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    Most of Sean ‘Diddy’ Combs’s Accusers Are Unnamed. Can They Stay That Way?

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    The debate over anonymity in civil and criminal sex abuse cases weighs the principle of a fair trial with the desire to protect accusers’ privacy.As Sean Combs faces numerous anonymous accusers in both civil and criminal court who say he sexually abused them, his lawyers have argued that such anonymity is an unfair impediment to his defense.In more than half of the 27 sexual abuse civil suits against the music mogul, the plaintiffs filed under the pseudonyms Jane Doe or John Doe, drawing opposition from Mr. Combs’s lawyers.Similarly, in his criminal case, where he has been charged with racketeering and sex trafficking, the defense has argued that prosecutors should have to reveal the names of the alleged victims who are part of their case. The only accuser listed in the indictment was identified as “Victim 1,” though prosecutors say there are multiple.“Without clarity from the government,” his lawyers wrote in a letter to the presiding judge, “Mr. Combs has no way of knowing which allegations the government is relying on for purposes of the indictment.”Sexual assault accusers have long sought anonymity in the courts and in the media. The flood of complaints during the #MeToo movement ushered in a much broader societal understanding of their fears of retribution and social stigmatization, and protocols in the American media that withhold accusers’ names became even more entrenched — a commitment illustrated last month when the country superstar Garth Brooks identified an anonymous accuser in court papers. Few, if any, media outlets published her name.Securing anonymity in civil court can be much more challenging.So far, at least two judges in Federal District Court in Manhattan have rejected requests from plaintiffs to remain anonymous in lawsuits against Mr. Combs, who has denied sexually abusing anyone.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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      Garth Brooks Names Woman Who Accused Him of Rape

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      In a court filing, lawyers for the country superstar portrayed him as “the victim of a shakedown” and asked for compensatory and punitive damages.Garth Brooks, the country superstar, has named the woman who, as Jane Roe, accused him of rape and sexual assault in a bombshell lawsuit last week.In a court filing in Mississippi on Tuesday, lawyers for Mr. Brooks portrayed the star as “the victim of a shakedown” and said the woman’s lawyers had “flouted” the authority of a judge in a related case.Litigation over the woman’s accusations began last month with a lawsuit that was filed anonymously — as John Doe v. Jane Roe — in federal court in Mississippi. The plaintiff, identified only as “a celebrity and public figure who resides in Tennessee,” said that lawyers for a woman had approached him in July with what he described as false allegations of sexual assault, and that they would sue Mr. Brooks unless he gave the woman “a multimillion-dollar payment.” The man asked the Mississippi judge to preserve the parties’ anonymity and declare that the woman’s accusations were false.In a response, lawyers for the woman said they intended to sue the man in California, saying that “Ms. Roe respectfully requests that she may commence her California action as she intended to do, and use Mr. Doe’s name, absent objection from this Honorable Court.”The court did not act, and two days later the woman filed her lawsuit in Los Angeles Superior Court, naming Mr. Brooks but not herself. The suit accused Mr. Brooks of raping her in a Los Angeles hotel room in 2019, and of subjecting her to repeated unwanted sexual advances for about two years. The woman described herself as a hair and makeup stylist who had worked with Mr. Brooks’s wife, the country singer Trisha Yearwood, since 1999, and had begun working regularly for Mr. Brooks in 2017.The suit drew wide coverage in the news media, and its portrayal of Mr. Brooks ran counter to the positive public image he had cultivated for decades.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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      Garth Brooks Is Accused of Rape and Assault in Lawsuit

