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      Judge Dismisses Jay-Z’s Suit Against Lawyer He Said Extorted Him

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      Lawyers for the rapper had accused Tony Buzbee of making false assault claims. Another federal suit Jay-Z has filed against Mr. Buzbee and his client continues.A judge in Los Angeles on Monday allowed for the dismissal of a months-old lawsuit filed by Jay-Z, in which the rapper had attempted to sue a lawyer he said had tried to blackmail him with false claims of sexual misconduct.In November, lawyers for Jay-Z (born Shawn Carter), brought a suit that accused the lawyer, Tony Buzbee, of extortion, defamation and intentional infliction of emotional distress. He sued after Mr. Buzbee, who has filed a number of lawsuits that accuse Sean Combs of sexual assault, reached out to explore a complaint from an anonymous accuser who said that Mr. Carter and Mr. Combs sexually abused her.Mr. Buzbee subsequently filed suit accusing Mr. Carter of raping the anonymous accuser with Mr. Combs when she was 13.That lawsuit accusing Mr. Carter of sexual misconduct was later withdrawn by the woman. Now Mr. Carter’s suit against Mr. Buzbee in Los Angeles has been dismissed.Still ongoing is a separate lawsuit filed by Mr. Carter against Mr. Buzbee in federal court in Alabama, the home state of the anonymous woman who initially sued Mr. Carter on sexual assault grounds.Mr. Carter’s lawyers have asserted in their filings that the woman and her lawyers knew the allegations they were making were false but proceeded with the claim anyway. In the Los Angeles case, Mr. Carter’s lawyers have said he received a letter from Mr. Buzbee threatening to “immediately file” a “public lawsuit” against him unless he agreed to resolve the matter through mediation for money.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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      10 Songs of Rebellion and Defiance for the Fourth

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      Tracy Chapman, Björk, Public Enemy and more songs for rabble-rousing and celebrating revolution.Tracy ChapmanAmy Sussman/Getty ImagesDear listeners,Jon Pareles here, chief pop critic, dropping by The Amplifier while Lindsay is on leave. The Fourth of July is just a few days away. And its celebratory fireworks and parades, lest we forget, commemorate a manifesto of principled rejection of authoritarian rule, which became the foundation of a successful revolution. It’s a good moment to crank up some songs about defiance, rebellion, justice and collective action. Here are a few for starters.Rip the mic, rip the stage, rip the system,JonListen along while you read.1. Tracy Chapman: ‘Talkin’ Bout a Revolution’“Poor people gonna rise up and take what’s theirs,” Tracy Chapman predicted on her 1988 debut album. With a churchy organ looming behind her strummed guitar chords, she envisioned economic discontent that could build from a whisper to a movement — and she welcomed it.▶ Listen on Spotify, Apple Music or YouTube2. The Isley Brothers: ‘Fight the Power, Pts. 1 and 2’Frustration energized the funk in this 1975 hit by the Isley Brothers. Tautly contained rhythm guitars and pithy drumming back up the brothers’ growls and falsettos as they rail against red tape, against people who say their “music’s too loud” and generally against a barnyard profanity that was still a rarity in that era of R&B. For the last two minutes of a five-minute track, they bear down directly on their message, vehemently repeating, “Fight it, fight the power!”▶ Listen on Spotify, Apple Music or YouTube3. Public Enemy: ‘Fight the Power’In 1989, Public Enemy latched onto the Isley Brothers’ title and refrain for “Fight the Power,” which appeared on the soundtrack to Spike Lee’s “Do the Right Thing” and on Public Enemy’s album “Fear of a Black Planet.” Chuck D declares, “From the heart, it’s a start, a work of art / To revolutionize, make a change,” over the Bomb Squad’s dense, deep funk production — a bristling pileup of samples from James Brown and many others. Decades later, it still sounds uncompromising.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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      What to Know About Bob Vylan, the Band at the Center of a Scandal

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      British police are investigating and the band lost its U.S. visas after a member called for “death” to Israel’s army at a festival.Before this weekend, Bob Vylan was a rising punk band with about 273,000 monthly listeners on Spotify — hardly a household name.Now, after leading chants of “Death, death to the I.D.F.” in reference to Israel’s army at the Glastonbury festival in England, it has become punk rock’s latest notorious act.On Monday, British police opened a criminal investigation into the chant, shortly after Prime Minister Keir Starmer and Jewish groups condemned it as hate speech.In the United States, the deputy secretary of state, Christopher Landau, said that the State Department had revoked visas for Bob Vylan’s members, meaning the band can no longer play a planned U.S. tour.Despite all the attention now focused on the group, many people had never heard of it before. Here’s what you need to know.Who is in Bob Vylan and what’s its music like?A British punk-rap duo known for fast-paced, politically provocative songs, the group uses pseudonyms and deliberately obfuscates other biographical details. The singer goes by Bobby Vylan and the drummer by Bobbie Vylan.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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      Neil Sedaka Executed One of Pop’s Great Comebacks. Now, He Just Plays.

