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    Drake’s ‘Certified Lover Boy’ Opens With the Year’s Biggest Week

    The rapper’s latest album debuted with the equivalent of 613,000 sales in the United States, easily beating Kanye West’s total of 309,000 just one week ago.All year long, Drake has teased his fans with a new album, which he said early on would be called “Certified Lover Boy.” It was sure to be a hit, but how big? For Drake, a titan of the streaming era — who over the last week has been facing off against Kanye West — the stakes were high.Now the answer is clear: “Certified Lover Boy” is a blockbuster, eclipsing everything else released this year, although as a streaming phenomenon it fell slightly short of Drake’s own record.In its first week out, Drake’s album opened at No. 1 on Billboard’s chart with the equivalent of 613,000 sales in the United States, according to MRC Data. That is more than any title since Taylor Swift’s “Folklore” had 846,000 in July 2020, before a change in Billboard’s chart rules disqualified most retail bundles, like giving fans a download with the sale of a T-shirt — a highly effective but contested sales strategy.Drake’s great strength is streaming, and “Certified Lover Boy” did not disappoint. In its first week out, the album’s 21 songs racked up 744 million streams in the United States — about 74,000 per minute — far more than any other title. It broke Spotify’s record for the most streams in a single day. (West’s “Donda” opened with the equivalent of 309,000 sales, including 357 million streams.)Drake also dominates Billboard’s Hot 100 singles chart, which incorporates streams, radio play and song downloads. Nine of the chart’s Top 10 songs are by Drake, with “Way 2 Sexy,” featuring Future and Young Thug, at No. 1. (The only non-Drake song is “Stay,” by the Kid Laroi and Justin Bieber, which fell four spots to No. 6.)But “Certified Lover Boy” did not quite match the streaming performance of Drake’s last proper studio album, “Scorpion,” in 2018. In its first week out, “Scorpion” had 746 million clicks. The minutiae of chart composition shows that “Certified Lover Boy” is not as close to that record as it might seem. When “Scorpion” came out, Billboard counted only audio streams; in 2020, it began incorporating both audio and video clicks. According to Billboard, the 744 million total streams for “Certified Lover Boy” include nearly 29 million for videos.West’s “Donda,” last week’s chart-topper, fell to second place with the equivalent of 141,000 sales, a drop of 54 percent.Also this week, the veteran British heavy metal band Iron Maiden scored its highest chart position ever with “Senjutsu,” which opens at No. 3 — with just 3.6 million streams, but 61,000 copies sold as a full package. The band’s last two studio albums, “The Book of Souls” (2015) and “The Final Frontier” (2010), each went to No. 4. (And 1980s classics like “Powerslave” and “Somewhere in Time”? They never cracked the Top 10.)Olivia Rodrigo’s “Sour” is No. 4 and Doja Cat’s “Planet Her” is No. 5. More

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    Britney Spears Announces Engagement to Longtime Boyfriend Sam Asghari

    In the wake of recent developments in the battle over her conservatorship, the singer announced plans to wed for the third time.Britney Spears announced on Sunday that she was engaged to her longtime boyfriend, Sam Asghari, three months after she told a Los Angeles judge that the conservatorship that has governed her life since 2008 was robbing her of the ability to make personal decisions.Brandon Cohen, a talent manager for Mr. Asghari, confirmed the engagement on Sunday night.“The couple made their longstanding relationship official today and are deeply touched by the support, dedication and love expressed to them,” Mr. Cohen said.Ms. Spears and Mr. Asghari each shared posts on Instagram to announce the engagement and to show off Ms. Spears’s ring.Mr. Cohen said a New York City jeweler, Roman Malayev, designed the ring.The engagement came just days after lawyers for Ms. Spears’s father, James P. Spears, wrote in a filing, “If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”Ms. Spears gave a statement in her case in June, sharing that she had been drugged, forced to work and prevented from removing her birth control device.“I just want my life back,” Ms. Spears said. “I truly believe this conservatorship is abusive. I don’t feel like I can live a full life.”In her statement, Ms. Spears said that under the conservatorship she was not able to marry or have a child.