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      Security Guard Injured in Shooting Outside Drake’s Home in Toronto

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      The police said that they did not know whether the shooting was related to the recent exchange of increasingly personal diss tracks traded between Drake and Kendrick Lamar.A man identified as a security guard for Drake was wounded in a shooting outside of the rapper’s Toronto mansion around 2 a.m. on Tuesday, the police said.The man was taken to a hospital with a gunshot wound, Inspector Paul Krawczyk, a member of the gun and gang task force, said at a news conference at the scene on Tuesday morning. The suspects fled in a vehicle and remain at large; the police did not offer a description but said the shooting had been captured on video.The shooting occurred outside the gates in front of Drake’s 50,000-square-foot mansion on Park Lane Circle in the North York neighborhood known as Bridle Path in Toronto, but did not involve the rapper, the authorities said. Drake was previously permitted to build fences twice as high as allowed by city law, citing a need for increased security.The shooting followed a weekend of increasingly personal diss tracks traded between Drake and the Compton, Calif., rapper Kendrick Lamar, whose long-simmering musical rivalry resulted in the release of six songs in 72 hours, including detailed attacks involving family members and claims of abuse against women on both sides.“I cannot speak to a motive at this time, because it’s so early, but as we get information we will share it with you,” Inspector Krawczyk said at the news conference. He said that he could not confirm whether Drake was home at the time of the shooting, but that authorities had been in contact with the rapper’s team, which was cooperating.The police said the victim, who was not identified, remained at the hospital in serious condition.A representative for Drake declined to comment.Lamar’s “Not Like Us,” which was released on Saturday and taunts Drake and his associates as “certified pedophiles,” features an aerial shot of Drake’s home on a map as its cover art. The track is currently topping the charts globally and in the United States on streaming services including Spotify and Apple Music. The cover is edited to portray the home as dotted with markers meant to represent the presence of registered sex offenders.Kendrick Lamar’s single “Not Like Us,” which was released on Saturday and taunts Drake, features an aerial shot of Drake’s home on a map as its cover art.Drake has previously referred to the location of his home, which he calls the Embassy, on tracks like “7AM on Bridle Path.”Representatives for Lamar did not immediately respond to a request for comment.Olivia Chow, the mayor of Toronto, said she had been briefed by the police but declined to offer any details.“Any shooting is not welcome in this city and I hope the police will find the people that are violating the law and catch them,” she told reporters.Ian Austen More

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      Madonna’s Hits-Filled Celebration Tour, Dissected

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      Hear five standouts from the set, and six we wish she’d played.Pablo Porciuncula/Agence France-Presse — Getty ImagesDear listeners,Lindsay is desperately seeking some time off this week, so I am the first of your guest playlisters: Caryn, the pop music editor. I’m going to tell you a secret — you could consider it one of my confessions on a dance floor. I saw Madonna’s Celebration Tour seven times; eight if you include the livestream from Rio de Janeiro on Saturday night, where the Queen of Pop wrapped her first-ever retrospective with a free show before an estimated 1.6 million people on Copacabana Beach.Some have asked why, so a brief explanation: I believe Madonna is the most important and influential solo figure in pop history, and I don’t skip opportunities to see her onstage, where she has innovated and thrilled throughout her four-decade career. (If you’re wondering who was behind “60 Times Madonna Changed Our Culture,” wonder no more.) I was too young to catch the Virgin or Who’s That Girl tours — and nobody took me to Blond Ambition or the Girlie Show (ahem, parents) — so my live history begins with Drowned World in 2001 and I have done my best to catch up.The Confessions Tour from 2006 is the best I’ve seen in person, the Tears of a Clown revival at Art Basel in 2016 was the zaniest, and Celebration is the first one I’ve reviewed (on its U.S. leg’s opening night in October). Repeated viewings haven’t changed my initial critical overview, though some parts of the show grew on me, some vocal performances sharpened up, and some of the extemporaneous speeches Madonna gave during the two breaks each night designed for them were stunningly raw and moving. (See Bonus Tracks below for more on that.)But the point of today’s playlist is to take a deeper (and deeper) look at the songs Madonna did — and didn’t — select for the tour. The first five tracks are my favorites from the show, which has a lot to do with how she staged them. The second six are songs that were sorely missed, so should you ever do a Celebration 2, M, please consider them official requests.Crazy for you,CarynListen along while you read.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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      2024 Met Gala After-Parties: Usher, Serena Williams and Other Celebs