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      After the man in a dark cashmere sweater and tortoise shell glasses sat down at a piano and leaned into the microphone, his first words were a declaration: “Sedaka’s back … again!”It was late March and the lounge at Vitello’s — an old-school Italian restaurant in the heart of Studio City, Calif. — was packed for a show by the irrepressible 86-year-old singer and songwriter Neil Sedaka. He had booked a series of semiregular Sunday night appearances here to mark the golden anniversary of his professional resurrection.Fifty years ago, Sedaka completed one of the most remarkable comebacks in pop music. A smiling star of the teen idol era, he’d made his name with run of hummable hits — “Oh Carol,” “Calendar Girl,” “Happy Birthday Sweet Sixteen,” “Breaking Up Is Hard to Do” — but his bubbly tunes, sung in a high tenor, were soon swept away, first by the arrival of the Beatles and then by the turmoil of the 1960s.In the difficult years that followed, Sedaka lost his fortune, his record deal and his sense of self. At his lowest, he would walk down the street and people would ask: “Didn’t you used to be Neil Sedaka?”Neil Sedaka gave up his classical pursuits after hearing the Penguins’ 1954 hit “Earth Angel,” and instead learned his trade as a pop songwriter at the Brill Building.Philip Cheung for The New York TimesIn the early ’70s, Sedaka exiled himself to England, where he gradually rebuilt his career, playing small clubs as he rediscovered his muse and a new group of collaborators. A fellow piano man and avowed fan, Elton John, eventually midwifed his return to the American charts in 1975, helping release the hit LP “Sedaka’s Back,” which has just been reissued in a deluxe vinyl package.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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      100 Years After His Death, Will We Ever Understand Satie?

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      If you’ve ever looked up a playlist to help you relax, focus or fall asleep, you’ve probably come across the music of Erik Satie.Most likely, you will have heard his “Gymnopédie No. 1”: a swaying foundation of chords that seem to step forward yet stay in place, somehow both independent of and supporting an instantly alluring melody.This piece’s popularity transcends genre, exemplifying the composer Virgil Thomson’s idea that Satie is the only composer “whose works can be enjoyed and appreciated without any knowledge of the history of music.”But Satie, while one of the most popular composers, is also one of the most enigmatic. He was a mystery to many during his lifetime and, a century after his death, remains elusive: a house of mirrors full of tricks, distortions and dead ends.Satie’s caricature of himself.API/Gamma-Rapho, via Getty ImagesThe more you try to understand Satie, the more difficult it becomes. His “Gymnopédies” are just a taste of a much bigger, stranger collection of works that are rarely heard. They were composed outside any fashion, and beyond traditional forms like the symphony and concerto, with scores idiosyncratic to the point of absurdity. To some they are a joke; to others they are disarming, a way to clear your mind and allow it to question the nature of music and performance. More

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      Review: On ‘Virgin,’ Is Lorde Finally Done With the Spotlight?