“I want to be able to get married and have a baby,” the singer said. “I was told right now in the conservatorship I am not able to get married or have a baby.”In a highly contested legal battle, Ms. Spears in July filed to have her father removed from his role as conservator of her estate. Mr. Spears initially pushed back on the request, but announced last month that he would step aside and work with the court to assure “an orderly transition to a new conservator.”The next hearing in the case is set for Sept. 29.Mr. Asghari is an actor who has worked on a number of movies and TV shows, including the Showtime series “Black Monday.” He also works as a fitness trainer.Mr. Asghari told Men’s Health in 2018 that he met Ms. Spears in 2016 while working on a music video for her song “Slumber Party.”Ms. Spears has been married twice before. In 2004 she married Jason Alexander, a childhood friend, for 55 hours.Later that year, Ms. Spears married Kevin Federline, a backup dancer, actor and rapper; they have two sons. Ms. Spears filed for divorce from Mr. Federline in 2006. More

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    Carl Bean, Gay Singer Who Turned to Preaching, Dies at 77

    After recording “I Was Born This Way,” a club favorite, he entered the ministry and founded a church for the L.G.B.T.Q. community.Carl Bean, who in 1977 recorded “I Was Born This Way,” a disco song of L.G.B.T.Q. pride that became a much-remixed club favorite — and who then became a minister and AIDS activist, founding a church in Los Angeles that sought to serve the spiritual needs of gay people and others who were marginalized — died on Tuesday in Los Angeles. He was 77.Unity Fellowship Church, which he founded in 1985 and which is guided by the slogan “God is love and love is for everyone,” announced his death on its website. It did not give a cause.Mr. Bean, who was openly gay from a young age, was a singer before he was a preacher and received the title archbishop, recording gospel songs for ABC Records in the mid-1970s as the frontman for the group Carl Bean and Universal Love. The Motown label had acquired the rights to “I Was Born This Way,” a song written by Bunny Jones, set to music by Chris Spierer and recorded in 1975 by a singer using the name Valentino (real name Charles Harris). The chorus went: “Oh yes I’m happy, I’m carefree and I’m gay, yes I’m gay./’Tain’t a fault, ’tis a fact, I was born this way.”Motown approached Mr. Bean about covering it.“I was hesitant to sign with another record label,” he told The Advocate in 1978, “but after I found out what the song was, I knew I had to do it. It was like providence. They came to me with a song I have been looking for my whole life.”The Bean version, with a more pronounced disco flair and a streamlined chorus (“I’m happy, I’m carefree and I’m gay; I was born this way”), became a favorite in gay clubs all over the country and abroad. Some 34 years later, it inspired Lady Gaga’s No. 1 hit “Born This Way.”Mr. Bean had considered the ministry before, but the song helped him focus that calling.“I suppose this song and its message is a sort of ministry to gay people,” he said in the 1978 interview. “I am using my voice to tell gay people that they can still feel good about being gay even if there are people like Anita Bryant around” — a reference to one of the most prominent opponents of gay rights in the 1970s.Archbishop Bean was ordained as a minister in 1982 and began working in Los Angeles, with a particular interest in reaching out to gay Black people and other groups who had felt unwelcome in mainstream Christianity.via Unity Fellowship Church MovementHe always praised Motown for backing the record, but, he said in a 2009 interview with the website Out Alliance, he and the company parted ways “when they wanted me to do songs like ‘Ooh girl I love you so’ — right after they promoted me as openly gay.”So he turned away from a music career and toward the ministry. He was ordained in 1982 by Archbishop William Morris O’Neal of the Universal Tabernacles of Christ Church and began working in Los Angeles, with a particular interest in reaching out to gay Black people and other groups who had felt unwelcome in mainstream Christianity. He started a Bible study group, which grew into the Unity Fellowship Church.The country was in the midst of the AIDS crisis by then, and one of his outreach efforts, the Minority AIDS Project, which he started in 1985, focused on Black and Latino residents of Los Angeles. One thing it tried to do was correct flaws in the educational material put out by the government, or by predominantly white organizations, which was not registering with people of color.