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    Britney Spears and Her Father Settle Legal Dispute Over Conservatorship

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    Terms were not disclosed. The parties had been arguing over the payment of legal fees and James P. Spears’s financial oversight as his daughter’s conservator.More than two years after a judge ended the conservatorship that had given James P. Spears control of his pop star daughter’s life, Britney Spears and her father have settled their outstanding legal dispute over the payment of his legal fees and his management of her finances.The terms of the settlement were not disclosed in court filings made by both parties in Los Angeles Superior Court on Thursday. But the two sides had been at odds over the size of Mr. Spears’s legal fees and questions about his oversight of her money as conservator.Ms. Spears’s 13-year-long conservatorship, which began in 2008 after a series of public breakdowns, was terminated in 2021. Her father, who served as one of her conservators for its duration, had been seeking court approval for more than $2 million in fees to multiple law firms he had hired in that capacity. He had also sought payment of his current lawyer’s ongoing legal bill.Ms. Spears’s lawyer, Mathew S. Rosengart, had objected to the fees.Mr. Rosengart argued that, in particular, his client should not have to pay her father’s current legal bills, asserting in court papers that Mr. Spears had paid himself $6 million, improperly surveilled his daughter and engaged in financial misconduct during his tenure.Mr. Spears has denied any wrongdoing. He held control over both Ms. Spears’s financial and personal affairs until September 2019, when he resigned as her personal conservator citing health issues, and was replaced by Jodi Montgomery, a professional in the field. A lawyer, Andrew M. Wallet, served as a co-conservator of her estate until he resigned in 2019.Alex M. Weingarten, a lawyer for Mr. Spears, said he could not discuss the terms of the settlement because they are confidential but he agreed that the parties had resolved all outstanding issues. One of the filings stated that his client “is fully and finally discharged as Former Conservator of the Estate.”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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      Taylor Swift: The ‘Tortured’ Mailbag

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music“The Tortured Poets Department,” the new album from Taylor Swift, will have the biggest opening week of any album this year. Critical reaction to the release has been mixed, but fan interest has remained extremely high. And questions about Swift’s music and motivations abound.On this week’s Popcast, a listener mailbag episode full of questions prompted by Swift’s latest turns, includingHow does “TTPD” mark the return to an earlier, far more personal version of Swift’s music?What are the pros and cons of turning “TTPD” into a sudden double album?To what degree is Swift in dialogue with the leading indie-rock songwriters of the day?How does Swift engage with criticism, and with fans who lash out on her behalf?Could it be, despite the decidedly mixed response, that this album is Swift’s best?Will Swift ever voluntarily step away from the spotlight?Guests:Caryn Ganz, The New York Times’s pop music editorTom Breihan, senior editor at StereogumConnect 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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      St. Vincent’s 10 (or, Actually 11) Essential Songs

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      Sample her seven daring and eclectic albums as her latest, “All Born Screaming,” arrives.OK McCausland for The New York TimesDear listeners,One afternoon in late February, my editor Caryn asked if I might be interested in profiling St. Vincent ahead of her new album “All Born Screaming.” I said that I probably wasn’t — though I have long been a fan, my early spring schedule was quite full and the reporting would require a short-notice trip to Los Angeles — but that I would give the album a spin on the way home from work, just to see if it would change my mind. By the fourth track, I was searching flights to L.A.I’m so glad I took that assignment. Annie Clark (St. Vincent’s real name) was generous with her time and her explanations of her creative process, and I came away with a new appreciation of her work ethic. An accomplished songwriter, guitarist and producer, Clark is palpably fascinated by sound and how it is created, and it was revealing to see the way her eyes lit up when she was in the studio, surrounded by various mics and vintage consoles. At one point, when we were discussing some aspect of engineering, she stopped herself, remembering that this was an interview, and said, “That stuff’s kind of boring to a reader.” But I encouraged her to go on, because I could tell it was incredibly interesting to her, and I hoped that it would be illuminating for listeners to learn exactly what made Clark geek out. Even if those things are mic shootouts, modular synthesizers and the mechanics of signal flow.We also discussed the long, improbable arc of her career, during which she’s gone from a coy indie darling to a mainstream-adjacent provocateur. “I’m curious, so I’ll say yes to things that are like, ‘I don’t know if I can do that,’ or, ‘I don’t know what this kind of music is like, let me find out,’” Clark told me. “So all those things have led me to crazy places that I’ve never expected.”Today’s playlist is a map of some of those unexpected places: a collection of my 11 favorite St. Vincent songs, spread across her seven daring and eclectic albums, and featuring a few quotes from my interviews with Clark that did not make it into the profile. You’ll find tracks from her incomparable 2011 release “Strange Mercy,” her boldly slick 2017 LP “Masseduction” and more. I almost settled for 10 songs, but in classic Amplifier fashion, I added one more at the last minute. To make me choose between “Prince Johnny” and “Happy Birthday, Johnny” would have been cru-u-uellll.Seeing double beats not seeing one of you,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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      An Unearthed Johnny Cash Recording, and 11 More New Songs

