More stories

  • in

    China's Weibo Suspends BTS, Blackpink and EXO Fan Accounts

    Weibo accused one account devoted to a BTS member of illegal fund-raising amid a crackdown on 22 pages.HONG KONG — One month before the 26th birthday of Park Ji-min, a member of the South Korean boy band BTS, his fans in China pooled money to plaster his photographs and a declaration of their “eternal love” on the exterior of an airplane.As pictures of the customized Jeju Air plane circulated widely in China last week, Weibo, a Chinese microblogging platform, took notice. It accused the fan account of “illegal fund-raising,” and on Sunday, it banned the page from posting on the site for 60 days.The First in the world—Customized Exclusive Airplane in cooperation with Jeju AirPeriod: 9.1-11.30Flight Number: HL8087Note: The route may be changed due to some special reasons, please download Flightradar24 to check the flight information. pic.twitter.com/vp6AMpqjgd— PARKJIMINBAR👑 (@JIMINBAR_CHINA) September 1, 2021
    Weibo did not stop there. Hours later, the social media platform said that it would also suspend 21 other K-pop fan accounts for a month, including those that worship other BTS members; the girl group Blackpink; and EXO, a band with Chinese members, after receiving complaints.It was not immediately clear what social media crimes the fan accounts for Blackpink and EXO were deemed to have committed, but the move by Weibo came amid the backdrop of a broader government crackdown on celebrity worship and online fan culture in China.Beijing has recently taken steps to rein in fan clubs amid growing concern that the quest for online attention and celebrity adulation is poisoning the minds of the country’s youth.In its statement, Weibo said that stricter oversight of the fan groups would “purify” the online atmosphere and fulfill the platform’s responsibilities to society. It said that it would remove related blog posts that violated regulations and stressed that it “firmly opposes such irrational celebrity-chasing behavior and will deal with it seriously.”Weibo repeatedly cited a National Radio and Television Administration notice issued on Thursday for the need to manage the “chaos of fan clubs.” In the notice, the government regulator said it would ban broadcasts of “vulgar internet celebrities” and feminine-looking men. It stressed the importance of rectifying the “unlawful and immoral behavior” of celebrities and of upholding an industrywide standard of “loving the party and loving the country” in artistic creations.Representatives for BTS, Blackpink and EXO could not immediately be reached for comment. K-pop fans denounced Weibo’s action, calling it unwarranted and overly harsh.Agnes He, a university student in the southeastern Jiangsu Province of China, said that she believed it could help rein in fan behavior that had gone too far. But she also fretted about whether she could still buy albums at a discounted price through group purchases organized by the fan accounts.“I am quite sensible when chasing stars,” Ms. He said in a phone interview on Monday, adding that she saw pop idols as positive and energizing influences. “It’s a personal freedom. Just because I like Korean pop idols doesn’t mean I’m not patriotic.”K-pop fans around the world are known for their organizational prowess, with many decking out billboards, giant LED screens and public transportation vehicles to show support ahead of an album release or a favorite band member’s birthday. Some have turned to political activism, and others took credit for helping to inflate expectations for a rally in Oklahoma for Donald J. Trump, then the American president, by reserving tickets they had no intentions of using.But the online armies of Korean pop music fans are running up against President Xi Jinping’s sweeping agenda to clean up aspects of the entertainment industry in China. The Cyberspace Administration of China banned the ranking of celebrities by popularity. A regulator also accused an actress, Zheng Shuang, of tax evasion, fined her more than $46 million and ordered broadcasters to stop showing content in which she had appeared.BTS ran afoul of Chinese patriotic sentiment last year, when its leader, Kim Nam-joon, who performs under the stage name RM (formerly Rap Monster), made a seemingly innocuous remark about the shared suffering of Americans and Koreans during a ceremony commemorating the Korean War.Chinese internet users erupted in anger, questioning why he had not also recognized the sacrifices of the Chinese soldiers who had fought on the side of North Korea. To pre-empt a nationalistic backlash, multinational brands scrubbed references of their collaborations with BTS on their Chinese websites and social media accounts.This week, Chinese internet users both celebrated and criticized the suspension of the K-pop fan accounts. Some saw it as a necessary balm against idol worship and excessive spending on celebrities, even going as far as to call BTS an “anti-China group” and Korean pop music a form of “cultural invasion.”Dew Ding, a 24-year-old filmmaker in Beijing, was among those who supported the banning of the BTS singer’s fan account, saying that fans were overly incentivized to spend money in order to maintain an imaginary relationship with their idol.“This crowdfunding is getting more and more crazy, so I don’t think is a good thing,” she said.But Allen Huang, a Taipei-based D.J. who often writes about K-pop, said he did not believe that the ban would be effective in stopping fan accounts. To evade censorship and suspensions, many were rushing to hide their fund-raising campaigns, he said, sometimes by merely removing the word “fan page” from their accounts.“Chinese people will find ways to continue to support, whether that’s through non-Weibo fan clubs, silent fund-raising or just a rebranding of the idea of fan funding,” he said.Li You More

  • in

    Kanye West’s ‘Donda’ Is No. 1, but Drake Waits in the Wings

    The total for “Donda” includes 357 million streams in the United States, the most in a week so far this year.Kanye West’s long-delayed new album, “Donda,” starts at No. 1 on Billboard’s new chart with the biggest opening of the year so far. But its reign at the top may be brief, with Drake’s latest LP lining up huge numbers for next week.“Donda,” West’s 10th solo studio album (and his 10th title overall to reach the top, including “Watch the Throne,” his 2011 album with Jay-Z), had the equivalent of 309,000 sales in the United States in its first week out, more than any other album in 2021, according to MRC Data, Billboard’s tracking arm. (Its closest competitor, Olivia Rodrigo’s “Sour,” racked up 295,000 in May.) The total for “Donda” includes 357 million streams, a weekly record for the year, and 37,000 copies sold as a complete package.According to West’s label, Def Jam, the album has reached No. 1 in 11 countries and had more than 775 million streams around the world. The label even broke down those streams by outlet: 442 million on Spotify and 242 million on Apple Music, which would mean those services accounted for about 88 percent of all opening-week streams for the album.Teased for more than a year — including at three stadium-size listening events in recent weeks, which were livestreamed by Apple Music — the 27-track “Donda” was finally released on Aug. 29, a Sunday. Since albums usually come out on a Friday, that gave “Donda” just five days of public availability before Billboard’s accounting week ended.Its time at No. 1 may be brief. In a classic monster-movie clash, “Donda” was released just days before Drake’s “Certified Lover Boy,” another long-anticipated LP hyped for months. Last week, “Donda” broke daily streaming records at Apple and Spotify, but then “Certified Lover Boy” quickly broke them again.Also this week, Halsey’s latest album, “If I Can’t Have Love, I Want Power” — made with Trent Reznor and Atticus Ross of Nine Inch Nails — opens at No. 2 with the equivalent of 98,000 sales, including 35 million streams and 70,500 copies sold as a complete package.Rodrigo’s “Sour” is No. 3, Doja Cat’s “Planet Her” is No. 4 and the Kid Laroi’s “____ Love” is No. 5. More