“You almost had to have a college degree to understand it,” he told The New York Times in 1987. “We put people of color on the brochure so people couldn’t say, ‘This doesn’t affect me.’”The effort also sought to overcome cultural taboos in minority communities.“AIDS took the cloak off for the world that homosexuality exists, especially for minorities,” he told The Los Angeles Times in 1989. “People who wanted to think there was no such thing as a gay Black man or a gay Latino had a rude awakening.”He became a bishop in the church in 1992 and an archbishop in 1999.“While his life and spirit may have inspired Lady Gaga’s iconic song ‘Born This Way,’” Barbara Satin, faith work director of the National L.G.B.T.Q. Task Force, said by email, “his true legacy will be the way he lived and the countless people his ministry impacted.”Carl Bean was born in Baltimore on May 26, 1944. “Mom was 15, Dad was 16, and they never married,” he wrote in his autobiography, “I Was Born This Way: A Gay Preacher’s Journey Through Gospel Music, Disco Stardom, and a Ministry in Christ” (2010), written with David Ritz.Archbishop Bean, who was openly gay from a young age, published his autobiography in 2010.Simon & SchusterIn the book, he portrayed his upbringing as a communal affair. “I was raised by many mothers who took me in and loved me completely,” he wrote, though he also described sexual abuse by a man he thought of as an uncle.Religion was important to him even as a young boy.“I used to carry my Bible and read it on the school bus,” he told The Los Angeles Times in 1995. “And after school I’d go over to the church — it was a Black Baptist church — and sit in the church secretary’s office and help her with letters and things. I sang in the choir and expressed a desire to go into the Christian ministry. I was a role model in my community.”But he also knew from an early age that he was gay, and eventually the community turned on him.“A neighbor boy and I were intimate, and his parents told my parents,” he recalled in the Out Alliance interview. “I got the blame.”“I had had all this support — and suddenly I was a pariah,” he added. “I had been little Carl who did well in school and could sing, et cetera. Now suddenly I was the bringer of shame.”At 13, he said, “I went to the bathroom and took every pill in the medicine cabinet and went into my room and locked the door, and wrote a note saying ‘I’m sorry I couldn’t be what you wanted me to be.’” The suicide attempt resulted in sessions with a psychiatrist that, Archbishop Bean said, proved life-changing.“She said she couldn’t teach me to be what my parents wanted, but she could teach me to accept myself and be comfortable with who I was,” he told Out Alliance.While still a teenager he moved to New York, where he joined Alex Bradford’s gospel singing group. In 1972 he relocated to Los Angeles.Among the many honors Archbishop Bean received over the years was one bestowed in 1992 by the AIDS Healthcare Foundation, a global organization: It named an AIDS hospice center in South Los Angeles the Carl Bean House.Information on survivors was not immediately available.In 1995, Archbishop Bean reflected on his experience of being an outcast, and about his motivation in creating an inclusive church.“If I can help other people not to have to face what I did,” he told The Los Angeles Times, “then that’s what Christianity and God and love are all about.” More

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    Radiohead’s ‘Kid A’ Era Outtake, and 13 More New Songs

    Hear tracks by Ed Sheeran, Jazzmeia Horn and Her Noble Force, Ìfé and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Radiohead, ‘If You Say the Word’In 2000, Radiohead ripped apart old, pompous Britpop assumptions. With the sessions that yielded the albums “Kid A” and “Amnesiac,” the band followed its most arty, experimental inclinations and looked inward at the same time. “If You Say the Word” is a song that the group completed but shelved, which will appear on its expanded reissue “Kid A Mnesia.” Its sound is still relatively live — a band with a steady drummer going minimalist — with lyrics that contemplate entombment and liberation. JON PARELESEd Sheeran, ‘Shivers’The producer Max Martin may have coined the phrase “melodic math,” but Ed Sheeran absolutely embodies it in his lyrics, music and production. “Shivers” is just packed with pop trigger words — love, heart, fire, kissed, party, car, dance, sunlight, soul, “tear me