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      Hear tracks by Normani, Nilüfer Yanya, Thom Yorke and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Johnny Cash, ‘Well Alright’Johnny Cash wasn’t always the stoic Man in Black. He also had a droll side, as revealed in this song reconstituted from demos he recorded in 1993; a latter-day band, including Marty Stuart on guitar, now fills out the original tracks. In “Well Alright,” previewing “Songwriter,” an album due June 28, Cash is deadpan and droll, singing about a liaison that starts at a laundromat. Even the Man in Black had clothes to wash. JON PARELESNilüfer Yanya, ‘Like I Say (I Runaway)’“I run away, ’cause I’m on precious time,” the British musician Nilüfer Yanya sings on the first single she’s released since her excellent 2022 album “Painless.” In classic Yanya fashion, “Like I Say (I Runaway)” has an almost collagelike feel, reveling in contrasting textures and suddenly erupting into a blaze of guitar distortion on the chorus. “The minute I’m not in control, I’m tearing up inside,” Yanya sings, as her own sonic universe bends to her will. LINDSAY ZOLADZNormani featuring Gunna, ‘1:59’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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      Mike Pinder, Founding Keyboardist of the Moody Blues, Dies at 82

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      His expertise on the electromechanical Mellotron helped define the band’s progressive sound in the 1960s and ’70s on albums like “Days of Future Passed.”Mike Pinder, the last surviving founding member of the Moody Blues, whose innovative use of the Mellotron — a predecessor of the sampler — helped make the band a pioneer of progressive rock, died on Wednesday at his home in the Sacramento area. He was 82.His son Dan confirmed the death. He said that his father had breathing difficulties and had been in hospice care for a few days.The Moody Blues were formed in 1964, with a lineup of Mr. Pinder on keyboards, Denny Laine on guitar, Graeme Edge on drums, Ray Thomas on flute and Clint Warwick on bass. The group’s “Go Now!,” sung by Mr. Laine, rose to No. 10 on the Billboard Hot 100.The Moody Blues at the house they shared in South London in 1965. From left: Ray Thomas, Denny Laine, Graeme Edge, Clint Warwick and Mr. Pinder.Chris Ware/Keystone Features, via Getty ImagesMr. Laine and Mr. Warwick left after the release of the band’s first album, “The Magnificent Moodies” (1965), and were replaced by Justin Hayward and John Lodge. The change in personnel set the stage for a change in direction: from R&B-tinged rock to the psychedelic, orchestral sound that the Moody Blues vividly showcased on their breakthrough 1967 album, “Days of Future Passed.”Mr. Pinder had worked as a tester in the Mellotron factory in Birmingham, England, before the Moody Blues formed. Playing the company’s Mark II model for the first time was “my first ‘man on the moon’ event,” he told the British music website Brumbeat.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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      ‘Tortured Poets’ Has Shifted the Taylor Swift Debate. Let’s Discuss.

