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      How Kendrick Lamar’s Performances Led Him to the Super Bowl Halftime Show

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      Kendrick Lamar performs like someone parceling out a secret. On the 2015 single “King Kunta,” he stage-whispers, “I swore I wouldn’t tell,” and then proceeds to flaunt industry gossip without naming names. Though the Grammy-hoarding, Pulitzer Prize-winning rapper has mastered literary opacity in his music — he’s a generous user of perspective shifts and allusion — in videos and in live performances, Lamar’s expressive stagings strike like visual poetry.Lamar has scaled up those performances, becoming more elaborate as his platforms have grown in the 14 years since his recording debut. Dave Free, his primary creative partner and a collaborator on his visual presentations, has in the past attributed the rapper’s mutability to what he called the roller coaster effect: “You give people some type of variation, they can’t get used to you. They can’t put their finger on you. The more you keep people on their toes, the more interested they stay in you, for a longer period of time.” The zigzagging ride Free described is not unlike the sensory swerve of verse, especially Lamar’s quirky couplets. Ahead of his performance at the Super Bowl halftime show on Sunday, and a planned stadium tour this spring, it’s worth tracing how Lamar has visually explored intimate themes as his ambitions and career have expanded.‘Bitch, Don’t Kill My Vibe’ video (2013)Layering Comedy and Tragedy“Bitch, Don’t Kill My Vibe,” the last single from Lamar’s debut album, “good kid, m.A.A.d. city”(2012), is his most straightforward exploration of a visual lament. “I know you had to die in a pitiful vain, tell me a watch and a chain / Is way more believable, give me a feasible gain,” he chants in one verse. The song’s video, directed by Lamar and Free, is set at a funeral, with the rapper joining a procession of mourners wearing white in a hike up a picturesque hill. Their destination? A party with a preacher played by the comic Mike Epps.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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      Kanye West Announces He Was Diagnosed With Autism

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      The rapper and designer formerly known as Kanye West revealed the diagnosis during a podcast interview where he also discussed his upcoming album.Less than a week after his controversial appearance on the Grammy Awards red carpet, in which his wife stripped down to an entirely sheer dress, Ye, the rapper and designer formerly known as Kanye West, announced in a podcast interview that he had been diagnosed with autism.Over the past few years, Ye has frequently mentioned a diagnosis of bipolar disorder, which he alluded to on the cover of his album “ye” in 2018, with scrawled green text that read “I hate being Bi-Polar its awesome.”On the track “Yikes,” Ye said being bipolar was not a disability but rather a superpower. That same year, in an interview with The New York Times, he said he had been “learning how to not be on meds.”But on an episode of “The Download,” hosted by Justin Laboy, a former professional basketball player turned internet personality, Ye discussed his mental health and said he had been misdiagnosed. In the interview, which was released on Wednesday, he said that his wife, Bianca Censori, had challenged him to get a second opinion, and that he sought out a doctor who he said had previously worked with the singer Justin Bieber.“Come to find out it’s really a case of autism that I have,” Ye said.“Autism takes you to a ‘Rain Man’ thing where you’re like, I’m gonna wear this Trump hat because I just like Trump in general, and then when people tell you to not do it you just get on that one point,” he added, making reference to the 1988 film starring Dustin Hoffman as a man with autism.Messages to a representative for Ye seeking further clarity on the diagnosis were not immediately returned.In 2020, Kim Kardashian, who was then married to Ye, defended the rapper in an Instagram post after a series of erratic social media posts. In it, she attributed at least some of his actions to his diagnosis of bipolar disorder. Two years later, Ye made a series of antisemitic and offensive comments that led Adidas to end its longtime relationship with him and the Creative Artists Agency to drop him as a client.On social media, the reactions to this week’s podcast interview, in which Ye also discussed his upcoming album, “Bully,” and the ongoing feud between the rappers Kendrick Lamar and Drake, were mixed.In comments on the podcast’s Instagram account, some users praised Ye for his openness and chattered excitedly about the new album, which he said will be released later this year. Others continued to criticize him for the barely there dress he designed for Ms. Censori to wear at the Grammys.On the social media platform X, other users voiced concern for Mr. West’s mental health, with many noting that diagnoses of autism and bipolar disorder do not have to be mutually exclusive. More