apart,” “lipstick on my guitar,” “all day and all night,” “do it like that” — backed by a track that pulls in pizzicato strings and flamenco handclaps over a solid four-chord structure. If computers will dance or fall in love, this is their song. PARELESSam Hunt, ‘23’A balmy track about the one who got away, “23” is about how the power of memory is sometimes more than enough. Sung with wistfulness but no malice, Sam Hunt recalls a love who moved on in a different direction, and he sounds almost as soothing remembering their good times together as imagining how her future might have turned out: “I really hope you’re happy now/I’m really glad I knew you when.” JON CARAMANICALisa, ‘Lalisa’The solo debut single from Lisa of Blackpink is politely exuberant and tautly bubbly. Perhaps her group’s most nimble rapper, she sashays her way through this thumping, popping song. It’s an extension of a familiar brand, with a sprinkle of innovation when the track and video nod to Lisa’s Thai heritage. CARAMANICAYebba, ‘Boomerang’​​Yebba (the singer and songwriter Abigail Elizabeth Smith) harks back to vintage-sounding 1960s pop and soul on her debut album, “Dawn.” In “Boomerang,” she sings about an inevitable payback for the man who, she realized too late, would “drag me through hell.” She gathers her rage in a spaghetti-Western track, with distant drums, castanets and orchestral accents; her “whoo-oo-oo-oo” hook whirls like a boomerang. PARELESJazzmeia Horn and Her Noble Force, ‘Where Is Freedom!?’The vocalist and composer Jazzmeia Horn closes her new album, the rousing big-band effort “Dear Love,” with “Where Is Freedom!?,” carrying a message of self-liberation over a groove that could have come off a 1970s soul record. “What does it mean to ascend after your journey begins?/You just might lose all your friends to be free,” she sings defiantly, as the track nears its summit and the horns’ harmonies pool together behind her. GIOVANNI RUSSONELLOSleigh Bells, ‘True Seekers’How does a band built for brash, high-gloss, defiant pop address pandemic times? Brashly and knowingly, summoning its usual muscle and melody — Derek Miller’s walloping drum-machine beats and loud guitars behind Alexis Krauss’s chipper voice — but now, on its new album “Texis,” with lyrics that stare down dread and mortality: “Strip away armor, strip away fear/I think I lost it but here it comes again,” Krauss sings. “I’ll find my way out of the grave.” PARELESÌfé, ‘Fake Blood’The genre-crushing group Ìfé is a revelation. Its new song, “Fake Blood,” is a reminder of the boundless promise of music, collaging Auto-Tuned Yoruba prayer, the steady shakes of a maraca and thumping bass into a meditation on colonialism, police violence and mass shootings. Over clattering hand percussion, deep bass and razor-sharp synth stabs, the group asks, “¿Qué es lo que pasa aquí?” (“What’s going on here?”) Drawing on sounds and styles from across the African diaspora, it is an exercise in divination — a demand to imagine a better future, right here, right now. ISABELIA HERRERAFivio Foreign, ‘Story Time’The early waves of Brooklyn drill were light on storytelling, so Fivio Foreign’s breakout performance on Kanye West’s “Donda” album came as a shock. “Story Time” underscores that his narrative gifts are here to stay. It’s a vivid tale about a young man in jail facing unthinkable choices: “He was a little fish when he jumped into the water/and then he grew into a shark.” CARAMANICATirzah featuring Coby Sey, ‘Hive Mind’Like the neon glow of a below-ground cocktail lounge, Tirzah’s “Hive Mind” flickers into cool tranquillity. A kick drum thumps under oblique, dog-bark synths. Tirzah and the vocalist Coby Sey offer a serene, call-and-response conversation: “But who we were/Do we see things through?” By the song’s end, the question is seemingly left unanswered. The effect is a bit haunting and a bit loose, and all the more hypnotic. HERRERASt. Etienne, ‘Pond House’Saint Etienne, which arrived in the 1990s as a suave, optimistic, crate-digging corollary of trip-hop, is downright somber on its album “I’ve Been Trying to Tell You,” billed as music for the film of the same name. “Pond House” meditates in a wide-open soundscape, with a vocal sample from Natalie Imbruglia’s “Beauty on the Fire” — “Here it comes again/Cannot outrun my desire” — hovering above a thudding reggae beat and bass line, as percussion and sea gull sounds open out the horizon. PARELESAakash Mittal, ‘Nocturne III’Visiting Kolkata, India, years ago, the saxophonist Aakash Mittal became inspired by the throbbing energy and