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      A woman who worked as a hair and makeup stylist for the country superstar says he subjected her to repeated advances. Mr. Brooks did not immediately respond to the allegations.Garth Brooks, one of country music’s biggest stars, has been accused of sexual assault by a woman who said he raped her in a Los Angeles hotel room and subjected her to repeated unwanted sexual advances over a period of about two years, according to a lawsuit filed in a California court on Thursday.The woman was not named in court papers but was described as a hair and makeup stylist who worked with Mr. Brooks from 2017 to about 2020. In that time, her suit says, he repeatedly harassed her, describing graphic sexual fantasies and in one instance placing her hands on his genitals when he came out of a shower.A spokeswoman for Mr. Brooks did not immediately respond to a request for comment.Mr. Brooks, 62, is a star of the highest order in the world of country music and beyond, a household name who has sold tens of millions of albums and, decades into his career, still plays to stadiums full of adoring fans. He has also long been devoted to charitable organizations, particularly those focused on children and local relief after natural disasters.But the suit accuses him of preying on a woman working for him and then trying to silence her.Litigation over the woman’s accusation began three weeks ago with an anonymous suit filed in federal court in Mississippi. In that case — called John Doe v. Jane Roe — a man identified only as “a celebrity and public figure who resides in Tennessee” said that a woman residing in Mississippi had made “false and outrageous allegations of sexual misconduct she claims occurred years ago.” He asked a judge to protect his identity and to declare that the woman’s accusations against him were false.In a filing this week in response, the woman’s lawyers portrayed that lawsuit as a pre-emptive move to silence her, and said that she would be filing her case imminently, which would name the man.The 27-page lawsuit filed by the woman on Thursday, in Los Angeles Superior Court, says she is the same person listed as the defendant in the Mississippi action, and identifies Mr. Brooks as the John Doe plaintiff.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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      Popcast (Deluxe): Beyoncé’s ‘Renaissance’ Movie Shows All the Work

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:“Renaissance: A Film by Beyoncé,” the new concert film that intersperses footage from the whole of Beyoncé’s Renaissance World Tour with behind-the-scenes documentation of how it came to be. Sprinkled throughout the scenes of Beyoncé, the performer, and Beyoncé, the manager, are a few moments of vulnerability and visibility into the making of Beyoncé, the person.The new album from country superstar Garth Brooks, “Time Traveler,” which is available only as part of a boxed set sold at Bass Pro Shops, and what it means for a legacy artist to have minimal meaningful presence on streaming platforms.The finale of “The Golden Bachelor”New songs: XXL’s All-Women Cypher Featuring Latto, Flo Milli, Monaleo, Maiya The Don and Mello Buckzz; plus Sexyy Red featuring Chief KeefSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Rob Reiner Teases Details of ‘Spinal Tap’ Sequel

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      Speaking on a podcast this week, the director said Paul McCartney and Elton John will appear in the film, among other real musical stars.The director Rob Reiner has said that an upcoming sequel to his 1984 documentary parody “This Is Spinal Tap” is scheduled to begin shooting in late February and will feature Paul McCartney, Elton John and Garth Brooks, among other stars.“Spinal Tap” satirized a bungled tour by a fictitious British heavy-metal band of that name, as well as the process of documenting it. The film, which was mostly improvised, was inspired by “The Last Waltz,” a Martin Scorsese documentary about the rock group the Band.Plans for “Spinal Tap II” were first announced last year. The entertainment news outlet Deadline reported at the time that the members of the fictitious band — the actors Christopher Guest, Michael McKean and Harry Shearer — would all return for the sequel. Over the years, the three have played real-life concerts as their Spinal Tap characters.Reiner announced new details about the “Spinal Tap” sequel during an episode of a podcast hosted by the comedian Richard Herring that was released on Monday. The film had initially been scheduled for release in 2024, but that was before strikes that disrupted filming schedules in Hollywood. No updated release date has been announced, according to Variety.Without elaborating, Reiner said that there would also be a few other surprise appearances in the film.For most of the podcast episode on Monday, Herring and Reiner mostly talked about Reiner’s new podcast, “Who Killed JFK?” But they also discussed the original “Spinal Tap” movie, his directorial debut, which Herring said was his favorite film of all time.Asked if he regretted anything about what was and wasn’t in the 1984 film, Reiner said no. And did he anticipate how influential it would prove to be? Also no.“When we first previewed it, we previewed it in a theater in Dallas, Texas, and people … they didn’t know what the heck they were looking at,” Reiner said.“They came up to me afterward and said, ‘I don’t understand. Why would you make a movie about a band that nobody’s ever heard of? And they’re so bad! Why would you do that?’” Reiner recalled. “They said, ‘You should make a movie about the Beatles or the Rolling Stones.’”“I said, ‘Well, it’s a satire,’” Reiner said on the podcast. “I tried to explain, you know. But over the years, people got it, and they started to like it.”Reiner’s comments on Herring’s podcast were reported earlier by the music magazine NME and other outlets. More

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      36 Hours in Nashville: Things to Do and See