  • in

    Classical Music Looks Ahead to a Fall in Flux

    How will performances feel in the midst of pandemic regulations? Will institutions respond in actions, not just words, to calls for racial equity?Normally, when I look ahead to a new season, I have a pretty good idea of what the performances will be like.But it goes without saying that this is not a normal time. So even with usually sure bets — a new piece by a composer who has excited me in the past; recitals by performers I cherish; great casts in operas old and recent — it’s hard to know what the performances this fall will feel like. The very experience of gathering in concert halls is in flux with the lingering challenges of the pandemic.It looks as if vaccine mandates for audience members will be routine; I’m with those who see this move as the only way to make performances feel safe. But will masks be required or optional? Will there be full capacity, or some spacing in the audience? Will children be allowed, even if they’re still unvaccinated?And even with precautions, will audiences — especially ones that tend to be older, like those for many orchestras and opera companies — feel safe enough to come back? Will musicians gathered together on stages and in cramped pits convey confidence?Again, what will it feel like?And other crucial issues loom. Just months into the pandemic, when nationwide protests against racial injustice broke out after the killing of George Floyd, classical music was forced to grapple anew with questions of relevance, diversity and inclusion. One major institution after another issued statements condemning discrimination and pledging to do better at connecting with the diverse people they serve. Will these words be reflected in policies and programs?The Metropolitan Opera is speaking to the moment while addressing a gaping hole in its history. It will open its return season with “Fire Shut Up in My Bones,” by the composer Terence Blanchard and the librettist Kasi Lemmons, based on a memoir by the New York Times columnist Charles M. Blow about growing up poor and Black in rural Louisiana. This will, shockingly, be the first opera by a Black composer to be presented by the company since its founding in 1883.In this case, I know what to expect, having reviewed the work’s 2019 premiere at Opera Theater of St. Louis, and can eagerly recommend this musically original, dramatically affecting and wrenchingly personal opera. Blanchard, a jazz trumpeter who has written acclaimed film scores, describes “Fire” not as a jazz opera, but as an opera in jazz. What he means, I think, is that jazz naturally permeates his compositional voice, but his score is symphonic — subtle, intricate, complex — taking an essentially traditional approach to opera as drama, with some inventive strokes.The Met’s vaccination policy means that it will not allow children under 12, which might threaten its holiday presentation of Mozart’s “The Magic Flute.”Sara Krulwich/The New York TimesThe Met is requiring proof of vaccination from everyone in the audience, and will not allow children under 12, since they are not yet eligible for the vaccines. Will this affect the company’s abridged, English-language version of Mozart’s “The Magic Flute” this holiday season? The production typically attracts lots of parents with children. The company’s website says that, should young children be able to be vaccinated this fall, they will of course be welcome. If not, it would seem untenable for the Met to go forward with a family-friendly entertainment in December.Nagging concerns like these — along with the threat of cancellations because of virus outbreaks — may well linger in all the performing arts..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-uf1ume{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;}.css-wxi1cx{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}As for the New York Philharmonic, this season it will not have access to David Geffen Hall, which is in the midst of an extensive, long-awaited renovation. The orchestra will perform mostly at Alice Tully Hall, the Rose Theater at Jazz at Lincoln Center and Carnegie Hall.Some intriguing programs reveal serious attempts to bring in composers from underrepresented groups and to showcase exciting younger artists, without neglecting the core repertory. Dalia Stasevska will lead a program (Oct. 20-23) featuring works by Missy Mazzoli, John Adams and, of special interest, Anthony Davis, the winner of the 2020 Pulitzer Prize in Music for his opera “The Central Park Five.” Davis’s “You Have the Right to Remain Silent,” a clarinet concerto written in 2007 and revised four years later, is its composer’s autobiographical depiction of an encounter with the police, and is therefore more timely than ever. Anthony McGill, the Philharmonic’s superb principal clarinetist (and the orchestra’s only Black player) is the soloist.Earlier in the month (Oct. 14-16), the Philharmonic’s music director, Jaap van Zweden, leads a seemingly more traditional program — but with a twist that shows the subtle ways in which concerns about racial and gender representation are affecting the concert experience. At the Rose Theater — more intimate than Geffen Hall — Leif Ove Andsnes will play Robert Schumann’s beloved Piano Concerto, but will open the concert with Clara Schumann’s solo Romance in A Minor, a nod to a composer slowly getting her long-belated due.Jaap van Zweden, the New York Philharmonic’s music director, will lead the orchestra at different venues as David Geffen Hall is closed for renovations.Michelle V. Agins/The New York TimesYou might have thought that a powerhouse institution like Carnegie Hall would want to come roaring back. It says much about this still-dicey moment for classical music, in terms of both financial and public health, that the hall is pacing itself and keeping its fall season relatively light. Its opening night on Oct. 6 offers Yannick Nézet-Séguin, who leads the Metropolitan Opera and the Philadelphia Orchestra, in a program that attempts to be both a gala celebration and a statement of purpose.The program, featuring the Philadelphians, opens with Valerie Coleman’s new “Seven O’Clock Shout,” written during the pandemic, followed by Shostakovich’s Piano Concerto No. 2, with the dazzling Yuja Wang as soloist. Next comes that gala standard, Bernstein’s Overture to “Candide.” The Iranian-Canadian composer Iman Habibi’s “Jeder Baum spricht” (2019), commissioned by the orchestra for Beethoven’s 250th anniversary last year, was written in dialogue with Beethoven’s Fifth and Sixth symphonies. Here it will lead into an account of Beethoven’s Fifth, setting off a full Beethoven symphony cycle with Nézet-Séguin and the Philadelphia Orchestra, originally planned for last year.These classic symphonies will be interspersed with contemporary pieces — which, though not a novel idea, is a good one. It feels all too familiar for a complete Beethoven symphony cycle to dominate Carnegie’s season.But will it in practice? It may well be that for some time yet, hearing even standard works played beautifully will feel restorative, almost miraculous.Yet given the crises we have endured and the urgent challenges that remain, I hope my wish wins out that institutions try harder to connect and engage, to foster living composers and new generations of artists. I’ve long believed that many classical ensembles, especially major orchestras, spend too much time thinking about how they play and not enough about what they play and why they play it. We all love the standard repertory. But an ensemble puts more on the line and fosters classical music as a living art form when it presents a new piece, champions a neglected older work or takes a risk with unconventional programming.These things have always mattered crucially in my thinking — now, more than ever. If this results in what some may see as grading on a curve — by giving extra credit, in a sense, to artists who reach out and take risks — so be it. The status quo will no longer suffice. More