lively soundscape of night in that crowded city, and endeavored to write music that captured the feeling. He ended up living there for the better part of two years, and came away with a book of compositions that he referred to as his “nocturnes.” On “Nocturne III,” he was specifically thinking of the way drivers use their car horns — freely, as a form of chattery communication — while drawing from the Carnatic raga of Bageshri. Mittal and his trio (the guitarist Miles Okazaki and the mrudangam drummer Rajna Swaminathan) play in unison, repeating an increasingly urgent rhythm at one pitch before jumping to another, like different cars stuck in a jam. RUSSONELLOCircuit des Yeux, ‘Sculpting the Exodus’Haley Fohr, the composer and singer who records as Circuit des Yeux, brings operatic drama to a sense of loss in “Sculpting the Exodus” from her album due Oct. 22, “-io.” It’s an elegy that begins with a modest, tolling harpsichord motif and swells to an overwhelming orchestral peak in a swirl of ghostly voices, as Fohr clings to a kind of memorial, singing, “The signal goes on repeating.” PARELESSarah Davachi, ‘Abeyant’“Abeyant,” a new work from the experimental luminary Sarah Davachi, is deeply reverent of time. The song is simple but potent: For seven minutes, the fuzz of tape hovers under subdued piano keys and synths, repeating, suspending and lulling melody into a kind of extended, decomposed aria. This is the kind of music that demands repeat listens, urging us to listen closely, deeply and intimately to what might appear to be just texture, but contains the promise of deep contemplation under the surface. HERRERA More

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    Overlooked No More: Sinn Sisamouth, ‘King’ of Cambodian Pop Music

    He and his singing partner, Ros Serey Sothea, drew from a wide range of Western and local influences. They disappeared after the Khmer Rouge seized power in 1975.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.Before the singer-songwriter Sinn Sisamouth disappeared, he had become a fixture on radio programs and in nightclubs in Cambodia and beyond. For more than two decades, from the 1950s until the mid-’70s, fans praised his smooth voice and evocative lyrics about love and the Cambodian landscape.He and his bandmates — most notably the singer Ros Serey Sothea — stood out for their versatile repertoire of jazz, rock ’n’ roll and popular Khmer ballads, among other styles. Sometimes they would use the melody of a Western song — the Beatles’ “Hey Jude,” for example — while adding orchestration and writing original Khmer lyrics for it.They played a major role in defining the sound of Cambodia’s popular music industry, with Sinn Sisamouth emerging as one of the country’s most revered stars.Then, in 1975, the Khmer Rouge seized power, enacting a four-year campaign of execution, forced labor, disease and famine that killed at least 1.7 million people. The work of artists and intellectuals was brutally repressed, and Sinn Sisamouth and Ros Serey Sothea were among the many Cambodians who disappeared amid the violence and upheaval.Even now the circumstances of their deaths are unclear, though family members are certain they are no longer alive. Sinn Sisamouth’s granddaughter Sin Setsochhata said that, based on research by her father, her family believes that Sinn Sisamouth disappeared in the southern province of Kandal, which borders Vietnam. Some believe he died in a labor camp. The Guardian reported in 2007 that he had been shot. By some accounts, before his execution, believed to be in 1976, he pleaded to sing one last song.Many of Sinn Sisamouth’s recordings survived, however, and they still exert a deep influence on Cambodian culture.“He was a pioneer,” the Cambodian musician Mol Kamach said in “Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll,” a 2014 documentary film, by John Pirozzi, about Sinn Sisamouth, Ros Serey Sothea and other musicians. “He was an example to other professional singers that singing modern is like this.”Sinn Sisamouth was believed to have been born on Aug. 23, 1933, in the northeastern province of Stung Treng. (Some accounts list his birth year as 1932 or 1935.)His father, Sinn Leang, was a prison warden; his mother was Sib Bunloeu, according to a 1995 article in The Phnom Penh Post. At the age of 7 or 8, Sinn Sisamouth moved to the western province of Battambang, where his uncle helped him develop an early interest in playing traditional Khmer music on stringed instruments like the tro khmer, a type of fiddle, and the chapei, a lute.Sinn Sisamouth arrived in Phnom Penh, the capital, when he was 17 and enrolled in a medical school there with the goal of becoming a hospital nurse, but he never lost his love of music. He performed for sick patients to help them relax, his granddaughter said, and spent his breaks playing his mandolin under a tree.He later began performing live at the headquarters of Cambodia’s newly established national radio, and his profile rose.