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      Eminem Ends Taylor Swift’s Chart Run With His 11th No. 1 Album

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      The rapper’s “The Death of Slim Shady (Coup de Grâce)” replaced the pop superstar’s “The Tortured Poets Department” after 12 weeks of dominance at the top.Eventually someone had to come along and bump Taylor Swift from No. 1 on the Billboard album chart — and it was Eminem.“The Death of Slim Shady (Coup de Grâce),” the latest LP by the 51-year-old shock-rapper from Detroit who has been posting No. 1s regularly for the entire 21st century, opens at the top of the Billboard 200 chart with the equivalent of 281,000 sales in the United States. That total includes 220 million streams and 114,000 traditional sales, all as digital downloads, according to data from the tracking service Luminate.It is Eminem’s 11th album to reach No. 1, a streak that ties him with Bruce Springsteen, Barbra Streisand and Ye. The only artists ahead of them are Drake (13), Jay-Z and Taylor Swift (14 each), and the Beatles (19).Swift’s “The Tortured Poets Department” falls to No. 4 after an extraordinary 12-week run at the top, which began with blockbuster vinyl and streaming numbers. She continued to defeat all comers with a strategy of releasing special “versions” of her album, using bonus tracks and variant packaging to entice her fans to buy it again and again.Also this week, the K-pop boy band Enhypen opens at No. 2 with “Romance: Untold,” which had the equivalent of 124,000 sales, most from sales of CDs (17 collectible editions were available) and vinyl LPs. Zach Bryan’s “The Great American Bar Scene,” Swift’s last challenger, fell one spot to No. 3, and Morgan Wallen’s “One Thing at a Time” is in fifth place in its 73rd week on the chart. More

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      Charli XCX and Other Musicians Show Support for Kamala Harris on Social Media

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      Charli XCX, John Legend and other musicians posted messages supporting the vice president’s nomination, while fans remixed an old speech into pop hits on TikTok.Within hours of President Biden’s announcement that he would not seek re-election and would instead endorse Vice President Kamala Harris, social media exploded with support from the pop music world.As concerns about Mr. Biden’s electability have accelerated in recent months, Ms. Harris, who is 59, with a big, diverse family, seems to have energized digitally engaged voters in a way that Mr. Biden did not.Fans quickly started posting remixes on TikTok that incorporated audio from Ms. Harris’s speeches, along with her laugh, into songs by Charli XCX, Taylor Swift, Beyoncé, Chappell Roan, Mitski and Kim Petras.The snippet most often used is from a speech Ms. Harris gave in May 2023. She was addressing the White House Initiative on Advancing Educational Equity, Excellence, and Economic Opportunity for Hispanics and recalled an adage from her mother: “She would say to us, ‘I don’t know what’s wrong with you young people. You think you just fell out of a coconut tree?’”After pausing to laugh, Ms. Harris continued: “You exist in the context of all in which you live and what came before you.” (The combination of a coconut emoji and a palm tree emoji has become shorthand to refer to Ms. Harris’s campaign.)Charli XCX, in a nod to her latest album, “Brat” — and its signature green album cover that has become a Gen Z emblem of the summer — set the tone (literally) Sunday night by posting: “kamala IS brat.” On X, formerly Twitter, the official Harris campaign account updated its header to match the color and typography of the album.The pop singer Kesha used the “coconut” quotation to open a pair of posts on TikTok, in which she takes a beat after the word “tree” before breaking into dance.Katy Perry, whose song “Roar” featured prominently in Hillary Clinton’s presidential campaign in 2016, posted a montage of videos of Ms. Harris soundtracked by a remix that integrated the “coconut” quotation and clips of Ms. Harris laughing into Ms. Perry’s new single “Woman’s World.” “It’s a woman’s world, and you’re lucky to be living in it,” Ms. Perry sings.On Sunday, Cardi B reposted a selfie video recorded on June 30, in which she says, in an extended and profane message, that Ms. Harris should have been the Democratic nominee all along. “Been told y’all Kamala should’ve been the 2024 candidate,” she wrote in the caption. “Y’all be trying to play the Bronx education, baby this what I do!!!”And Tina Knowles, mother of Beyoncé and Solange, posted a photo of her and Ms. Harris with a caption that began: “New, youthful, sharp, energy!!!!”Other artists have thrown their weight behind Ms. Harris, who will face former President Donald J. Trump if she is the nominee. Janelle Monáe posted to her Instagram story a simple “I’m in,” and John Legend, who praised Mr. Biden at length, said of Ms. Harris, “She’s ready for this fight.” More