  • in

    The Changing American Canon Sounds Like Jessie Montgomery

    This composer’s music — improvisatory, open to influence, personal yet resonant — will be hard to miss in the coming season.The history of classical music in the United States is one long identity crisis: the search for a homegrown sound, free from European influence. That anxiety has manifested itself time and again as self-sabotage, with some composers — almost always white men — exalted as pathbreakers, while truly original work coming from artists of color has been overlooked.That has changed in recent years: in fits and starts, then suddenly, with the wave of Black Lives Matter demonstrations in the wake of George Floyd’s murder. Classical institutions en masse have made earnest, if sometimes clumsy, efforts to rise to the moment and grant overdue attention to the marginalized composers who have always had answers to the question of America’s musical identity.One composer the field has especially turned to is Jessie Montgomery, whose often personal yet widely resonant music — forged in Manhattan, a mirror turned on the whole country — will be difficult to miss in the coming season.The number of times Montgomery’s orchestral works were programmed more than doubled each year from 2017 to 2020, said Philip Rothman, her publishing agent. (And that’s just a corner of her output.) Several years ago, that number was about 20; in 2021, it is expected to be nearly 400, including at the Los Angeles Philharmonic, the St. Louis Symphony Orchestra and the Minnesota Orchestra. And her calendar is booked with commissions far into the future, including as the Chicago Symphony Orchestra’s new composer in residence.Some of the spotlight on Montgomery is a product of pandemic restrictions; many ensembles have made cautious comebacks with small-scale pieces for strings, which are the heart of her body of work. But her swift rise to prominence is also the result of orchestras overhauling their repertoires to more prominently feature composers of color — an achievement that can sometimes feel like a burden on a single artist to speak for a whole race or nation.A new portrait of American sound has nevertheless emerged, with Montgomery’s music providing some of the latest, crucial touches.“She’s pretty much changing the canon for American orchestras,” said Afa S. Dworkin, the president and artistic director of the Sphinx Organization, which promotes racial and ethnic diversity in music. “The true language of American classical music is something that will distinguish our canon, and she is shaping its evolution.”Montgomery’s sound was influenced by her artistically rich and culturally diverse upbringing in New York.Tamara Blake Chapman for The New York TimesMONTGOMERY, 40, is a child of the Lower East Side, born to artistic parents. Her mother, Robbie McCauley, made theater that interrogated the country’s racial history; her father, Edward Montgomery, ran a studio where the young Jessie would sometimes hand-operate the elevator for jazz, punk and opera musicians.With Montgomery studying violin in one room; her father composing in another; and her mother rehearsing or writing in a home studio, their apartment had the feel of an artist residency. “There was no routine,” Montgomery said in a recent interview. “Everyone was sort of in their own modules doing their own thing. But I was always in a state of wonder.”She was exposed from an early age to the downtown milieu of her parents, while learning violin techniques and repertoire suited to both the uptown establishment and the world of improvisation.Her teacher Alice Kanack, Montgomery recalled, “created these improvisation games with the philosophy that each child has their own individual, innate, creative voice, and that it has to be encouraged while they’re young.” Those games provided a natural segue to composing, which she began in earnest at 11.By the 1990s Montgomery was a serious student who also spent her nights with friends raving in Queens to house music and hip-hop; there were, she said, “a lot of drugs.” But violin was something of a salvation for her, and she followed it to the Juilliard School. (Leaving the city was never a question because, she said, “I was still in the mind-set that there’s no other place like New York.”)Violin also led Montgomery to the Sphinx Organization’s annual competition. It was the first time she had been asked to play a piece by a Black composer.“I lived in New York, so I was always used to having all different kinds of cultures in my friend group,” Montgomery said. “So that was not unusual. But this was purely Black and Latino kids. And how we all stayed in touch and continue to collaborate with each other is really the strength of the organization.”She has been associated with Sphinx for years, performing in the Sphinx Virtuosi chamber ensemble and eventually building a relationship that extended to teaching at the Sphinx Performance Academy and, shortly before the pandemic, being awarded the organization’s medal of excellence.“Jessie was a beautiful chamber musician from the beginning,” Dworkin said. “Then she had a voice as a composer. It wasn’t until several years in that I knew there was this other side.”There was a third side to her artistry as well: teaching. Shortly after graduating from Juilliard, she joined Community MusicWorks in Providence, R.I. — inspired in part by her own education at the Third Street Music School Settlement in New York, and by her mother’s community-based practice.“I use the word rigor a lot, but I think the thing that makes anything valuable is the amount of rigor, the amount of focus. The amount of energy that you’re putting into it is the thing that really counts,” she said. With that guiding her, she added, “I watched kids’ lives in some cases change from really, really challenging situations to — you know, five or six of the students were the first in their family to go to college, and some of them to Ivy Leagues. It was intense, but beautiful.”Throughout her career, Montgomery has tried — with mixed success for her sanity — to balance pedagogy with performance and composing. She was a founding member of the chamber group PUBLIQuartet and later joined the Catalyst Quartet.“When Jessie joined, it felt like Catalyst became what we always envisioned it to be,” said Karla Donehew Perez, a fellow violinist in the group.Catalyst became a sounding board for Montgomery’s writing. For the 2015 album “Strum: Music for Strings,” the group recorded some of her most widely played works: the spirituals-inflected “Source Code”; the vivid “Strum”; and “Banner,” which deconstructs and builds on the American national anthem. With Imani Winds, the quartet also premiered the nonet “Sergeant McCauley,” about one of Montgomery’s great-grandfathers and the Great Migration.Together, the Catalyst players also undertook major projects — most recently, the series “Uncovered,” which devotes albums to composers who have been overlooked because of their race or gender. But Montgomery felt increasingly unable to devote the time the quartet needed from her, which she described as “24/7, 365 attention.”“That doesn’t feel balanced within the quartet,” she said, “especially when they’re performing my pieces and I’m reaping the benefits of that.”Last year, Montgomery announced her departure from Catalyst — a difficult decision that made for a tense conversation. “It’s not a fully repaired relationship,” she said, “but it’s mostly repaired.” (Donehew Perez said that Montgomery is like a family member to her, and remains “a great, lifelong friend.”)Montgomery continues to perform, including as part of her improvisation duo Big Dog Little Dog, with the bassist Eleonore Oppenheim. She also played her music in the Pam Tanowitz dance premiere “I was waiting for the echo of a better day” this summer and has a new collaborative project in the works, with exploratory rehearsals beginning in September.But the bulk of her work in the future — with commissions currently planned until 2024 — will be her writing, which with its improvisatory spirit, embrace of widely varied influences and preoccupation with personal history reflects her upbringing.“I have this idea in my mind that there’s something beyond fusion,” Montgomery said. “There’s this other sound I’m going for that is a culmination, like the smashing together, of different styles and influences. I don’t know that I’ve achieved that yet.”Observers might disagree; the composer Joan Tower described Montgomery’s music as having “a real confidence” and a blend of references that “intertwine in a cohesive way.” And Alex Hanna, the Chicago Symphony’s principal bass, noted the “richness in sonority and color” in her scores.“You have the feeling she wrote the music in an afternoon,” he said, “because it has the honesty of improvisation.”Works like “Source Code,” “Sergeant McCauley” and the recently premiered “Five Freedom Songs,” written for the soprano Julia Bullock, reflect the fact that Montgomery is “a multiracial person living and breathing and telling stories that are quintessentially American,” Dworkin said.“Banner,” she added, is a “shining” example. “There is music in there that borrows from the Mexican anthem, Puerto Rico, blues and jazz idioms galore. That’s American music, and American history.”But trying to capture the soul of a country in music is a level of pressure that Montgomery tries to avoid when considering a new commission. She said she doesn’t see her works as particularly political.“I think people sometimes consider Blackness or a projection of Blackness as a political statement, that to be Black is to in yourself embody politics and culture,” she said. “And that’s a burden, actually.”A burden that’s been especially acute during the past year. “I’ve been talking with my colleagues of Black descent, and we’re all feeling that sort of thing of being put on,” she said. “I’ve been realizing that there’s this shared desire to just be able to create without that kind of pressure or expectation that you’re going to be the spokesperson for the race or for classical music being better or more diverse or whatever.”She would like to see programmers not just hiring Black artists, but doing so in a thoughtful, flexible way. “A commission that addresses the injustices on Black people, as a way for the institution to admit or confront their own compliance in the atrocities against Black people, doesn’t allow that composer to express total joy, for example,” she said. “It boils down to the simple fact that Black people — any people, probably — want to own our own narrative, and not necessarily be put on to be responsible for undoing institutional crimes.”In her own music-making, Montgomery is more interested in supporting her peers through her actions — whether as a curator, performer or pedagogue — rather than public statements.“I think the work shows what you want to show,” she said. “And that’s what’s important. The work comes first, and then the declarations come later.” More