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      The superstar’s 11th album is a 31-song excavation of her recent relationships that is not universally loved. Our pop team dissects its sound, themes and reception.BEN SISARIO Hey, have you guys seen my antique typewriter? I think I left it at someone’s apartment. I swear, I’m so absent-minded …JON PARELES I’m not sure you want to be associated with that typewriter’s owner, Ben. He doesn’t come off too well on “The Tortured Poets Department”; by the end, he’s been reduced to “The Smallest Man Who Ever Lived.”SISARIO Over the years, I’ve trained myself to view Taylor Swift’s work through the eyes of her fans — that’s crucial for understanding Swift, whose connection with her listeners is at the root of her success, and it’s also become part of the art itself. The question is not just what is Swift saying, but what is she telling her fans, and how will they respond to it? And for my first few times listening to “Tortured Poets,” it seemed crystal clear to me that this album would rally fans intensely. This is an epic of romantic martyrdom, a cry of revenge greased by tears of rage. She’s pushing Swifties’ buttons, and I could imagine stadiums on every continent screaming in unison: “I love you, it’s ruining my life!”The sound, too, seems perfectly calibrated. Over much of the last decade, Swift has kept parallel musical paths: moody electro-pop with Jack Antonoff, and raw, delicate indie-folk with Aaron Dessner. She split the difference here, engaging both producers, and I think Swifties vote yes.PARELES It’s not just one Taylor Swift, though. It’s at least two: the world-conquering billionaire superstar who has stadiums chanting “More!” and the vulnerable girlfriend whose heart explodes when a guy teasingly slips a ring on her ring finger. It’s also the Swift who can’t help gathering writerly details for her next song, and the Swift who’s very deliberately planting autobiographical clues and Easter eggs for the fans to find. The tension between Swift as a shrewd, workaholic cultural colossus and Swift the 34-year-old woman seeking a worthy, committed partner — and, she suggests, marriage and family — is stronger than ever on this album, and makes it a real jumble of agendas.Some lyrics seem to be pushing back against the opinions of Swift’s judgmental fans.Jutharat Pinyodoonyachet for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      8 Songs From the Rock & Roll Hall of Fame’s Class of 2024

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      Listen to soon-to-be inductees Cher, Foreigner, A Tribe Called Quest and more.Cher.Mario Anzuoni/ReutersDear listeners,On Sunday night, the Rock & Roll Hall of Fame announced its 2024 inductees. And while I find this year’s class a tad less exciting than last year’s, there are still quite a few names I was pleased to see: A Tribe Called Quest, Kool & the Gang, Ozzy Osbourne, Mary J. Blige and the artist who would have been at the top of my ballot, if I were a Rock Hall voter: Cher.*In recent years, the Rock & Roll Hall of Fame has been in something of a transitional period, as it expands its definition of “rock & roll” to include country legends (last year’s inductees included Dolly Parton and Willie Nelson) and hip-hop stars (like Eminem in 2022, and Missy Elliott, who in 2023 became the first-ever female rapper inducted). Last September, the Rock Hall co-founder Jann Wenner made headlines for all the wrong reasons when he espoused sexist and racist comments in a New York Times Magazine interview; shortly after, he was removed from the Rock & Roll Hall of Fame Foundation’s board.The Billboard writer Andrew Unterberger took stock of all this in an astute column about this year’s inductees, which he believes strike a balance between the hall’s more old-fashioned view of rock and a fresher, wider definition that is less beholden to tradition. Artists like Tribe, Cher and Blige are in step with the institution’s drift toward becoming “a less hemmed-in, genre-specific institution,” but the presence of acts like Foreigner, Peter Frampton and the Dave Matthews Band also suggest that “there are still plenty of voters primarily concerned with rock representation.”All of this variety, though, means that this year’s inductees make for a thrillingly eclectic playlist. Check it out below, featuring some recognizable hits, a few rollicking live cuts and in my humble opinion, a very underrated Cher single.Allllll aboard!,Lindsay*Last month, the hosts of the excellent podcast “Who Cares About the Rock Hall?” had me on to discuss why I believe Cher belongs in the pantheon, as well as my obsession with the outrageous cover of her 1979 album “Take Me Home.”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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      Kathleen Hanna Reveals the Story of Her Life in ‘Rebel Girl’