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      1 p.m.
      Stroll the strip, then kick off your shoes
      Roughly a mile south of downtown is the 12South neighborhood, which includes a walkable corridor of shops, restaurants and cafes; it’s an easy excursion to grab a quick gift, a latte or lunch. Plunder the vintage goods at Savant, at the north end of the strip, and then swing by Draper James — the actor Reese Witherspoon’s brick-and-mortar salute to all that is Southern and genteel — which sells clothes, home goods and Ms. Witherspoon’s book club picks. For lunch, grab a few of Bartaco’s light-yet-satisfying roasted-cauliflower tacos ($3.25 each). At the corridor’s south end, White’s Mercantile sells everything from books to organic dog treats to candlewick trimmers. Finally, Sevier Park, next door, is where you can kick off your shoes and lie on the grass, but be wary of cold noses: This park is dog-friendly. More

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      A Starry Central Park Comeback Concert Is Silenced by Lightning

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      An all-star show to celebrate the city’s emergence after the hardships of the pandemic, even as the spread of the Delta variant has driven up cases again, was stopped halfway through.It was supposed to be a glorious celebration of the re-emergence of New York City after more than a year of pandemic hardship — a concert bringing thousands of vaccinated fans on Saturday evening to the Great Lawn of Central Park to hear an all-star lineup.And for the first couple of hours it was, with messages of New York’s resilience sandwiched between performances by the New York Philharmonic, Jennifer Hudson, Carlos Santana, LL Cool J, and Earth, Wind and Fire, among others.But shortly after 7:30 p.m., as Barry Manilow was performing “Can’t Smile Without You,” lightning brought the concert to a halt. “Please seek shelter for your safety,” an announcer intoned, stopping the music, as people began filing out of the park.The concert had begun with a ray of sunshine, breaking through the clouds just before it got underway at 5 p.m. Gayle King, a co-host of “CBS This Morning,” began the evening by thanking the essential workers who had pulled the city through the darkest days of the pandemic.“We were once the epicenter of this virus, and now we’ve moved to being the epicenter of the recovery,” she said. “We gather for a common purpose: to say, ‘Welcome back, New York City!’”She then introduced the New York Philharmonic, which kicked off the concert with the overture to Leonard Bernstein’s “Candide,” conducted by Marin Alsop, a Bernstein protégée. The orchestra then played a medley of New York-themed music, including bits of Gershwin’s “Rhapsody in Blue,” Billy Joel’s “New York State of Mind” and “Theme from ‘New York, New York,’” the anthem made famous by Frank Sinatra, among others.The concert, “We Love NYC: The Homecoming Concert,” which was broadcast live on CNN, was part of Mayor Bill de Blasio’s plans to celebrate the city’s comeback after the pain and suffering of the pandemic.When the concert was announced by Mr. de Blasio in June, plunging coronavirus case numbers and rising vaccination figures had filled the city with hope.But circumstances have shifted considerably over the past two months. The spread of the highly contagious Delta variant has led some city businesses to postpone the return to their offices, prompted the city to institute vaccine mandates for indoor dining and entertainment and threatened to destabilize the wider concert business.On June 7, the day the concert was announced, the city was averaging 242 cases a day; the daily average is now more than 2,000 cases a day.With the Philharmonic still onstage, the concert continued with Andrea Bocelli, the star Italian tenor, singing “O Sole Mio,” and Jennifer Hudson, the star of the new Aretha Franklin biopic “Respect,” singing Puccini’s “Nessun Dorma” — a beloved aria that became associated with Franklin after she sang it at the Grammy Awards in 1998.As the crowd streamed in, the idea of New York’s return — whether a two-fisted vanquishing of a viral enemy or a premature declaration of victory — was on seemingly everyone’s mind.“This is our reopening — this is our invitation to get back to real life,” said Dean Dunagan, 52, of the Lower East Side, who had come to see Mr. Springsteen and had been waiting outside the park for four and a half hours before the gates were opened.