“When it came to singing technique, Sinn Sisamouth was king,” Prince Panara Sirivudh, a member of the Cambodian royal family, said in the documentary. “His voice was so beautiful, and he wrote very sweet songs.”Popular Western music was imported to Cambodia as early as the 1940s by the royal palace and by Cambodians who could afford to travel to Europe, and the country’s rock ’n’ roll scene began in earnest in the 1950s, according to a study by LinDa Saphan, the associate producer of the documentary and a professor of sociology at the College of Mount Saint Vincent in New York City.The sound blended high-pitched, operatic singing with the distorted electric guitar solos that were popular in American music at the time.Sinn Sisamouth became representative of this new style because he had an ability to write both ballads and upbeat rock songs, Saphan wrote, but the voices of Ros Serey Sothea and other female vocalists on his recordings were the “final touch that made this Cambodian mix so enticing.”Early in his career, Sinn Sisamouth was invited to perform with Cambodia’s royal ballet; he appeared in dapper suits and bow ties, his hair combed back. He also traveled overseas — to India, Hong Kong and beyond — with a traditional band formed by the queen’s son, Norodom Sihanouk, a composer and saxophonist (and future king) who played a major role in developing the country’s cultural industries in the postcolonial era.It was a hopeful time in Cambodia’s history: The country had achieved independence from France in 1953 and was shaping its identity and culture.As Sinn Sisamouth’s popularity grew, his former neighbors in the countryside marveled at hearing his songs on the radio. Some referred to him as “golden voice” or the “Elvis of Cambodia.”“A medical student — how can he sing?” the villagers said at the time, his sister recalled in the documentary.He met Ros Serey Sothea when she was 17 at the national radio station and recorded with her for more than a decade.Though they were never romantically involved, “their musical conversations were love stories filled with a sense of yearning and despair, of palpable loss, yet holding out the possibility of reconciliation,” Saphan wrote.By the early 1970s, amid a scene of go-go bands, big hairdos and youthful exuberance, the duo had produced several hit songs, including a few for Cambodian films. Sinn Sisamouth also wrote and directed the 1974 film “Unexpected Song,” which included some of his original music and a performance by Ros Serey Sothea.The duo’s music has received renewed interest. Sinn Sisamouth is the subject of a forthcoming documentary film, “Elvis of Cambodia,” and Ros Serey Sothea is the subject of a graphic novel, “The Golden Voice,” which is scheduled to be published next year.Sinn Sisamouth married one of his cousins, Khao Thang Nhoth, and they had three sons and a daughter, according to The Post. One of his sons, Sin Chanchhaya, also became a musician.For all of Sinn Sisamouth’s performing prowess, he was an introvert who spent most of his time alone, his granddaughter said. Often after having dinner with his family he would retire to his studio to compose.“All the emotions — the spirit, the connection, the interior feelings — were expressed through his music,” she said. More

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    J Balvin Attempts to Reintroduce Himself on ‘Jose’

    The Colombian star skips innovation and presents an impressionistic inventory of the sounds that established him as a global force on his sixth studio album.If there is one figure in pop music who has perfected the language of feel-good cultural affirmation, it is J Balvin. For over a decade, the 36-year-old Colombian star has claimed he is on a mission to “change the perception of Latinos in music,” using his rainbow aesthetics, smooth reggaeton textures and radio-ready trap hits as ammunition.There have been plenty of milestones, including “Mi Gente” and “I Like It”: his chart-crushing collaborations with Willy William and Beyoncé, and Bad Bunny and Cardi B. Both tracks have become flash points for jejune narratives about “booming” Latino cultural representation: a tale that flattens differences among people of distinct races, languages and countries — and suggests this music is influential only when the Anglo mainstream is paying attention.There was his performance at Coachella 2019, when Balvin became the first reggaeton artist to play the festival’s main stage. There are his cartoonish visuals, leopard-print hairstyles and flowery album covers designed by the Japanese artist Takashi Murakami. And there are his ad-libs — “J Balvin, man,” “Leggo” and “Latino gang!” — signature catchphrases that have become so trite, they’re essentially begging for meme-ification.