  • in

    Review: The Met Opera Reunites, With Mahler’s ‘Resurrection’

    After a year and a half, the company’s forces came together for an outdoor performance of the sprawling, ecstatic symphony.The Metropolitan Opera hardly ever plays concerts at home at Lincoln Center. But before Saturday evening, the company had opened its season with Mahler’s Symphony No. 2, the “Resurrection,” once before.In 1980, a bitter labor battle kept the Met closed more than two months into the fall. When peace was re-established, Mahler’s sprawling journey of a soul, ending in ecstatic renewal, seemed just the thing — and the symphony, with its enormous orchestral and choral forces working in intricate lock step, is nothing if not a paean to cohesion.“The ‘Resurrection’ Symphony almost chose itself,” James Levine, then the Met’s music director, said at the time. It was, he added, “a way for the company to get in touch with itself again.”If there has ever been another time this company needed to get in touch with itself, it is now. That two-month hiatus four decades ago seems like child’s play compared with the situation today.Twenty twenty-one has, like 1980, brought contentious labor struggles — on top of a pandemic that has threatened the core conditions of live performance and kept the Met closed for an almost unthinkable 18 months. Its orchestra and chorus, as good as any in the world, were furloughed in March 2020 and went unpaid for nearly a year as the financially wounded company and its unions warred over how deep and lasting any pay cuts should be.The “Resurrection” Symphony brought the full company and its audience back together in grand style: 90 minutes; an orchestra of 116; a chorus of 100; and 2,500 attending in the park.Jeenah Moon for The New York TimesJeenah Moon for The New York TimesJeenah Moon for The New York TimesJeenah Moon for The New York TimesInstituting a vaccine mandate and gradually coming to terms with the unions, the Met inched closer to reopening as the summer dragged on. And on Aug. 24, it removed the final barrier by striking a deal with the orchestra, paving the way for a resurrection — and a “Resurrection.”The company scheduled a pair of free Mahler performances outdoors at Damrosch Park, in the shadow of its theater, on Labor Day weekend, at the start of what has become an opening month. On Saturday, the Met will return indoors for Verdi’s Requiem, in honor of the 20th anniversary of 9/11. And on Sept. 27 the opera season begins in earnest with the company premiere of Terence Blanchard’s “Fire Shut Up in My Bones,” its first work by a Black composer, and, the following evening, a revival of Mussorgsky’s “Boris Godunov.”Led by the Met’s music director, Yannick Nézet-Séguin, the “Resurrection” Symphony brought the full company and its audience back together in grand style: 90 minutes; an orchestra of 116; a chorus of 100; and 2,500 attending in the park, as well as hundreds more listening from the street. The mood was a blend of parks concert — one woman tried to muffle the crinkling of her bag of potato chips — and serious focus; a man sitting on the aisle followed along with the score, brightly lit on his tablet.With so much to celebrate, this was indeed a celebratory, smiling reading: Punchy and taut at the start, yes, but without the neurotic, feverish quality that some conductors sustain throughout. There was an overall sense of gentleness and soft-grained textures. The second movement was more sly than sardonic; the climactic burst of dissonance in the third movement was beautiful, not brutal. The chorus, facing the audience in front of the stage and getting its cues from screens, sang with mellow sweetness.It goes without saying that outdoor classical performance is never ideal. (Speaking from the stage, Peter Gelb, the Met’s general manager, claimed, tongue perhaps in cheek, that Lincoln Center’s president had promised no helicopters in the area for the duration of the symphony. Well. …)Ying Fang, the soprano soloist, is a symbol of the company’s present and future.Jeenah Moon for The New York TimesAmplified violin sections are inevitably harsh; woodwinds tend to get swamped by the strings and brasses, even more than usual in Mahler’s dense orchestration. And so much of this and every symphony’s power depends on musicians massed in a room together with their audience. Under the open sky, even on a gorgeous, mild evening like Saturday, the visceral and emotional impact of the music is diffused.But the offstage percussion and brasses finally sounded like they were coming from a real distance, as they rarely do in a concert hall. And there is special resonance in a great opera company performing this score, so redolent of the music-theater repertory, especially Mahler’s beloved Wagner. The stormy start of “Die Walküre”; the motif of the sleeping Brünnhilde from the end of that work; the mystically stentorian choruses of “Parsifal”; the sighing winds as Verdi’s Otello dies — all echo through the visionary excess of the “Resurrection.”It was moving to see Denyce Graves, a classic Carmen and Dalila at the Met 20 or 25 years ago, onstage and dignified in the great alto solos, even if her voice is a shadow of its former plush velvet. The soprano soloist, Ying Fang, a radiant Mozartian, was a symbol of the company’s present and future.While no one is ever hoping for distractions during Mahler, there was something heartwarming about the siren wailing down 62nd Street and tearing into the symphony’s majestic final minutes. What would a New York homecoming be without noise, and more noise? More

  • in

    The Secret to Yebba’s Debut Album? A Big Voice and Lots of Time.

    The 26-year-old singer and songwriter endured a family tragedy on the journey between tasting viral success and assembling a complete artistic vision with Mark Ronson.The singer and songwriter Yebba has a story she tells about the moment she realized she was fated to pursue a career in music.It was the summer after her freshman year of college, and she was working at a warehouse, taking apart laptops. She’d started posting clips of her singing to Instagram, and they were beginning to get traction around the internet. One day after work, she was jogging alongside a bean field near her childhood home in Arkansas, and thinking about what the future might entail, when it happened.In a recent video interview, she was reflexively self-aware about how this might sound. “I’m just going to put it in the way that I know how to say it, because I don’t really talk in churchy language as much anymore,” she said, her eyes wandering around her room before making direct contact. “But I really did feel the Lord say, from my stomach, ‘I do want you to be a singer.’ And I had this moment where I just stopped running, and I sat down and prayed, just laying in the dirt.”What followed was not unique among singers who’ve broken out in the digital era. Virality brought surprise attention from established stars like Missy Elliott and Timbaland, which led to invitations to collaborate with other established stars and move to New York, where dreams are made of, as the song goes. But what Yebba, now 26, did next is unusual: She didn’t rush out a debut album with a phalanx of young writers and producers. She waited.After around five years of focusing on her mental health, navigating the pitfalls of the music industry and recording take after take until listening back to her singing was no longer what she called “very embarrassing,” she will release her debut LP, “Dawn,” on Friday. And the spiritual connection that guided Yebba to her career has helped her take her time, regardless of how many people have said “hurry up.”“I just don’t give a damn,” she said of the expectations placed on her as her career has slowly taken shape. Over two interviews Yebba spoke with consideration and purpose, often pausing for several seconds to collect a thought. Occasionally, she would tear up when the conversation turned serious, only to crack a joke a moment later. At one point, she showed off some of the art hanging in her Chelsea apartment: an abstract painting by the artist Shawn Shrum, and a green print she jokingly brushed off as “a basic bitch purchase from Anthropologie.”“They can’t haze me, because I didn’t sign up for a sorority,” she said. “But I did sign up to create things with other people’s money, and that’s all anybody can ask of me — that’s all I can ask of myself, is to hold true to what I’ve agreed to do so far. And the second I’m called to do something else, I’m gone.”Mark Ronson, who produced “Dawn,” said Yebba is steadfast in her taste. “You’re never going to get a sound or a color or a tone past Yebba that she doesn’t like,” he said. “She put her trust in me, but only in the name of realizing her vision.”Though Yebba has logged high-profile collaborations with artists like Ed Sheeran and Sam Smith — and an appearance on Drake’s latest album, “Certified Lover Boy” — “Dawn” doesn’t sound like the debut of a burgeoning pop sensation hopping onto trends. The album has a rich retro palette, draws deeply from jazz and R&B and is set in a dusky register that gives Yebba’s flexible voice room to roam. (On the cathartic “October Sky,” her melody lines gently float along before suddenly ascending in a burst of pyrotechnics.) The LP was inspired by D’Angelo’s “Voodoo,” one of Yebba’s artistic touch points, and recorded at Electric Lady Studios with several members of the “Voodoo” band.“In my head I wish I was a rapper, but really I just write folk songs,” she said.Yebba was born Abbey Smith in West Memphis, Ark. Her father was a preacher, and she grew up singing in the church, becoming a worship pastor by age 15. With fond exasperation, she relayed a story about her intermittent rebellions: “I would say that I want to quit, and he would say ‘Abigail, who’s your favorite singer?’ And I’d say, ‘Aretha Franklin.’ ‘And what did Aretha do before she became Aretha Franklin?’ ‘She sang in her daddy’s church.’”Not long after her moment of divine intervention, Yebba dropped out of college and moved to New York, where she played a 2016 show for the events company SoFar Sounds and sang a hypnotic song called “My Mind.” When video of the performance was eventually uploaded to YouTube that December, it blew up bigger than she could have imagined. “That one song was such a moment of worship, instead of really performative — I felt like God’s presence was there,” she said.But just a few weeks after the SoFar show, Yebba’s mother died by suicide. She went home to West Memphis, where she struggled with her feelings. “A lot of people around me encouraged me to ‘let it go’ — like, what the [expletive] does that mean?” she said. “All I have, as an artist, is a whole bunch of time to reflect.”After “sitting at home in Arkansas, like a robot,” Yebba returned to New York, where she thought a lot about the next step of her nascent career. She sang for A Tribe Called Quest. She went to London to meet with potential labels. But nothing was appealing. More troubling was the realization that her mother’s death was perceived as potential content, in some rooms. At a Grammys event, she said one label head introduced her to another artist by saying, “Her mom just died by suicide, but it’s all good because she’ll be able to write really good songs out of it.”In response, “I dropped my purse, and I ran out,” Yebba said, a look of transparent disbelief scrawled over her face. She needed more time.A crucial turning point came in 2018, when she met Ronson as he was putting together collaborators for what would become his “Late Night Feelings” album. Ronson said their rapport was cemented on their second day together, when Yebba good-naturedly made fun of a jacket he’d worn, telling him he was “trying too hard.” (“When an artist has the talent and the warmth to back it up, I don’t mind,” he said of the dig.) Their sessions led to three songs on Ronson’s album, and the music that would eventually become “Dawn.”“In my head I wish I was a rapper, but really I just write folk songs,” Yebba said.Heather Sten for The New York TimesSome of the tracks took years to complete. “October Sky,” initially written in the wake of her mother’s death, required around 300 vocal takes. “I felt like when I lost my mom, I felt like I had lost everything that meant anything to me before,” Yebba said. But over time, with Ronson’s support, the process eased. “All I Ever Wanted,” the final song written for the record, with stacks of harmonies and a glowing string arrangement, came together in just a few days.The pianist James Francies, a friend of Yebba’s who plays on the album, said she took care to surround herself with the right people. “At any moment, she’s like ‘If this doesn’t feel right, I don’t want to do this,’” he said. “And I’ve always respected and loved that about her, because she’s always put the music first, and she’s always put her peace of mind first.”The album was completed before the start of the pandemic, but Yebba decided to hold its release and prioritize her mental health. “I don’t want to glorify rock bottom, but I was sitting on my couch doing my daily routine of chain smoking cigarettes,” she said. “I was just like, ‘I can either be a professional cigarette smoker and a professional drinker, or I can be a professional singer.’ I don’t agree that artistry has to be miserable, because that’s against every single reason why I was bonded to the music.”But after taking her time, she’s finally ready for the next step. The album’s title doesn’t just refer to the break of day; it was her mom’s name, too. “I feel like now I get to be 26, instead of always being so immersed in grief,” she said. “I no longer feel like my life is some chore that I haven’t completed — that my mom is hanging over my head. There are new ways to honor her.” More