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      Susan Alcorn, Voyager on Pedal Steel Guitar, Dies at 71

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      With a daring avant-garde approach, she pushed the frontiers of an instrument best known for speaking with a down-home accent.Susan Alcorn, an experimental composer and musician who pushed the pedal steel guitar, an instrument more often associated with the country music roadhouse, into the avant-garde, died on Friday in Baltimore. She was 71.Her husband, David Lobato, said the cause of death, in a hospital, had not been determined.A rare female virtuoso on an instrument long dominated by men, Ms. Alcorn erased boundaries for pedal steel guitar — a console-style electric guitar played face up, with pedals and knee levers to alter pitch, often used to create a forlorn, wailing twang. That made it a key instrument in country music.As hinted at by the title of her 2006 album, “And I Await the Resurrection of the Pedal Steel Guitar,” Ms. Alcorn steered the instrument into uncharted territory. Over the course of a career in which she mined and refigured countless genres, she released more than 20 albums, either as a solo artist or in collaboration with boundary-pushing musicians like the guitarist and banjo player Eugene Chadbourne, the saxophonist Caroline Kraabel and the guitarist Mary Halvorson.The title of Ms. Alcorn’s 2006 album, “And I Await the Resurrection of the Pedal Steel Guitar,” signaled that she was steering her instrument into uncharted territory.Olde English Spelling BeeMs. Alcorn’s 2003 album, “Curandera,” featured her interpretations of compositions by Curtis Mayfield and Messiaen.Uma SoundsHer album “Curandera,” released in 2003, featured cosmic interpretations of the Curtis Mayfield composition “People Get Ready” and Messiaen’s “O Sacrum Convivium.” Her 2023 album, “Canto,” was inspired by her travels in Chile, where she became entranced with nueva canción, a left-leaning folk music that had been repressed by the dictator Augusto Pinochet in the 1970s.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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      Irv Gotti, Famed Hip-Hop Music Executive, Dies at 54

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      A founder of Murder Inc. Records, he helped launch the careers of Ja Rule and Ashanti and was credited as a producer on 28 records that made the Billboard Hot 100.Irv Gotti, who founded Murder Inc. Records with his brother and built a hip-hop empire that produced some of the biggest rap and R&B albums of the early 21st century, has died. He was 54.His death was confirmed late Wednesday in a statement by Def Jam Recordings, which was the parent label for Murder Inc. when it was founded in 1998, and where Mr. Gotti had also worked as an executive. The statement did not say where or when he died or cite a cause.Murder Inc., which Mr. Gotti started with his brother Chris, helped launch the careers of the rapper Ja Rule and the R&B singer Ashanti. Their success propelled the label to prominence in the late 1990s and early 2000s.“I’m important in America because of hip-hop,” Mr. Gotti said in the 2022 BET documentary series “The Murder Inc Story.” “I love hip-hop with a passion.”Mr. Gotti was born Irving Domingo Lorenzo Jr. in Queens on June 26, 1970. He said in the BET documentary that his father was a taxi driver and he was the youngest of eight children. In his early teens, he recalled, he played for hours with turntables and a mixer that his siblings got for him, and he started working as a D.J. for parties when he was 15.He later began working as a music producer and talent scout, and he was credited with helping discover the future hip-hop superstars Jay-Z and DMX. He became an A&R executive at Def Jam.Mr. Gotti was also an executive producer of DMX’s first album, “It’s Dark and Hell Is Hot,” released in 1998, which debuted at No. 1 on the Billboard 200 chart. He also produced Ja Rule’s first album, “Venni Vetti Vecci” (1999), and worked on several successful releases by Ashanti in the early 2000s, cementing his reputation as a hitmaker.Mr. Gotti was credited as a producer on 28 Hot 100 hits, according to Billboard.With the ascent came scrutiny. In 2003, the F.B.I. and the police raided Murder Inc.’s offices in New York. That was followed by a federal investigation into whether the label had been founded with drug money. Mr. Gotti faced charges of laundering money for Kenneth McGriff, a convicted gang leader. In an attempt to clean up the image of his label, Mr. Gotti dropped “Murder” from its name.“They had everybody who loved me in corporate America, who felt I was a good guy, distance themselves from me,” he said after his acquittal in 2005. “All while I was saying, ‘I didn’t do this, I didn’t do this,’ and they was like, ‘OK, we’ll wait and see.’”Information on survivors was not immediately available.A complete obituary will be published shortly. More