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      Alex Izenberg Was Almost a Teen Rock Star. His Second Chance Is Here.

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      On his 12th birthday, in April 2003, Alex Izenberg went to Guitar Center to jam.He was the prankster of his Los Angeles public school, a high-strung and mischievous kid who hated class but loved rock ’n’ roll. He dressed the part, too — a small, cherub-faced boy with a poofy brown mop tucked beneath a top hat, a black Stratocaster slung across a velvet vest. At Guitar Center, his friends marveled at his best Hendrix, and he attracted a famous listener, too.“I’m checking out, and I think, ‘Whoever’s playing has a really cool tone, a great feel,’” Linda Perry, the former 4 Non Blondes singer and pop songwriter, remembered in a phone interview. “I’m expecting to see some older dude, seasoned. But I see this dorky little kid in high-water pants and big glasses. I was in love.”Perry wanted to know everything: Were Izenberg’s parents musicians? Where’d he learn to play? Did he have that rig at home? When Izenberg chuckled and said no, Perry bought it for him, plunking down $5,000 for a “fiesta red” Fender Relic and a Marshall amp. She left her number, too, so he started calling, imploring her to see his preteen trio, Din Caliber. “It was a mini-Zeppelin or Beatles, all virtuoso-type geniuses,” she said. “I was like, ‘OK, I’m going to take you guys in.’”“Life doesn’t always make sense; oftentimes, it doesn’t,” Izenberg said.Peyton Fulford for The New York TimesIzenberg raced down a trail of teenage stardom. He shifted to home-school to focus on music. Perry introduced the band to a producer. The group changed its name to Paper Zoo, cut an EP for her label and toured with Roger Daltrey in 2009. But at 18, Izenberg left the band because its retro-rock no longer excited him like the indie-rock that had become an obsession — Grizzly Bear, Animal Collective, Fleet Foxes.Bad news soon ballooned. His longtime girlfriend left. His parents split, and lost their house. He moved in with his grandmother. And there, in the speckles of the popcorn ceiling and in the reflection of the TV screen, he began seeing faces. In 2012, at 21, Izenberg was diagnosed with schizophrenia.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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      10 Outstanding Brian Eno Productions