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      One reason the Met Gala after-parties are nearly as famous as the Met Gala itself has to do with an incident that took place 10 years ago at the Standard Hotel in the West Village of Manhattan.On that night, Beyoncé was a star of the red carpet at the Metropolitan Museum of Art, along with her husband, Jay-Z, and her sister Solange Knowles. Afterward, in an elevator car headed to the Boom Boom Room, the club on the top floor of the Standard, Solange attacked her brother-in-law while Beyoncé stood watching and a bodyguard tried to restore order. The security-cam footage leaked to TMZ and the internet, and a family fight became the stuff of New York social lore.Things were less dramatic this year and less star studded at the annual Standard after-party. Just past midnight, the most famous person at Boom was the designer Christian Siriano, who had arrived with his date for the evening, the model Coca Rocha. Connie Fleming, the hotel’s longtime doorwoman, reflected on the changes in the social atmosphere since the heady days of 2014.“I think the Met Gala has peaked in its base of being about real fashion and real fashion people,” said Ms. Fleming, who became one of the trans community’s first stars in the 1990s, when she walked runways for Thierry Mugler.Christian Siriano and Coco Rocha at the party at Boom. Nina Westervelt for The New York TimesLil Nas X and Camila Cabello at Boom.Nina Westervelt for The New York TimesPedro Oberto and Marc Bouwer.Nina Westervelt for The New York TimesWe 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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      Tyshawn Sorey Wins Pulitzer for Composing an ‘Anti-Concerto’

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      The composer and instrumentalist was honored for “Adagio (For Wadada Leo Smith),” an unconventional concerto written for saxophone and orchestra.Concertos are typically works meant to showcase dazzling virtuosity. But when the composer and instrumentalist Tyshawn Sorey set out to write one for saxophone and orchestra several years ago, he quickly dispensed with convention.Describing the work as an “anti-concerto,” Sorey set out to provide a “respite from the chaos and intrusiveness of modern life.” In the score, he instructed the soloist and orchestra to play very softly and at an unhurried tempo of thirty-six quarter notes per minute.“I’m not interested in having a typical experience,” Sorey, 43, said in an interview. “I just wanted to create a work that kind of gets us to let the music wash over us, and lets us take our time in listening to it.”On Monday, the work, called “Adagio (For Wadada Leo Smith),” which was commissioned by the Lucerne Festival in Switzerland and the Atlanta Symphony Orchestra, was awarded the Pulitzer Prize in Music. It was a high honor for an artist who has spent his career defying labels, blurring the boundaries between jazz and classical music.Sorey wrote the roughly 20-minute work to pay tribute to Smith, the celebrated American trumpeter and composer, whom he met two decades ago and calls a mentor.“Every moment I spend with him is a learning experience,” he said, “and it’s always been something that I value and cherish.”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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      Lead in Beethoven’s Hair Offers New Clues to Mystery of His Deafness

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      Using powerful technologies, scientists found staggering amounts of lead and other toxic substances in the composer’s hair that may have come from wine, or other sources.At 7 p.m. on May 7, 1824, Ludwig van Beethoven, then 53, strode onto the stage of the magnificent Theater am Kärntnertor in Vienna to help conduct the world premiere of his Ninth Symphony, the last he would ever complete.That performance, whose 200th anniversary is on Tuesday, was unforgettable in many ways. But it was marked by an incident at the start of the second movement that revealed to the audience of about 1,800 people how deaf the revered composer had become.Ted Albrecht, a professor emeritus of musicology at Kent State University in Ohio and author of a recent book on the Ninth Symphony, described the scene.The movement began with loud kettledrums, and the crowd cheered wildly.But Beethoven was oblivious to the applause and his music. He stood with his back to the audience, beating time. At that moment, a soloist grasped his sleeve and turned him around to see the raucous adulation he could not hear.It was one more humiliation for a composer who had been mortified by his deafness since he had begun to lose his hearing in his twenties.But why had he gone deaf? And why was he plagued by unrelenting abdominal cramps, flatulence and diarrhea?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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      Coming Soon to Little Island: An Arts Festival With Powerful Backers

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      The mogul Barry Diller, who paid for the park, will finance a summer season of music, dance, theater and more, shaped in part by the Broadway producer Scott Rudin.Little Island, the $260 million park on the Hudson River that opened in 2021, was imagined as a haven for innovation in the performing arts. But the park’s cultural offerings — mostly sporadic, one-off works — have so far fallen short of those ambitions.Now Barry Diller, the billionaire media mogul who paid for the park, is setting out to deliver on the original vision, financing a robust, four-month annual performing arts festival on Little Island, the park announced on Monday. He is doing so with the guidance of Scott Rudin, the film, television and theater producer who retreated from public view in 2021 amid accusations of bullying by workers in his office.Diller said in an interview that he and his family foundation were prepared to spend more than $100 million over the next two decades on programming. The festival, one of the most ambitious artistic undertakings in New York City in recent years, will promote new work in music, dance, theater and opera. Nine premieres are planned this year for June through September, including a full-length work by the choreographer Twyla Tharp, and an adaptation of Mozart’s “The Marriage of Figaro” in which the countertenor Anthony Roth Costanzo will sing all of the leading roles.“I want people to enjoy the originality and adventure of Little Island,” Diller said. “I want it to produce a smile.”Rudin, a friend of Diller’s and a longtime adviser to Little Island, was not mentioned in a news release on Monday announcing the creation of the festival, but Diller said he was intimately involved in its planning.“He’s engaged in almost every discussion we have about the programming,” Diller said. “It started with him. It was his project.”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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      Taylor Swift’s ‘Tortured Poets’ Posts a Huge Second Week on the Chart