“New York has been punched in the face every other decade, or whatever,” Mr. Dunagan said, “and we get right back up.”Just a few feet from him was Alexandra Gudaitis, a 24-year-old Paul Simon fan from the Upper West Side. “I’m scared this is going to be a mass spreader event, with the Delta,” she said.Still, she was one of the first fans through the door and rushed to the very front of the general-admission section with a few friends. They wore masks, and Ms. Gudaitis said they had chosen their spot because it seemed to have better access to fresh air.Some of the acts had only tenuous connections to New York. But the rap pioneer LL Cool J led a New York-centric ode to old-school hip-hop with Busta Rhymes, A Boogie Wit da Hoodie, French Montana, Melle Mel and Rev. Run of Run-DMC.Amid concerns about the spread of the Delta variant, the show required everyone 12 years old and older to show proof that they had had at least one dose of a vaccine. Gabriela Bhaskar/The New York TimesThe homecoming show required everyone 12 years old and up to show proof that they had had at least one dose of a vaccine; children younger than that, who are still ineligible for the vaccines, were required to wear masks.“When it comes to the concerts, they are outdoors — they are for vaccinated folks only,” the mayor had said on Wednesday. “We are definitely encouraging mask use. But I really want to emphasize the whole key here is vaccination.”The Central Park show came after the city had hosted a week of free hip-hop shows, with local heroes including Raekwon and Ghostface Killah in Staten Island, and KRS-One, Kool Moe Dee and Slick Rick in the Bronx. Tickets were required to attend the concert on the Great Lawn — most were free, but V.I.P. packages cost up to $5,000 — and the show was broadcast on television by CNN and on satellite radio by SiriusXM.The concert was programmed by Clive Davis, the 89-year-old music eminence, who, in an interview this week, stressed the role that music could play in shaping society.“It’s vital and important that New York be back,” he said.From the stage on Saturday night, Mr. Davis, a Brooklyn native, made a plea to the audience: “Tonight, I only ask one thing: When you’re having a great time, cheer loud — loud enough so they can hear you all the way in Brooklyn’s Crown Heights.”The concert ended before many of the headliners, including Bruce Springsteen and Paul Simon, got to perform. Mr. Davis said in the interview that after Mr. de Blasio asked him in May to put together the show, his first call had been to Mr. Springsteen.“I picked up the phone and told him we were going to celebrate New York City,” Mr. Davis recalled. “He said he would show up and wanted to do a duet.” That duet was to have been with Patti Smith, on “Because the Night,” a 1978 song they wrote together.The abbreviated concert came at an uncertain moment for the music industry. While some high-profile artists, including Garth Brooks, BTS and Nine Inch Nails, have canceled tour dates recently, the show is largely going on in the live-music business — but it hasn’t been easy. Concert protocols, in New York and elsewhere, have been in flux for months, as the federal authorities, local governments and businesses have adjusted to the changing realities of the virus.Broadway is requiring masks and proof of vaccinations as its theaters reopen, and Los Angeles County recently announced that it would require masks at large outdoor events such as baseball games at Dodger Stadium and concerts at the Hollywood Bowl.Mr. de Blasio has defended going ahead with the concert, noting that it was being held outdoors and for vaccinated people, even as some other events have been canceled. This year’s West Indian American Day parade in Brooklyn, for example, planned for Labor Day Weekend, has been canceled.The eyes of the concert industry have been on Chicago, where the Lollapalooza festival drew 400,000 over four days in late July and early August, amid concerns that it could turn into a “superspreader” event. The festival, which was held outdoors, required that attendees show proof of vaccination or a negative test. Last week, the city said that 203 people attending the show had tested positive afterward and that no hospitalizations or deaths had been reported. More

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      Garth Brooks Cancels Five Stadium Concerts as Covid-19 Cases Rise