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      Inspired by an ever-changing new documentary about the musician and producer, listen to songs he helped construct by David Bowie, Talking Heads, U2 and more.Just four versions of Brian Eno.Kalpesh Lathigra for The New York TimesDear listeners,This week, I saw Gary Hustwit’s lively documentary “Eno,” about the musician, artist and producer Brian Eno. I’d recommend it to you — but it’s highly unlikely that you will see the same version of the film that I did.Formally inspired by Eno’s longtime fascination with generative art, “Eno” is essentially created anew each time it’s screened. A computer program called Brain One (a playful anagram of “Brian Eno”) selects from 30 hours of interviews with Eno that Hustwit conducted and 500 hours of archival footage, fitting it into a structure that lasts about 90 minutes. According to the Brain One programmer Brendan Dawes, 52 quintillion possible versions of the movie exist. I did not even know, before seeing this film, that “52 quintillion” was a real number.Some of my favorite parts of the version of “Eno” that I saw concerned his work as a producer. He’s certainly been a prolific one, working with traditional rock bands (Coldplay, U2), avant-garde composers (Harold Budd) and a whole lot of legends in between (David Bowie, Peter Gabriel, Talking Heads). Eno is neither a classically trained musician nor a conventional technician, and his role in the studio can be hard to define — maddeningly so, to certain record-label executives over the years. Admitted Bowie, in a clip from the film I saw, “I don’t really know what he does.” He meant that as a compliment.The most interesting parts of “Eno,” for me, shed a little more light on that elusive “what.” As a producer, he is equal parts agitator and sage. When he and Bowie were hitting a wall during the making of Bowie’s 1977 landmark “‘Heroes,’” they each pulled cards from Eno’s deck of Oblique Strategies cards, which provide creative jumping-off points; the result was the hypnotic ambient composition “Moss Garden.” When Bono was struggling to complete a soon-to-be classic U2 track, Eno showed patience. When Talking Heads were looking for a new musical direction before making “Remain in Light,” Eno played them one of his all-time favorite musicians, Fela Kuti. The rest — in so many clips of Eno in the studio — is history.Inspired by “Eno,” today’s playlist is a collection of songs produced by the man himself. Eno the Producer is merely one side of this multifaceted artist, but I appreciated that the sense of multiplicity baked into the structure of “Eno” speaks to how difficult it is to define him with a single identity. There are probably nearly 52 quintillion possible Brian Eno playlists I could have made — Jon Pareles made another in 2020, selecting 15 of Eno’s best ambient compositions — but here is the one I chose. It flows well from start to finish, but if you’re feeling inspired by Hustwit’s generative approach, you’re certainly welcome to put it on shuffle.Line my eyes and call me pretty,LindsayWe 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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      Kim Deal Goes Solo, and 7 More New Songs

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      Hear tracks by Alan Sparhawk, Joy Oladokun, Ivan Cornejo 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.Kim Deal, ‘Coast’“Coast,” a delightfully woozy solo single from the eternally cool Breeders frontwoman Kim Deal, begins with a kind of self-deprecating punchline: “I’ve had a hard, hard landing/I really should duck and roll out,” she sings in her inimitable voice, pausing to add with great comic timing, “Out of my life.” Deal has said that the song was inspired by a wedding band she saw cover “Margaritaville,” but part of the track’s charm is that despite its surf-rock lilt and buoyant horn section, she is never quite able to tap into those blissful vacation vibes. Instead, it is a song about shrugging and carrying on in spite of what bums you out; the fact that it was produced by Steve Albini, who died in May, adds an extra note of elegiac bittersweetness. LINDSAY ZOLADZJoy Oladokun, ‘Drugs’What seems like an idle complaint — “The drugs don’t work/Oh I can’t get high”— expands into a cry from the heart, as Joy Oladokun sings about no longer being able to numb herself from rage, loneliness and “running on empty and calling it strength.” Luckily, she has a bluesy backbeat and gospel-choir harmonies to lift her spirits. JON PARELESWe 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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      Why Do Pop’s Biggest Stars Adore Michael Uzowuru?

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      The producer has helped A-listers including Donald Glover, SZA, Halsey and Frank Ocean to elevate their craft. How much longer can he avoid the spotlight?Shortly into a Monday morning piano lesson, Michael Uzowuru came alive. Seated at a black grand piano in a long, sunlit room, he warmed up with finger exercises and scales before his instructor, Riko Weimer, asked him to improvise a composition using diminished chords as a foundation. Closing his eyes, he kneaded his way into a languid, contemplative melody, his head bent gently over the keys.“I generally have a lesson plan,” Weimer said when Uzowuru stopped, “but then he digests it in one try.”Uzowuru, 32, sipped from a porcelain cup of espresso, rolled the sleeves of his bright pink sweater to his elbows and resumed playing. Four mornings a week, he drives 20 minutes from the Los Angeles home he shares with his girlfriend and son to Weimer’s Atwater Village studio. When he isn’t intensely working on his craft — “It almost hurts, the distance I feel between where I am and where I want to be,” he later lamented — he is helping some of the most influential figures in pop music spark their own imaginations.Uzowuru may not have the name recognition of Jack Antonoff or Rick Rubin, but his work with artists including Beyoncé, FKA twigs, Frank Ocean, Halsey, Rosalía and SZA has solidified him as a collaborator that A-list artists seek out to sharpen and elevate their craft. His reputation for concocting elegant, distinctive pop songs — like Ocean’s “Nights,” or twigs’s “Cellophane” — has made him one of contemporary music’s most respected producers even as he remains absent from the public eye.On Friday, his latest high-profile collaboration — “Bando Stone & the New World,” the sixth album from Donald Glover, a.k.a. Childish Gambino — arrives, 17 songs filled with dramatic rock, clever rap and silky R&B that were driven by a concept for a film: an artist recording his masterwork on a remote island as civilization collapses around him.“For a while I thought he was some sort of shady character,” Glover said in a phone interview, with a laugh. “He works with Frank and that whole camp, and they’re very mysterious. I was intimidated.”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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      Kennedy Center Honorees Include Francis Ford Coppola and the Apollo