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      Paul Plishka, Prolific Soloist at the Met, Dies at 83

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      Known for his liquid bass tones and flawless diction, he appeared in 88 roles, many of them comic, over 1,672 performances at the Metropolitan Opera.Paul Plishka, an American singer acclaimed for his sonorous, liquid bass tones and near-perfect diction during a career at the Metropolitan Opera that spanned a half-century, died on Monday in Wilmington, N.C. He was 83.His death was confirmed by his wife, Sharon Thomas, who did not cite a cause or specify where in Wilmington he died.Known for a disciplined approach to choosing roles and a great concern for the development of his voice, Mr. Plishka was one of the most prolific solo singers at the Met, where he appeared in 88 roles over 1,672 performances.“I think the secret of my longevity was having the good sense to turn down repertoire that wasn’t right for my voice at the time,” he said in an interview for this obituary in 2023.Early in his career he preferred buffo, or comic, roles, especially in operas by Verdi. “My voice was more of the basso cantante — with a lyric kind of sound — not a villain’s voice,” he said.But as his voice changed, Mr. Plishka accepted more dramatic roles, including the title one in Mussorgsky’s “Boris Godunov,” as Philip II of Spain in Verdi’s “Don Carlos” and as Mephistopheles in Gounod’s “Faust” — all stellar performances.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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      Daniel Barenboim Announces He Has Parkinson’s Disease

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      “I am planning to maintain as many of my professional commitments as possible,” the conductor said.Daniel Barenboim, the eminent conductor and pianist who stepped back from engagements in recent years citing health concerns, said Thursday that he has Parkinson’s disease.Announcing the diagnosis in a short news release, Barenboim, 82, said that he still planned to fulfill “as many of my professional commitments as possible,” including concerts with the West-Eastern Divan Orchestra, an ensemble he founded in 1999 to bring Israeli and Arab musicians together.“If I am unable to perform, it is because my health does not allow me to,” Barenboim said, adding that he was adjusting to “navigating this new reality” and that his focus “is on receiving the best available care.”Three years ago, Barenboim announced that he was suffering from a “serious neurological condition” that was affecting his work. In January 2023, he resigned as general music director of the Berlin State Opera because of poor health.A spokeswoman for the Daniel Barenboim Foundation said that the conductor was unavailable for interview. His next scheduled performance is in August as part of a West-Eastern Divan Orchestra summer tour, the spokeswoman said, adding that Barenboim was continuing to teach at the Barenboim-Said Academy, a music school he established in Berlin that brings together students from across the Middle East.Born to Jewish parents in Argentina, Barenboim has been a titan of classical music for almost seven decades, first as a piano prodigy and later as a conductor and music director. He took over the leadership of the Berlin State Opera in 1992 and transformed into one of the world’s leading houses, and he also held music director positions at the Orchestre de Paris, the Chicago Symphony Orchestra and the Teatro alla Scala, in Milan.Since the 1980s, Barenboim has also been an outspoken political figure, as much as a revered musical one — a rarity for a conductor. In 1989, just days after the Berlin Wall fell, Barenboim led the Berlin Philharmonic in a concert for East Germans. A decade later, along with the Palestinian scholar and writer Edward Said, he founded the West-Eastern Divan Orchestra in the belief that music could lead Israelis and Arabs to mutual understanding.In his statement on Thursday, Barenboim said he considered the West-Eastern Divan Orchestra his “most important responsibility.”“It is essential for me to ensure the orchestra’s long-term stability and development,” he said. More

