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      Ariana Grande Beats Kacey Musgraves and Justin Timberlake on the Chart

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      “Everything I Thought It Was,” Justin Timberlake’s first new album since “Man of the Woods” six years ago, opens in fourth place.Ariana Grande holds the No. 1 spot on Billboard’s album chart this week with “Eternal Sunshine,” beating out new releases by Kacey Musgraves and Justin Timberlake.“Eternal Sunshine,” Grande’s first new studio album in almost four years, stays at the top for a second time with the equivalent of just over 100,000 sales in the United States, including 115 million streams and 13,000 copies sold as a complete package, according to the tracking service Luminate.Grande’s total was down 56 percent from its opening week, giving it enough — by a thin margin — to succeed over Musgraves’s “Deeper Well,” which started with the equivalent of 97,000. “Deeper Well,” Musgraves’s second LP since winning album of the year at the Grammys in 2019 with “Golden Hour,” starts at No. 2 with 38 million streams and 66,000 copies sold. Those sales included 37,000 copies of the album’s nine vinyl editions — among them a picture disc showing cardinals in a tree and another featuring “scented sleeves.”“Everything I Thought It Was,” Timberlake’s first new album since “Man of the Woods” six years ago, opens in fourth place with the equivalent of 67,000 sales. It is Timberlake’s first solo studio album not to make it to No. 1 since “Justified,” which went to second place in 2002.Also this week, Morgan Wallen’s “One Thing at a Time” is No. 3 and Noah Kahan’s “Stick Season” is No. 5. More

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      Piknik, a longtime Russian rock band, is now at the center of a tragedy.

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      Early Saturday, Piknik, one of Russia’s most popular heritage rock bands, published a message to its page on Vkontakte, one of the country’s largest social media sites: “We are deeply shocked by this terrible tragedy and mourn with you.”The night before, the band was scheduled to play the first of two sold-out concerts, accompanied by a symphony orchestra, at Crocus City Hall in suburban Moscow. But before Piknik took the stage, four gunmen entered the vast venue, opened fire and murdered at least 133 people.The victims appear to have included some of Piknik’s own team. On Saturday evening, another note appeared on the band’s Vkontakte page to say that the woman who ran the band’s merchandise stalls was missing.“We are not ready to believe the worst,” the message said.The attack at Crocus City Hall has brought renewed attention to Piknik, a band that has provided the soundtrack to the lives of many Russian rock fans for over four decades.Ilya Kukulin, a cultural historian at Amherst College in Massachusetts, said in an interview that Piknik was one of the Soviet Union’s “monsters of rock,” with songs inspired by classic Western rock acts including David Bowie and a range of Russian styles.Since releasing its debut album, 1982’s “Smoke,” Piknik — led by Edmund Shklyarsky, the band’s singer and guitarist — has grown in popularity despite its music being often gloomy with gothic lyrics. Kukulin attributed this partly to the group’s inventive stage 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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      Maurizio Pollini, Celebrated Pianist Who Defined Modernism, Dies at 82

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      His recordings of Beethoven and Chopin were hailed as classics, but his technical ability sometimes invited controversy.Maurizio Pollini, an Italian pianist of formidable intellectual powers whose unrivaled technique and unwavering interpretive integrity made him the modernist master of the instrument, died on Saturday morning in Milan. He was 82.His death, in a clinic, was announced by the Teatro alla Scala in Milan, where he performed frequently. The announcement did not specify a cause, but Mr. Pollini had been forced to cancel a concert at the Salzburg Festival in 2022 because of heart problems and had pulled out of a number of subsequent recitals.Mr. Pollini, who performed for more than half a century, was that rare pianist who compelled listeners to think deeply. He was an artist of rigor and reserve whose staunch assurance, uncompromising directness and steadfast dedication to his ideals were evidence of what his colleague Daniel Barenboim called “a very high ethical regard of music.”Whether he played Beethoven, Schumann or Stockhausen, Mr. Pollini was almost unmatched in his capabilities. He took perfect command of his instrument, a prowess that came across “as neither glib facility nor tedious heroic effort,” the critic Edward Said once wrote, but instead as a technique that “allows you to forget technique entirely.”There were, however, many listeners who could not forget that technique, and Mr. Pollini was long a subject of controversy. Detractors heard only cold objectivity, accusing him of being too distant, too efficient or too unyielding when compared with the great characters of the piano; one of his few equals in sheer ability, Sviatoslav Richter, privately complained of hearing Mr. Pollini play Chopin on the radio with “no poetry or delicacy (even if everything’s impeccably precise).”“It was not a very imaginative performance,” Harold Schonberg of The New York Times said in his review of Mr. Pollini’s Carnegie Hall debut in 1968, eight years after the pianist had stormed to victory in the sixth International Chopin Piano Competition in Warsaw — the first Westerner to do so, and at only 18. “With all his skill,” Mr. Schonberg continued, “Mr. Pollini failed to suggest that he was deeply involved in the music.”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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      7 Songs From My L.A. Record Haul