  • in

    Drake et Kanye West, géants du rap plus rivaux que jamais

    Leurs nouveaux albums ‘‘Certified Lover Boy’’ et ‘‘Donda’’, blockbusters potentiels qui viennent de sortir à cinq jours d’intervalle, relancent la vive rivalité entre les deux géants du rap.The New York Times traduit en français une sélection de ses meilleurs articles. Retrouvez-les ici.Depuis plus de dix ans, Drake et Kanye West se livrent un duel à fleurets non mouchetés au sommet du hip-hop — collaborateurs occasionnels, rivaux amicaux puis concurrents acharnés, quand ce n’est pas les trois à la fois.Pourtant, rarement les destins musicaux de ces deux stars générationnelles n’ont été si étroitement liés que cette semaine. À cinq jours seulement d’intervalle, leurs nouveaux albums très attendus et longtemps repoussés viennent de sortir. Avec toutefois des stratégies de lancement très différentes.‘‘Certified Lover Boy”, sixième album studio de Drake, est paru vendredi peu avant une heure du matin après presque un an de teasing, de singles promotionnels et de faux départs. Le disque — dont la sortie prévue en janvier avait été évoquée indirectement dès 2019 — compte 21 titres et une batterie d’invités prestigieux tels Jay-Z, Travis Scott, Lil Baby, Future, Young Thug, Rick Ross et Lil Wayne.Le dixième album de Kanye West, ‘‘Donda’’, est sorti 5 jours plus tôt, avec davantage de couacs, ce qui a pour le moins bénéficié à sa médiatisation. Initialement annoncé pour juillet 2020 — puis le 23 juillet, puis le 6 août de cette année -– l’album de 27 titres a été précédé de trois concerts hors-normes tenus dans des stades où West a présenté un travail en cours ; construit une réplique de sa maison d’enfance ; monté un simulacre de cérémonie de mariage avec son ex-épouse Kim Kardashian West ; invité des musiciens controversés comme DaBaby et Marilyn Manson; et refusé de prononcer le moindre mot.‘‘Donda’’ figure sa propre palette de featurings prestigieux, dont The Weeknd, Lil Baby, Pop Smoke et Roddy Ricch. Certains d’entre eux, comme Scott, Jay-Z et Young Thug, apparaissent d’ailleurs sur les deux albums. (Il y a peu de femmes parmi les invités de l’un ou de l’autre.) Leurs listes de titres pleines à craquer — une stratégie devenue courante dans l’industrie musicale pour maximiser les écoutes en streaming — pourraient être des armes clés dans la course aux meilleures ventes que vont se livrer ‘‘Donda’’ et ‘‘Certified Lover Boy’’.Si Kanye West fait des thèmes culturellement sensibles une part importante de sa stratégie marketing, Drake se distingue plutôt par son recours à un sample de R. Kelly dans le morceau “TSU”. “Half on a Baby”, un titre de Kelly de 1998, s’ouvre — dans sa version intégrale, pas celle plus accessible destinée aux radios — sur un prologue au synthétiseur aux sonorités symphoniques. Drake le reprend dans “TSU”, également en guise d’ouverture.Mais Kelly fait face depuis longtemps à des accusations d’abus sexuels, et est actuellement jugé devant le tribunal fédéral de Brooklyn pour racket et violation de la loi Mann interdisant le transport d’une personne au-delà des frontières d’un État à des fins de prostitution. Sur les réseaux sociaux, nombre de voix se sont élevées pour désapprouver sa participation au projet. (John Lennon et Paul McCartney sont également crédités pour ‘‘Michelle’’ des Beatles, repris dans la chanson qui ouvre l’album, ‘‘Champagne Poetry’’.)Kanye West, qui a pris l’habitude de se couvrir le visage en public, a choisi le noir pour la pochette de son album ‘‘Donda’’. Drake, en revanche, a opté pour plus tape-à-l’oeil. ‘‘Certified Lover Boy’’ arbore la reproduction d’un tableau prêt à être décliné en mème, signé de l’artiste britannique Damien Hirst, constitué d’émojis de 12 femmes enceintes de différentes couleurs de peau.Mais si Kanye West a dégainé le premier, ‘‘Donda’’, du nom de la mère décédée du rappeur, n’était pas encore finalisé le matin même de sa sortie, des versions supplémentaires de plusieurs titres étant rajoutées à la liste des morceaux. Sur Instagram, West a accusé sa maison de disques d’avoir ‘‘sorti mon album sans mon approbation’’ et d’avoir initialement bloqué un morceau auquel participaient Marilyn Manson et DaBaby. (‘‘Jail Pt. 2’’ figure les deux artistes et est désormais inclus dans l’album. Def Jam, son label, n’a