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      Her fourth album, “Virgin,” is her most erratic and least convincing. But the pop skeptic has a new target: herself.“What Was That,” the lead single on Lorde’s fourth album, “Virgin,” found one of the most thoughtful and interrogative pop stars of the last decade futzing around with aftermarket Charli XCX-isms in an up-tempo thumper that indicated that, after years of reluctant anti-hits and even more reluctant hits, she finally might be caving in to eagerness.Thankfully, it’s followed by “Shapeshifter,” the album’s best song, which is far stranger, and far more successful. Over a brittle, skittish post-drum-and-bass beat, Lorde sings about sexual hunger, and what parts of yourself you have to release to embrace it. But in the chorus, the song morphs into a metaphor about fame and untouchability, and how unfulfilling those things ultimately are. “I’ve been up on the pedestal,” she sings icily, smearing out the words. “But tonight I just wanna fall.”Were this the through line of “Virgin,” it would make for a fascinating album. A dozen years after “Royals” turned Lorde from a New Zealand bedroom prodigy into a prophet, she’s angling for something of a restart. Sloughing away her celebrity and her preciousness is a bold choice. But “Virgin” is a far emptier album than that hefty premise would imply. It is neither lean-in gratuitous hitmaking, nor philosophical treatise on the lameness of success.It is, in the main, an album of fits and starts, notions that don’t pan out — her most piecemeal work to date. “Man of the Year” begins with a slow plucked guitar and Lorde singing about ego death, and then limply lingers. The singing on “Clearblue,” about unprotected sex, is so heavily digitized and filtered that it lacks any emotional oomph. “GRWM” revisits the theme of erotic liberty — “Soap, washing him off my chest / Keeping it light, not overthinking it” is her opener — but the lyrics about searching for oneself are at odds with the production, which feels like it’s drowning her. Jim-E Stack is a co-producer (with Lorde) on every track; together they’ve chosen erratic eccentricity, with moods that shift so suddenly there’s little to grab onto.Lorde sings conspiratorially, but often on this album, when you listen closely, there’s no secret wisdom being conveyed. The discussion of sexual awakening is promising, but it’s not explored at much depth. And throughout the album, and also its marketing, there’s muddled messaging about gender identity that scans as surface level.Perhaps Lorde is simply a victim of the tyranny of high expectations. For a decade now, she has stood for resistance within the machine — the machine she’d never quite chosen to be a part of, yet which accepted her anyway.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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      8 Key Text Exchanges at the Sean ‘Diddy’ Combs Trial

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      The words sent between the mogul and his girlfriends have been cited as crucial evidence by both sides in a case that turns on whether sex marathons he directed were coercive.A jury began deliberating on Monday over the fate of Sean Combs, the music mogul facing charges of sex trafficking and racketeering conspiracy. Inside the jury room in Lower Manhattan, the 12 New Yorkers will have access to hundreds, if not thousands, of pages of evidence presented during the seven-week trial, including years worth of text messages that chronicle Mr. Combs’s relationships with the two women at the center of the case.The prosecution has highlighted dozens of those text messages in an effort to prove that Mr. Combs used violence, financial control and threats to manipulate his girlfriends into physically taxing sex sessions with hired men, while he masturbated and filmed.The mogul’s defense lawyers have maintained that these nights of sex — known as “freak-offs” and “hotel nights” — were fully consensual, and they spent hours throughout the trial parsing messages in which the women appeared to convey enthusiasm for the encounters.The trove of texts that jurors have seen provided intimate glimpses into the dynamics of two tumultuous relationships, the first with Casandra Ventura, the singer known as Cassie, and the second with a woman who testified under the pseudonym “Jane.”Both sides have had to contend with the complexities reflected in the years of communications: expressions of love and anger, lust and reluctance, excitement and anxiety.The total collection of evidence in the case includes 28 days of witness testimony, videos of some of the drug-fueled sex sessions and the surveillance footage of Mr. Combs’s assault on Ms. Ventura in 2016. But the text messages play a crucial role in knitting together a narrative of events. More

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      At the Sean ‘Diddy’ Combs Trial, Jurors Are Ready to Deliberate

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      The panel of 12 will be asked to decide whether the music mogul is guilty of racketeering conspiracy and sex trafficking.A jury in the federal trial of the music mogul Sean Combs will begin deliberating on Monday after receiving legal instructions from the judge in the complex sex-trafficking and racketeering conspiracy case.The panel, made up of eight men and four women, heard closing arguments from the government prosecutors on Thursday, followed by a presentation by the defense and a final rebuttal from the government on Friday.Judge Arun Subramanian, who is overseeing the trial, then opted to send the jurors home for the weekend so they could “come back fresh on Monday morning” to receive his directions. The judge estimated it would take him a few hours to go over the fine points of the laws at the core of the government’s case, a process known as “charging the jury,” before the jurors could start deliberations.The anonymous group was not sequestered throughout the trial and spent the weekend at home following the passionate final pleas from both sides last week.“You’ve heard the closing arguments, but I will ask you to continue to keep an open mind about the case,” Judge Subramanian told jurors on Friday, before adding the standard instructions he has given throughout the trial: “Do not speak with each other about the case. Do not speak with anyone else about the case. Do not read or research or look up anything about the case.”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