“Jose,” his sixth studio album, arrives at a moment when Balvin has finally established himself as a global celebrity. The record considers what is possible when a pop idol, especially one from Latin America, no longer needs to prove himself.At the end of “Jose,” Balvin takes a true gamble. For what may be the first time in his career, he gets deeply personal.So, allow J Balvin to reintroduce himself. “Jose,” Balvin’s first name, is a 24-track behemoth that follows in the vein of other playlists-as-albums — the kind of project intended to dominate streaming platforms, like the recent supersized releases from Kanye West and Drake. But the album struggles to truly innovate: “Jose” is an itinerant, unfocused effort that offers an impressionistic inventory of the sounds that have established him as a force: pop-reggaeton, trap and EDM.The majority of the album (about 13 of its tracks) — like “Bebé Que Bien Te Ves,” “Lo Que Dios Quiera” and “Fantasías” — falls firmly within the sphere of ultrapolished, creamy popetón. It is an unimaginative formula, and one that Balvin has mastered: blend a lilting dembow beat, a candy-coated melody and lyrics about the gushy soap opera of a dance-floor courtship or a sexual fantasy for maximum streams. Elsewhere, Balvin returns to Top 40 trap, another style he’s known for: On “Billetes de 100,” featuring the Puerto Rican star Myke Towers, Balvin offers a self-mythologizing reminder that he can actually rap. “In da Getto,” a resort-ready EDM track produced by Skrillex, elaborates on yet another sound that has helped catapult Balvin to international stardom.Some songs aim for novelty. The opener, “F40,” is a self-assured blast of reggaeton bombast that shifts tempos, slowing to an irresistible, carnal crawl. And “Perra,” a collaboration with Tokischa, is an audacious, X-rated venture into dembow, a street sound born in the barrios of the Dominican Republic that has recently caught the attention of the wider Latin music industry, despite its longtime grasp on popular music in the Caribbean country.It is only in the last third of “Jose” that Balvin takes a true gamble: For what may be the first time in his career, he gets vulnerable and deeply personal. “7 de Mayo,” named for Balvin’s birthday, is a chronicle of his rise from the streets of Medellín to eminence, featuring spoken samples of his mother, Alba, and an awards-show thank you from the reggaeton forefather Daddy Yankee. “In a barrio in the middle of Medallo, this one was born/With sweat on my forehead/Calluses on my hands,” Balvin reminisces in Spanish. While the intimacy is new for Balvin, the song follows the formula of hip-hop origin stories too closely (nearly mimicking Jay-Z’s “December 4th”). It feels like Balvin is being forced to complete a tedious homework assignment, rather than reflecting earnestly on his personal hardships.“Querido Rio,” a soft guitar ballad dedicated to his newborn son with echoes of Eric Clapton’s “Tears in Heaven,” similarly falls flat. Its shallow lyrics and syrupy delivery land with cloying sentimentality: “I don’t just want to be your father/I also want to be your best friend,” Balvin croons in Spanish.For an artist who paints himself as pathbreaking, “Jose” feels remarkably safe. At this point, Balvin does have the power to nuke expectations — those of his own career trajectory, his imagined community and the genres he operates within. Instead, “Jose” colors inside the lines, safeguarding Balvin’s reign by reveling in the familiar.J Balvin“Jose”(Universal Music Latino) More

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    Britney Spears’s Father Files to End Her Conservatorship