pas souhaité commenter.) D’autres collaborateurs pressentis pour l’album, dont Chris Brown et Soulja Boy, ont exprimé leur mécontentement devant le résultat final.En dépit de problèmes de planning, de critiques mitigées et de sa sortie inhabituelle un weekend — qui l’a privé de deux jours de ventes et d’écoutes en streaming par rapport à une sortie traditionnelle le vendredi — ‘‘Donda’’ est sur le point de prendre la tête du classement Billboard, avec une des semaines de lancement les plus rentables de l’année. Selon Def Jam, ‘‘Donda’’ a bénéficié de 180 millions écoutes sur les plateformes de streaming au cours des seules premières 24 heures.La pochette de “Certified Lover Boy”, le dernier album de Drake.Au vu de la domination de Drake sur ces plateformes — il a été le premier artiste à atteindre 50 milliards d’écoutes sur Spotify, d’après au moins un décompte — ‘‘Certified Lover Boy’’ est pratiquement assuré de devenir l’une des plus grosses sorties de l’année. Et si les ventes en première semaine de Drake ne seront connues que le 13 septembre — écartant l’éventualité d’un replay du face-à-face de 2007 entre West et 50 Cent — leurs fans sont impatients de comparer les deux nouvelles œuvres, tant du point de vue artistique que commercial, faisant écho à la longue rivalité que les deux rappeurs viennent de raviver. (Leurs maisons de disques respectives partagent une même société mère, Universal Music.)Drake a paru ironiser sur l’âge de West dans un titre de Trippie Redd où il avait un featuring le mois dernier — Drake a 34 ans, West dix de plus. Kanye West a répliqué en mettant en ligne un échange de SMS dans lequel il écrit : ‘‘Tu ne t’en remettras jamais. Je te le promets’’, accompagné d’une photo de Joaquin Phoenix en Joker. (West a également posté une capture d’écran de ce qui semble être l’adresse de Drake à Toronto, avant de la retirer. Drake a riposté, semble-t-il, avec plusieurs photos de lui en train de rire.)Vendredi, les auditeurs ont rapidement remarqué ce qui semble être un message de Drake à Kanye West. ‘‘Donne cette adresse à ton chauffeur, fais-en ta destination/Au lieu d’un simple post désespéré’’, rappe-t-il sur le morceau ‘‘7am on Bridle Path’’.Les défis lancés par titres et réseaux sociaux interposés relancent un long cycle de provocations mesquines directes et indirectes: leur relation s’est envenimée de manière semble-t-il irrémédiable suite à une querelle musicale entre Drake et Pusha-T, un protégé de Kanye West, en 2018.Depuis lors, les deux artistes ont pris des chemins séparés, même si les chamailleries continuent parfois en ligne ou par albums interposés. Kanye West a soutenu l’ancien président Donald J. Trump, s’est lancé dans une course malheureuse à l’élection présidentielle et s’est tourné vers le gospel avec ‘‘Jesus Is King”, un album sur le thème chrétien sorti en octobre 2019. Il s’est engagé à ne plus jurer dans ses titres — promesse tenue sur ‘‘Donda’’, y compris pour ses invités.Drake, quant à lui, a sorti des titres à flux régulier, même si ses apparitions se font plus rares. Au printemps 2020, après le single ‘‘Toosie Slide’’, qui a atteint la deuxième place du Billboard Hot 100, le rappeur a publié une mixtape imprévue, ‘‘Dark Lane Demo Tapes’’, compilation de titres qui avaient fuité en ligne. Il a promis de sortir un album studio cet été-là , et un premier single, ‘‘Laugh Now Cry Later’’, s’est classé numéro 2 en août. L’album n’est pas arrivé, mais un maxi de trois titres intitulé ‘‘Scary Hours 2’’, est sorti en mars, dont un des singles se classe numéro 1 (‘‘What’s Next’’).Après des mois d’allusions énigmatiques quant au statut de l’album, alors que l’été touchait à sa fin et que les deux mastodontes du rap refaisaient surface, une confrontation avec Kanye West paraissait devenir inévitable. Alors que Kany West était en tournée avec ‘‘Donda’’, toujours en cours de réalisation, Drake, lors de l’émission ‘‘SportsCenter’’ sur la chaîne ESPN, a sorti un clip bricolé et non conventionnel dans lequel il semblait annoncer une date de sortie le 3 septembre.Et sur un titre de Trippie Redd intitulé ‘‘Betrayal’’, le rappeur clamait que le tapage autour du ‘‘Donda’’ de Kanye West n’affecterait pas la date de sortie définitive de son propre album. Cette fois-ci, rappait Drake: ‘‘C’est gravé dans le marbre’’. More