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      The country star said he hoped to resume his tour by the end of the year, if he could do so safely.The country superstar Garth Brooks has canceled his next five stadium tour dates, the latest and biggest concerts to be pulled as the touring industry scrambles in response to rising coronavirus infection rates.“In July, I sincerely thought the pandemic was falling behind us,” Brooks said in a statement on Wednesday, four days after performing for about 90,000 fans in Lincoln, Neb. “Now, watching this new wave, I realize we are still in the fight and I must do my part.”The tour, which had already played five cities over the last month, is canceling dates in Cincinnati, which had been scheduled for Sept. 18; Charlotte, N.C., on Sept. 25; Baltimore, on Oct. 2; Foxborough, Mass., on Oct. 9; and one makeup date for a rained-out show in Nashville that had not been scheduled yet. Tickets will be refunded automatically, according to the statement.Brooks’s announcement came after a slew of cancellations by artists including Stevie Nicks, Limp Bizkit, Korn and Lynyrd Skynyrd; the New Orleans Jazz & Heritage Festival, planned for October, was also shut down. The Detroit Jazz Festival, planned as an in-person event from Sept. 3 to 6, announced this week that it would “pivot to a virtual format” of livestreams.For now, much of the concert industry is keeping its touring plans intact, and setting a variety of safety protocols for attendees as well as for the workers who run concert venues and manage touring productions. Live Nation and AEG Presents, the two corporations that dominate most of the touring and festival business, have each announced that their venues will require proof of vaccination or a negative test for attendees and staff, although that still leaves uncertainty about much of the business beyond their control.Los Angeles County will require masks at large outdoor concerts and sporting events that attract more than 10,000 people starting Thursday.Among the big American festivals still planned for the coming weeks are Bonnaroo, in Manchester, Tenn. (Sept. 2-5); Jay-Z’s Made in America, in Philadelphia (Sept. 4-5); Governors Ball, in New York (Sept. 24-26); Austin City Limits, in Austin, Texas (Oct. 1-3 and 8-10); and Outside Lands, in San Francisco (Oct. 29-31).In his announcement, Brooks told his fans that he hoped to resume his tour by the end of the year, as long as he can make sure that “the environment these people are trading their time and money to put themselves into is not only the best experience ever, but also the safest one we can provide.” More

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      The Toasts Are Mimed, but the Kennedy Center Honors Return