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      Hear tracks from Cass Elliot, the Pretenders, Sam Cooke and more from the Record Parlour in Hollywood.Lindsay ZoladzDear listeners,Anytime I’m in Los Angeles — as I was last week, reporting a story I can’t tell you about just yet, but that you will get to read soon — I try to swing by the Record Parlour, a small but stuffed-to-the-gills shop off Sunset Boulevard in Hollywood. I almost always spend more time there than I intend to, and I invariably leave ready to test the limits of how many records I can fit in my luggage.A good used record store will always make me grateful that I took my allergy pill that morning, and by that metric, the Record Parlour is a very good used record store. Dusty crates of kitschy bargain-bin finds line the floors, while robust sections organized by genre snake around the store. (According to the shop’s Instagram, their inventory includes “200,000+ Records,” and I’d believe it.) The prices have certainly gone up in the eight or so years since I’ve been stopping by, but there are still deals to be had. Just when I thought I’d perused all the pricier “New Releases” — record store lingo for used records recently stocked — I saw an entire section of “$7.98 New Releases” and let out an audible groan, because of course I was going to have to leaf through every single one of those, too.I picked up a fun, eclectic mix of rock, pop, gospel and one coveted original soundtrack you will read about below. My finds included records by Bryan Ferry, the Pretenders, Sam Cooke and more — most of which were in that $7.98 bin, and all of which made it safely back to New York in my carry-on bag. Another successful transcontinental record haul!Also, one last bit of news: Yesterday marked one year since the Amplifier launched! What a year it’s been. Thanks to each and every one of you who has read, subscribed, listened, forwarded an installment to a friend, recommended a song for a playlist, sent me an email (I try to respond personally to as many as I possibly can, but please forgive me when I fall behind!), shaken a fist at the sky because I forgot to include a song you love, or taken a chance on an artist that we’ve featured and discovered a new favorite in the process.It truly feels like we’ve built a robust community of music lovers here, and I can’t wait to see where Year 2 takes us. Again: Thank you, thank you, thank you.Burnin’ down the interbelt, from Jacuzzi to Jacuzzi,LindsayWe 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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      Joni Mitchell, Following Neil Young, Returns to Spotify After Protest

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      Her music has quietly reappeared on the streaming service, two years after a departure over what she called “lies” about Covid-19 vaccines in podcasts.Joni Mitchell’s music has quietly returned to Spotify, more than two years after she followed Neil Young in protest of what she called “lies” about Covid-19 vaccines being spread on the streaming platform.There was no official announcement of Mitchell’s decision, but on Thursday fans on social media began to note with excitement the reappearance of some of her albums on Spotify. By Friday morning, most if not all of Mitchell’s original albums had returned, including classics like “Blue” (1971), “Court and Spark” (1974) and “Mingus” (1979).Representatives of the singer-songwriter, her record labels and Spotify either did not answer or had no comment when asked on Thursday and Friday about the apparent return of Mitchell’s albums.In January 2022, with a post on her website titled “I Stand With Neil Young!,” Mitchell said she would be removing all of her music from Spotify. Young had done so after criticizing the service for its support of Joe Rogan, the podcast star whose show had come under fire from doctors and public health officials who said that some of Rogan’s guests promoted misinformation about Covid vaccines.“Irresponsible people are spreading lies that are costing people their lives,” Mitchell wrote.Young returned his music to Spotify last week, saying: “My decision comes as music services Apple and Amazon have started serving the same disinformation podcast features I had opposed at Spotify.” Rogan previously had an exclusive deal with Spotify, which has since been renewed — for a reported $250 million — to allow distribution of his show on other platforms.Mitchell, 80, has become more active in recent years after suffering an aneurysm in 2015 that initially left her unable to speak. She has given several performances, including at the Newport Folk Festival in 2022 and at the Grammy Awards in February, and is set to play two “Joni Jam” shows at the Hollywood Bowl in October, joined by Brandi Carlile and others. More

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      Tyla Avoids a Bad Romance, and 9 More New Songs