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      The renowned Harlem theater will be the first institution to receive the honor. Artists being recognized are Bonnie Raitt, Arturo Sandoval and the Grateful Dead.When Bonnie Raitt heard she had been chosen as a Kennedy Center honoree, she kept asking her manager: Are they sure?Raitt, whose song “Just Like That …” beat out higher-charting pop acts last year to win the Grammy for song of the year, said the honor was a surprise because after years of recognition mostly confined to blues and Americana spaces, she did not consider herself a mainstream artist.“I don’t live by the validation of either commercial success or getting awards,” Raitt, 74, said. “But because this is such an esteemed weekend and event and process, I don’t think there will ever be anything that I receive that is as important.”“I don’t think there will ever be anything that I receive that is as important,” Bonnie Raitt said of the Kennedy Center Honors.Peter Fisher for The New York TimesRaitt will receive a lifetime artistic achievement award at the 47th Kennedy Center Honors on Dec. 8 along with the filmmaker Francis Ford Coppola, the beloved rock band the Grateful Dead, the Cuban American jazz trumpeter and composer Arturo Sandoval and the Harlem landmark the Apollo Theater.The Kennedy Center Honors will be broadcast on Dec. 23 by CBS and streamed on Paramount Plus.In the past, entities such as “Sesame Street” and “Hamilton,” have been honored, but the Apollo will be the first institution to be recognized. The theater is renowned for its history as a debut venue for many Black performers at its famed amateur nights, including Ella Fitzgerald and Billie Holiday.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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      Dave Loggins, Who Wrote Hits for Himself and Others, Dies at 76

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      After tasting fame with “Please Come to Boston” in 1974, he became a major Nashville songwriter. He also wrote the theme to the Masters golf tournament.Dave Loggins, a chart-topping Nashville songwriter for the likes of Kenny Rogers and the Oak Ridge Boys who also notched his own Top 10 pop hit with the wistful “Please Come to Boston” and wrote the enduring theme for the Masters golf tournament, died on July 10 in Nashville. He was 76.His death, in a hospice facility, was confirmed by his son Kyle, who did not specify the cause.Mr. Loggins, a second cousin of the pop star Kenny Loggins, released five albums as a solo artist in the 1970s, but he scored only one hit single himself.“Please Come to Boston,” a soft-rock weeper about a rambling man trying to woo a lover to follow him as he chases his dreams in one city after another, climbed to No. 1 on Billboard’s easy listening chart and No. 5 on the magazine’s Hot 100 in 1974. It was nominated for a Grammy Award for best pop vocal performance by a male artist — the first of Mr. Loggins’s four Grammy nominations.For Mr. Loggins, the song almost seemed to have divine origins. In a 2021 interview with the singer-songwriter and vocal coach Judy Rodman on the podcast “All Things Vocal,” he said he wrote the song early in his career “with chords I had never even played before.”“There was this beautiful, glowing feeling that came over me,” he added, “a godlike feeling, that said, ‘Here, go ahead and play, I’ll move your fingers.’”While “Please Come to Boston” was his only mainstream hit, Mr. Loggins was considered anything but a one-hit wonder in country music circles: He wrote hits for Willie Nelson, Tanya Tucker, Wynonna Judd and Toby Keith, among others.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