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      The pandemic made the ceremony, honoring Debbie Allen, Joan Baez, Garth Brooks, Midori and Dick Van Dyke and airing on TV Sunday, like no other.WASHINGTON — A handful of dignitaries made toasts without glasses in front of thousands of empty plush red seats, before a masked stagehand in white gloves quickly wiped down the microphone and lectern. Actual drinks had to wait for the safety of an outdoor terrace and a distanced reception.A brief photo line was moved from the Kennedy Center’s grand entrance hallway to a wing offstage, where a half dozen photographers stood in front of mementos from previous productions. In an opera house designed to hold more than 2,000 people, roughly 120 masked attendees had their temperatures checked with wrist scans before slipping through a nondescript backstage door to witness a short, scaled-back fragment of the 43rd Kennedy Center Honors.Joan Baez arrived with Dr. Anthony S. Fauci, the infectious disease expert. Joshua Roberts/ReutersThe ceremony was delayed, and transformed, but the show went on. Instead of receiving their ribboned medals at the usual ornate dinner at the State Department, this year’s honorees — the violinist Midori, the actor Dick Van Dyke, the country singer Garth Brooks, the singer and activist Joan Baez, and the actress, producer and choreographer Debbie Allen — were given them onstage in the center itself.The ceremony, usually held and televised in December, was moved to May, and split over several days. Then the organizers and producers began stitching together a mixture of recorded at-home tributes and in-person performances across the center to be broadcast on CBS at 8 p.m. on Sunday, June 6.If the Kennedy Center Honors had to be stripped of much of its glamour this month to accommodate rapidly changing coronavirus health guidelines, the subdued ceremony offered a chance for the honorees to help usher in the reopening of the nation’s cultural institutions after a grueling year for the arts.“Coming out of this very dark time of the pandemic, being able to see the arts coming back into our lives again, live, in person,” made the ceremony particularly special, Midori said at a news conference ahead of the ceremony. “This is also encouragement for me, as well as a motivation to be able to continue to connect with others, to collaborate, to create.”And even a reduced capacity, socially-distant honor was still cause for celebration.“I can’t be more thrilled,” Van Dyke, 95, proclaimed to reporters. “How I got here, I don’t know, and I’m not going to ask.”Dick Van Dyke said he was thrilled to get the honor: “How I got here, I don’t know, and I’m not going to ask.” He shared a moment with the violinist Midori. Joshua Roberts/ReutersThe arts industry remains among the most devastated by the pandemic, with the restrictions that kept theaters closed for more than a year to stem the spread of the virus just now beginning to lift in New York, Washington and other artistic centers. For the Kennedy Center, the Honors ceremony serves as the biggest fund-raiser of the year, usually attracting a conglomerate of lawmakers, federal officials, donors and artistic elite for a week of festivities.Compared to the average haul of $6 million to $6.5 million in donations, this year’s ceremony is brought in about $3.5 million, according to organizers. The Kennedy Center faced a partisan backlash in 2020 after receiving $25 million in the $2.2 trillion stimulus law, but still cutting pay for some staff members, including National Symphony Orchestra musicians.Like many awards ceremonies of the pandemic era, the center relied on technology to help accommodate virtual viewers, including a website for donors that streamed some of the segments and tributes, as well as backstage clips from previous ceremonies.Gloria Estefan was the host of the ceremony.Paul Morigi/Getty ImagesGarth Brooks and his wife, Trisha Yearwood.Andrew Caballero-Reynolds/Agence France-Presse — Getty ImagesBut the decision to allow a small group of donors, guests and reporters attend the medallion ceremony and a few in-person, outdoor tributes was a tentative return to normalcy at the Kennedy Center campus after officials canceled all performances last year.The center was dotted with remnants of a 2020 season that never was: an art exhibition still on display celebrated the centennial of women’s suffrage in 2020, and there was a display of costumes for operas that were never held.“There was never actually much serious conversation about not doing it — for us, literally for the last 14 months, we’ve really been taking it one day at a time,” said Deborah F. Rutter, the center’s president, in an interview. “This is about artists creating something out of limitations.”But organizers were determined to barrel forward with a small ceremony, however delayed and however limited, to preserve the tradition of honoring a handful of artists for lifetime achievements. Plans repeatedly changed with shifting federal guidance and health guidelines, and top officials, in offering opening remarks, joked about the number of times they conferred with the honorees about how to make the ceremony feasible.Yet the five artists — some of whom had participated in previous ceremonies as part of tributes — appeared moved by not only the recognition of their life’s work, but a far more intimate celebration that allowed them to spend time with each other and their loved ones, instead of being shuttled separately between events.“We’ve been hanging out,” Allen said, calling it a “cohesive, lovely part” of being part of the group. Brooks added that “we got to move at our own pace,” something that allowed him to “leave here as a fan of these people more than a fellow honoree.” (At one point, as Brooks helped him down a staircase, Van Dyke cheerfully hummed the “Bridal Chorus.”)If the pandemic made this a most unusual year for the awards, in at least one area things seemed to return to normal: President Biden held the traditional reception for the honorees at the White House, something former President Donald Trump did not do during his four years in office.Baez said she sang a verse of the civil-rights anthem “Ain’t Gonna Let Nobody Turn Me Around” in the Oval Office, and she repeated it for reporters, her unmistakable soprano echoing in the empty opera house.“It feels like we’re coming out of a dark tunnel, and there’s the possibility again for arts and culture,” she said. (Baez arrived to the medallion ceremony on the arm of Dr. Anthony S. Fauci, the head of the National Institute of Allergy and Infectious Diseases, whom she invited after the pair struck up a friendship earlier this year.)Chita Rivera chatted with Debbie Allen and Dick Van Dyke. Joshua Roberts/ReutersThe event also offered the small audience a chance to see the skeleton of the medallion ceremony, hosted by Gloria Estefan, a previous honoree.The crackle of stage directions over a headset momentarily pierced a few bars of pizzicato, as Yo-Yo Ma, the cellist and 2011 honoree, offered a solo performance as the lone in-person tribute for the ceremony.Recorded tributes also meant that the five artists could be surprised along with a televised audience when the show is broadcast. The filmed salutes were slated to include performances from students Midori and Allen have mentored, songs from “Mary Poppins” and “Chitty Chitty Bang Bang” for Van Dyke, and renditions of “We Shall Overcome” and “Friends in Low Places” for Baez and Brooks respectively.The honorees emphasized the need to continue investing in the arts as the country begins to move beyond the pandemic, with Allen promising to “keep my hands on the plow with our young people.”Brooks, visibly emotional as he spoke about the medal around his neck, said he had been “looking at it as a finish line” until Midori had reflected on the award as a motivation to continue creating and collaborating with others.“Because of you, it’s a beginning,” he said.Now the Kennedy Center will try to make up for lost time: it aims to produce its 44th ceremony in December for another slate of honorees. That one, officials hope, will be staged before a full-capacity audience. More