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      A Tribute to Marianne Faithfull

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      Hear 10 tracks from a long, winding career.Danny Kasirye for The New York TimesDear listeners,We lost one of the true greats last week when Marianne Faithfull died at age 78. A pop star turned punk rocker turned cabaret chanteuse, Faithfull was also a style icon, an actress with remarkable screen presence and a wonderfully unfiltered memoirist, among many other things. She will be greatly missed — but what a life she lived!Today’s playlist is a celebration of Faithfull’s long and varied musical career, which began at 17 — when she was signed on sight by the Rolling Stones’ manager Andrew Loog Oldham — and stretched until her late 70s. I had the honor and pleasure of interviewing Faithfull in 2021, around the release of what is now the final album she released in her lifetime, “She Walks in Beauty,” which found her reciting Romantic poetry atop compositions produced by her friend and collaborator Warren Ellis. She was then recovering from a nasty bout of Covid-19 that had put her in a coma, but her resilience was something to behold.That toughness and durability was a through line of her career, as she sprung back from multiple near-death experiences and returned with music that seemed supercharged by those struggles. She was a bold, intuitive and one-of-a-kind artist, as you’ll hear on the following 10 tracks.Also, apologies for this newsletter going out a day late. My personal advice: Steer clear of that norovirus! Thankfully I’m now on the mend and The Amplifier will return to its regular schedule on Friday. Til then!It is the evening of the day,LindsayListen along while you read.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Composer Turns Down the Tempo, and Turns Up the Complexity

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      Lisa Streich, an artist on the rise who has found success in Europe, is having a rare American showcase this week in New York.In the golden vastness of St. Mark’s Basilica after night had fallen, the voices seemed to hover in an endless haze. It was the closing concert of the Venice Music Biennale in October, and Lisa Streich’s “Stabat,” written for 32 singers divided into four choirs, blurred over half an hour into a soft yet never quite settled dream.Streich, 39, was represented in Venice not just by “Stabat,” but also by the premiere of “Orchestra of Black Butterflies,” a rigorous yet playful, pleasurable work for four musicians that unfolds like an off-kilter machine. That piece is now coming to New York, where it will be performed at the Miller Theater on Thursday by the piano-percussion quartet Yarn/Wire in a Composer Portrait devoted to Streich, a rare American showcase for an important rising artist.Born in Sweden and raised in a small town in northern Germany, Streich already has a formidable career in Europe. She was a composer in residence at the Lucerne Festival last summer. She has been commissioned by major institutions like the Berlin Philharmonic and the Bavarian State Opera in Munich, which asked her to write a final scene to append to Hans Werner Henze’s one-act “Das Wundertheater.” Conductors as eminent as Alan Gilbert and Matthias Pintscher have led her scores. After hearing her work in Venice, I’m hooked.Streich’s music is often quiet and deliberate. The program note at Miller says that when she was a young composer, her goal was “to find the slowest tempo where a performer could still keep a solid pulse.” Her favorite? Thirty-seven beats per minute. Her pieces tend to fade into oblivion as they end; “Ishjarta,” her Berlin Philharmonic commission, ends with almost the entire orchestra playing an extremely soft pianissississimo.Even when her work skirts inaudibility, it’s complex. Streich has taken to using software to analyze recordings of choirs she finds on the internet. She focuses on gnarly harmonic moments and has compiled some of the results — divided into 14 categories, like “Gloria” and “On Earth We’re Briefly Gorgeous” — in “Book of Chords,” alongside her photographs and poetry.

      SPUN by Sarah SavietWe 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