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      After a blockbuster opening, the singer’s new album earned the biggest second-week totals since 2015, nearly doubling the rest of the Top 5 combined.In its second week of release, Taylor Swift’s latest blockbuster album, “The Tortured Poets Department,” holds at No. 1 on the Billboard album chart, nearly doubling the rest of the Top 5 combined.One week after tallying the largest opening week since Adele in 2015 — selling the equivalent of 2.6 million albums in the United States — “The Tortured Poets Department” sold another 439,000 album units, down 83 percent, according to Billboard, but still the highest second-week total since Adele’s “25” almost a decade ago. Last month, Beyoncé’s latest album, “Cowboy Carter,” opened with 407,000 sales in its debut, then the biggest sales week for any release so far this year.Whereas Swift’s total last week included 1.9 million copies in traditional album sales — 859,000 for vinyl alone — and factored in advance orders, that number dipped 94 percent in week two, to 107,000. Instead, “The Tortured Poets Department” was consumed largely via digital streaming this time, with about 429 million plays of the album’s 31 tracks, down from a record 891 million the week prior.Also on this week’s chart, the country singer Morgan Wallen’s “One Thing at a Time,” released in March 2023, jumps two spots to No. 2, with 69,000 units. Future and Metro Boomin’s “We Don’t Trust You,” the first of the pair’s two recent albums (and the one featuring Kendrick Lamar dissing Drake on the hit single “Like That”), is No. 3 with 61,000 units. Rounding out the Top 5 is “Cowboy Carter” at No. 4 with 52,000 units and Noah Kahan’s “Stick Season” at No. 5 with 41,000 units. More

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      Review: ‘The Hours’ Returns to the Met Opera With Its Stars

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      Renée Fleming, Kelli O’Hara and Joyce DiDonato reprised their roles in Kevin Puts’s adaptation of the award-winning novel and film.Kevin Puts’s “The Hours,” which had its stage premiere at the Metropolitan Opera last season and returned for its first revival on Sunday, is even prettier than I remember.In the often exquisite score, the strings throb and the woodwinds flutter. When Puts reaches for percussion instruments, he chooses the sweeter ones — glockenspiel, crotales, chimes, vibraphone — and combines them luxuriously. Woodwinds at the top of Act II are practically Wagnerian in their extravagant stateliness. Tender piano chords toll lonesomely. Musical surges are thick with nostalgia. The luscious vocal lines revel in love, and understanding, of the human voice.But it’s easy to miss the score’s manifold beauties when the stage is full of distractions. Extraneous dancers and supernumeraries flood Phelim McDermott’s production at the Met. In one moment, the choreographer Annie-B Parson has them twirl around holding pillows while a character considers killing herself in a hotel room. Adding to the busyness, Puts heavily features the chorus as a collective, omniscient narrator and the characters’ inner voices. As a device, it doesn’t work; while the story intimately intertwines the emotional lives of three women, the chorus infringes upon their connection with the audience.It’s almost as though Puts and McDermott are afraid to take a sustained look at their heroines, or that they don’t trust the audience’s attention span. This is especially perplexing considering they have three leads on the order of Renée Fleming, Kelli O’Hara and Joyce DiDonato, who reprised their roles on Sunday. When the stage was free of clutter, their star wattage was dazzling.As Virginia Woolf, DiDonato was a haunted, magisterial presence. Her voice, dark, fulsome and cutting, communicated Woolf’s intellectual depth and her personal demons; there was the insight and occlusion of a novelist at the height of her powers hiding her suicidal ideations from others. As Laura, O’Hara sang with a voice of fine crystal, and while her timbre was a little cloudier than it used to be, she embodied Laura’s fragile nerves and anxious self-loathing. The overall shape of Fleming’s voice remained improbably youthful in its creamy roundness. Her Clarissa was patrician yet superficial, though partial blame rests with the libretto, in which every other word of hers is “flowers” or “party.”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