like Mr. Valli, Mr. Christie hit his stride as the Beatles, the Rolling Stones and the other guitar groups of the British Invasion were starting to shatter the handsome-teen-crooner archetype personified by the likes of Fabian and Frankie Avalon.“They started disappearing,” Mr. Christie once said of such singers in an interview with the site Classic Bands. “It was so interesting that I kept going. I hit the end of that whole era.“I’ve always been between the cracks of rock ‘n’ roll, I felt. The missing link.”Mr. Christie in performance in 2013 in Collingswood, N.J. He continued to tour as an oldies act and release music on small labels long after his hitmaking days were over.via Getty ImagesEven in changing times, he held his own, thanks in part to the songs he wrote with his songwriting partner, Twyla Herbert, who was two decades his senior. The songs they created together had more emotional complexity than the standard odes to puppy love.While his debut album, released in 1963, failed to make a splash, two of the singles featured on that album climbed the charts. “The Gypsy Cried” reached No. 24 on the Billboard Hot 100 in 1963. “Two Faces Have I,” a showcase for Mr. Christie’s signature falsetto, climbed to No. 6 a few months later.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