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      The first draft of Kathleen Hanna’s memoir, “Rebel Girl: My Life as a Feminist Punk,” was 600 pages long. As she worked to cut the manuscript, Hanna found herself excising page after page of male violence. “It’s pretty sad, if you read the book, because there’s still a lot in there,” she told me. “I had a joke with my editor about it.” Like, she’d already removed a rape and a kidnapping and a guy who threw a wine glass at her head! “What more do you want from me?”Hanna is super funny. When she takes the stage as the frontwoman of Bikini Kill, Le Tigre or the Julie Ruin, she plays a kind of punk trickster, shifting her voice to resemble a bratty Valley Girl, a demonic cheerleader, an obnoxious male fan. She is always subverting femininity and disarming bad guys with her spiky and irreverent lyrics. But when it came time to write her life story, she realized that she could not playfully twist away from her past.“I keep trying to make my rapes funny, but I have to stop doing that because they aren’t,” she writes in the book, which comes out on May 14.Kathleen Hanna at home with her dog, Terry. While writing her memoir, she was diagnosed with complex post-traumatic stress disorder.OK McCausland for The New York Times“Rebel Girl” documents Hanna’s long career as an underground artist and musician, and its striking intersections with the mainstream. In the 1990s, she helped instigate the riot grrrl movement, calling girls to the front of punk venues and setting off a D.I.Y. feminist ethos that was later assimilated into a girl-power marketing trend. She was a friend of Kurt Cobain’s who scrawled the phrase “Kurt smells like Teen Spirit” on his bedroom wall, inspiring the anthem that exploded into a global phenomenon.Nineties nostalgia applies an appealingly gritty filter to that era’s underground rock scene, but it could be punishing for those who stood in opposition to its white male standard. Hanna has sometimes worried that if she put it all out there, she would be disbelieved. “I’ve been told by men: Oh, you’re just the kind of woman these things happen to, as if I have some sort of smell I’m emanating,” she said. “But I knew that other women would understand.”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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      Peter Gordon, Music’s Mr. Adjacent, Is Starting His Own Record Label

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      Peter Gordon, who studied with Terry Riley, has always made music that is surprising but accessible. Now he’s starting his own record label.For 45 years, Peter Gordon has held onto a reel-to-reel tape of a show he performed in 1979 at the Mudd Club in New York City with a trio called the Blue Horn File. Gordon, the violinist Laurie Anderson and the percussionist David Van Tieghem — a group of new music all-stars — did a short set with the playful and unshackled feel of cartoon music. It was one of only three shows the Blue Horn File played.Gordon, a saxophonist, composer and bandleader who has been a mainstay of downtown music for decades, has recorded for several different labels. But he decided to take a different path with these tapes: This week, he is releasing “The Blue Horn File at Mudd Club” as one of the first titles on Adjacent Records, his new digital-only label.“It eliminates the middleman,” he said. “With record companies, people second guess at every point what’s going to work or not work. It’s really about setting up artistic freedom, from creation to distribution.”In the course of his restless, mutable career, Gordon, 72, has written all kinds of music, from classical pieces for solo piano or chamber orchestra to dance scores and experimental operas. But he also has used his classical background to write disco-kissed rock music for the long-running group he formed in 1977, Love of Life Orchestra.He isn’t as well-known as some of the people he’s worked with, like Anderson, the novelist Kathy Acker, the choreographer Bill T. Jones, the singular cellist Arthur Russell, or David Byrne; or the people he’s studied with, including the founding Minimalists Terry Riley and Pauline Oliveros, with whom he played in a klezmer band. “But he’s known by the right people,” said Tim Burgess, frontman of the Charlatans U.K. and another of Gordon’s many collaborators.Gordon is Mr. Adjacent: “Adjacent” is more than the name of his label, it’s a description of his music, which sits in a distinct Venn diagram of influences, including jazz, classical and rock, often with R&B at the center. The one constant is a kind of populist experimentation: He makes music that’s surprising but also accessible.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