  • in

    Drake's 'Certified Lover Boy' Arrives, as Chart Battle With Kanye West Continues

    The rappers’ anticipated albums, “Certified Lover Boy” and “Donda” — both potential streaming blockbusters — arrived within five days of each other, with very different rollouts.For more than a decade, Drake and Kanye West have been locked in a dialogue at the top of the hip-hop heap — occasional collaborators turned friendly competitors turned bitter rivals, and sometimes all three at once.Yet rarely have the two generation-defining stars so closely intertwined their musical fates as this week, when they released highly anticipated, long-delayed albums within five days of each other, with very different rollout strategies.“Certified Lover Boy,” Drake’s sixth studio album, came out just before 1 a.m. Eastern time on Friday, the culmination of nearly a year of teases, promotional singles and false starts. The album — which had been scheduled for release in January but was mentioned obliquely as early as 2019 — features 21 tracks and a huge complement of guest stars, including Jay-Z, Travis Scott, Lil Baby, Future, Young Thug, Rick Ross and Lil Wayne.West’s 10th album, “Donda,” arrived on Sunday with considerably more friction, which may have only fed its hype. Originally slated for July 2020 — and then July 23 of this year, then Aug. 6 — the 27-track LP came in the wake of three stadium-size listening events, during which West played the work-in-progress; built a replica of his childhood home; staged a mock wedding ceremony with his estranged wife, Kim Kardashian West; welcomed polarizing guests like DaBaby and Marilyn Manson; and declined to speak a word.“Donda” has its own deep bench of superstar guests, including the Weeknd, Lil Baby, Pop Smoke and Roddy Ricch. A handful, like Scott, Jay-Z and Young Thug, appear on both LPs. (Few women appear on either release.) Their stuffed track lists have become a standard industry strategy to maximize streams, and may be a key weapon in the chart contest between “Donda” and “Certified Lover Boy.”While pushing cultural buttons was a significant part of West’s release strategy, Drake invited some scrutiny too, by sampling R. Kelly in his new track “TSU.” Kelly’s “Half on a Baby” (1998) — in its full version, not the more easily accessible radio edit — has a symphonic-sounding synthesizer preamble. Drake used that for “TSU,” also for an introductory segment.Kelly, who has long faced accusations of sexual abuse, is currently on trial in Federal District Court in Brooklyn for racketeering and violating the Mann Act, which prohibits transporting anyone across state lines for prostitution, and many people on social media took offense. (John Lennon and Paul McCartney also have a credit, for the Beatles’ “Michelle,” which is used in the album’s opening track, “Champagne Poetry.”)West, who has taken to covering his face in public, opted for a plain black cover for “Donda,” while Drake went splashier. “Certified Lover Boy” uses readily meme-able album art from the British contemporary artist Damien Hirst that depicts emojis of 12 pregnant women of various skin tones.But even as West struck first, “Donda,” named for the rapper’s late mother, was still being updated the morning of its release, with additional versions of multiple songs added to the track list. West claimed on Instagram that his record company had “put my album out without my approval” and that it had initially blocked a track featuring Manson and DaBaby. (“Jail Pt. 2,” with appearances by both, is now included on the album. Def Jam, his label, declined to comment.) Additional collaborators slated to be on the album, including Chris Brown and Soulja Boy, expressed their own discontent with the finished product.Yet even amid the scheduling bumps, mixed reviews and nontraditional weekend release — which left West two fewer days of sales and streams than a standard Friday drop — “Donda” is on pace to debut at No. 1 on the Billboard chart with one of the biggest opening weeks of the year. According to Def Jam, “Donda” had 180 million streams in its first 24 hours.The cover of Drake’s “Certified Lover Boy.”Based on Drake’s streaming dominance — he was the first artist to hit 50 billion streams on Spotify, by at least one count — “Certified Lover Boy” is all but certain to reign as one of the year’s biggest releases. And although Drake’s first-week sales will not be finalized until Sept. 13, precluding a direct repeat of the West vs. 50 Cent chart face-off of 2007, fans have been eager to compare the two new works, commercially and artistically, in line with the pair’s latest stoking of their own long-simmering rivalry. (The rappers’ record labels share a parent company in Universal Music Group.)After Drake appeared to poke fun at West’s age on a guest verse for a Trippie Redd track last month — Drake is 34 and West a decade older — West posted a text exchange online in which he wrote, “You will never recover. I promise you,” and included an image of Joaquin Phoenix as the Joker. (West also uploaded a screenshot of what appeared to be Drake’s Toronto address before deleting it. Drake seemed to respond with multiple photos of himself laughing.)Listeners on Friday were quick to notice Drake’s apparent ripostes to West. “Give that address to your driver, make it your destination/’Stead of just a post out of desperation,” he raps on the track “7am on Bridle Path.”The digs, in song and on social media, continued a pattern of petty slights, direct and indirect, between the two that dates back years, with the relationship having seemingly curdled irrevocably around Drake’s musical beef with Pusha-T, a West affiliate, in 2018.In the years since, the artists’ paths diverged, even as they occasionally butted heads online and on record. West embraced former President Donald J. Trump, embarked on an ill-fated run for president and turned toward gospel, releasing a Christian-themed album, “Jesus Is King,” in October 2019. He vowed to stop cursing in his music, a promise he upheld on “Donda,” even censoring his guests.Drake, meanwhile, released a steady stream of music even as he made himself more scarce. In the spring of 2020, the rapper followed the single “Toosie Slide,” which reached No. 1 on the Billboard Hot 100, with a surprise mixtape, “Dark Lane Demo Tapes,” featuring songs that had leaked online. He promised a studio album that summer, and the would-be lead single, “Laugh Now Cry Later,” hit No. 2 in August. But the album never came; another holdover, the three-song EP “Scary Hours 2,” followed in March and resulted in another No. 1 single (“What’s Next”).After months of only cryptic updates on the album’s status, a collision course with West began to seem inevitable as the summer wound down and the two A-list rappers resurfaced. As West toured a still-in-progress “Donda,” Drake appeared to stake a claim to a Sept. 3 release date late last month with a lo-fi, guerrilla-looking ad that cut in during an ESPN “SportsCenter” broadcast.And on a Trippie Redd track titled “Betrayal,” the rapper indicated that the hubbub surrounding West’s “Donda” would not affect his final release date. This time, Drake rapped, “it’s set in stone.” More