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      Hear tracks by Olivia Rodrigo, Gary Clark Jr. featuring Stevie Wonder, Four Tet and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Tyla, ‘Safer’Following her worldwide 2023 hit “Water,” the South African songwriter Tyla has now released her self-titled debut album, merging African rhythms with English lyrics and R&B delivery. The album’s songs toggle between approach — like “Water” — and avoidance. In “Safer,” Tyla pulls away from temptation. The song harnesses the log-drum beat and sparse, subterranean bass lines of South African amapiano as Tyla worries that “This feels too good to be true” and decides, “As bad as I want you, I know that it’s danger.” Choral call-and-response vocals carry South African tradition into the electronic wilderness of 21st-century romance. JON PARELESOlivia Rodrigo, ‘So American’Olivia Rodrigo knows all too well how susceptible a young woman can be to physical attraction and a good line. With the speedy, pumping new wave rock and breathless vocals of “So American” — from the extended version of her 2023 album, “Guts (Spilled)” — she sums up a guy with “hands that make hell seem cold” who “laughs at all my jokes and says I’m so American.” For three frantic minutes, self-consciousness is no match for pheromones. PARELESRemi Wolf, ‘Cinderella’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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      N.Y. Philharmonic Adds 2 Premieres to a Diet of Classics

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      Jaap van Zweden, the orchestra’s music director, led new works by Joel Thompson and Tan Dun amid pieces by Mozart, Beethoven and Mendelssohn.When Jaap van Zweden, the music director of the New York Philharmonic, led the orchestra at the beginning of the year, the program featured repertory hits: a Wagner prelude, a Beethoven piano concerto and a Brahms symphony. Last week he returned with more of the same: a Mendelssohn overture, a Mozart piano concerto and a Beethoven symphony.This felt a little like “let Jaap be Jaap,” with van Zweden — whose short Philharmonic tenure ends in a few months — finally freed of the burden of presenting new works and past rarities, and able to focus wholly on the standards that have been at the center of his conducting career.But on Thursday at David Geffen Hall, he — or at least the administrators who have encouraged more adventure in his choices — offered a reminder that his time in New York had not been entirely without variety. In fact, the concert offered something unusual in the orchestral field: In a mixed program that will be repeated on Saturday and Sunday, the two (two!) premieres on the first half together lasted longer than the Mendelssohn symphony (yes, more Mendelssohn) after intermission.It was too bad that neither of those new pieces made a positive impression and that performing them together worked against both.First came Joel Thompson’s “To See the Sky,” obscurely subtitled “an exegesis for orchestra.” Two years ago, the Philharmonic premiered Thompson’s sumptuously moody song cycle “The Places We Leave.” Now 35, he has largely specialized in vocal music, and the 20-minute “To See the Sky,” heard for the first time on Thursday, is his longest instrumental work; you got the sense of a young composer trying to figure out how to fill such a substantial span.The titles of the piece’s three sections together form a quotation from the musician Cécile McLorin Salvant: “Sometimes/you have to gaze into a well/to see the sky.” From its beginning, with a series of soft rumbles that explode into violent bursts, much of the work alternates sections of loud and bumptious rhythms, like a parody of hip-hop beats, with periods of subdued lyricism. But these repetitive assertive-then-reticent cycles don’t accumulate interest or tension — though there are nice touches, like the sound of a trumpet flecked with harp.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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      LSU’s Flau’Jae Johnson Drops New Song With NLE Choppa As NCAA Tournament Starts

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      The sophomore guard is prepping collaborations with hip-hop heavyweights like Lil Wayne and NLE Choppa as she helps L.S.U. defend its basketball title in the N.C.A.A. tournament.When Flau’jae Johnson helped lead the Louisiana State University women’s basketball team to a national championship last April, in her first season on the squad, she ascended to the top of the sport. The win, the school’s first title, also vaulted her as a hip-hop artist, lifting a career that has found her teaming up with rap royalty.At least twice in the past year, Johnson staged rap performances within 24 hours of a game or a practice, in one instance opening for the chart-topping rapper and singer Rod Wave in Atlanta after traveling from Louisiana on a day off from the court. She walked offstage to body cramps after another performance in November; she had scored 17 points in a game hours before her show.“I know this is what I’m supposed to be doing,” said Johnson, 20, a sophomore guard who averages 14.2 points per game and over 62,000 monthly listeners on Spotify. “If you want to be a legend at something, you’ve got to do something nobody has done before and execute it at a high level.”Johnson’s two careers went into overdrive over the past year, and she’s balancing both as L.S.U. prepares to defend its title in the N.C.A.A. tournament, starting with its first-round game on Friday. The same day, Johnson plans to release “AMF (Ain’t My Fault),” her new song with the rapper NLE Choppa, who last year asked her and her L.S.U. teammate Angel Reese to appear in the video for his single “Champions”; they made cameos alongside other top athletes including the boxers Floyd Mayweather Jr. and Mike Tyson. Johnson then asked NLE Choppa to collaborate on “AMF,” which will premiere on Snapchat through a partnership with the social media platform.Johnson often composes lyrics during flights to away games and records songs in between basketball practices.Carly Mackler/Getty Images“She’s redefining and showcasing the renaissance and the revolution that is possible in women’s sports,” said Ketra Armstrong, a professor of sports management at the University of Michigan. “She’s showing not only how you do it, but how you do it masterfully without compromising one for the other.”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