    In a new petition, lawyers for James P. Spears wrote that if the singer “believes that she can handle her own life, Mr. Spears believes that she should get that chance.”Britney Spears’s father, James P. Spears, who agreed earlier this summer to eventually step down from his own role in the conservatorship that has overseen her finances and controlled much of her life since 2008, filed a petition on Tuesday asking the court to “now seriously consider whether this conservatorship is no longer required.”The filing marked a turnaround for Mr. Spears, who long insisted that the guardianship — which was imposed 13 years ago amid concerns over the singer’s mental health and possible drug use — was in his daughter’s best interest. Last month, he said he would eventually step aside from his role overseeing the singer’s finances once there could be “an orderly transition to a new conservator,” but argued that he should not be immediately removed. Until now, he has not said that the conservatorship should end, something that Ms. Spears announced she wanted publicly for the first time in a June court hearing, when she called the arrangement “abusive.”“As Mr. Spears has said again and again, all he wants is what is best for his daughter,” Mr. Spears’s lawyer, Vivian Lee Thoreen, wrote in the new filing. “If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”Ms. Spears, 39, has not yet filed her own formal petition to end the conservatorship; she has, however, asked the judge to remove her father as conservator of her estate. He has not served as her personal conservator since September 2019, when Jodi Montgomery, a licensed professional conservator, took over on an ongoing temporary basis.Mr. Spears’s lawyer wrote that Ms. Spears had recently “demonstrated a level of independence that calls into question whether a conservatorship of the person is required.” Ms. Thoreen cited news reports that the singer had been driving — something she had previously been unable to do under the strictures of the conservatorship — and that she had recently chosen her own counsel, Mathew S. Rosengart, a former federal prosecutor and Hollywood lawyer who took over as Ms. Spears’s representative in July. When the conservatorship began, Ms. Spears was found to be incapable of hiring her own counsel.“If Ms. Spears has the capacity and capability to engage counsel on her own, she presumably has capacity and capability to handle other contractual and business matters,” Ms. Thoreen wrote.In a statement, Mr. Rosengart called the filing “vindication” for Ms. Spears. “To the extent Mr. Spears believes he can try to avoid accountability and justice, including sitting for a sworn deposition and answering other discovery under oath, he is incorrect and our investigation into financial mismanagement and other issues will continue,” he said.As a movement among the singer’s fans known as #FreeBritney grew online, arguing that the conservatorship should end, Mr. Spears consistently defended his management of his daughter’s life. In the court filing, his lawyer again maintained that the arrangement “helped Ms. Spears get through a major life crisis, rehabilitate and advance her career, and put her finances and her affairs in order.”But, his lawyer wrote, the situation had changed when Ms. Spears spoke out fervently against the conservatorship. In June, Ms. Spears told the court that her father “loved” his control over her life and should be in jail for his actions as conservator. She has vowed not to perform as long as her father is in charge.As recently as last month, Mr. Spears had fought Ms. Spears’s efforts to remove him from the arrangement and sought to deflect blame for Ms. Spears’s complaints on other people with responsibilities, including Ms. Montgomery, who has opposed Mr. Spears’s continued involvement in the conservatorship.But in the new filing, Mr. Spears’s lawyer wrote that the singer should be able to choose her own doctor and manage her therapy. He also supported Ms. Spears’s request that the conservatorship end without a medical evaluation, which experts have said is unlikely.Over the years, Ms. Spears has raised questions about the fitness of her father to serve as her conservator, citing his struggles with alcoholism. Confidential court records obtained by The New York Times indicated that as early as 2014, she said that she wanted to explore removing her father as conservator; in 2016 the singer told an investigator that she wanted the arrangement terminated as soon as possible. She started publicly calling for its end in her rare public appearance in court in June, where she told the judge overseeing her case, “I just want my life back.”The next hearing in the case is scheduled for Sept. 29.Liz Day contributed reporting. More

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    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