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    Drake Postpones 4 Australia and New Zealand Tour Dates

    Dates for Brisbane, Sydney and Auckland were postponed for a “scheduling conflict,” representatives for the rapper said. The tour coincided with the release of his latest album.Drake, whose new album topped the Billboard 200 chart this week after Kendrick Lamar had made him a punchline at the Super Bowl halftime show, has canceled four tour dates in Australia and New Zealand because of a “scheduling conflict,” representatives for the rapper said on Wednesday.It was not immediately clear what the conflict was, but Drake’s team said it would work to reschedule the dates along with adding additional shows.“We sincerely apologize for the inconvenience and appreciate your patience,” Drake’s representatives said in a statement. “Drake and the entire team have had an incredible time doing these shows and are excited to return soon. We look forward to sharing the rescheduled dates with you as soon as possible.”The Anita Max Win Tour kicked off this month in Perth, Australia, and was scheduled to have 16 shows across major cities in the country and New Zealand.But Drake canceled a March 4 show in Brisbane, a March 7 show in Sydney and two shows in mid-March in Auckland, New Zealand.The tour coincided with the release of his latest album, “Some Sexy Songs 4 U,” a collaboration with PartyNextDoor, a longtime Drake associate. The album debuted at No. 1 on the Billboard 200 this week.It was the first new album since his much-publicized beef with Lamar, whose diss track “Not Like Us” accused Drake of pedophilia. Drake sued Universal Music Group for defamation for releasing and promoting the song. His lawsuit called the allegations in the song false and accused the label of valuing “corporate greed over the safety and well-being of its artists.”But the song has continued to grow. This month Lamar won five Grammy Awards for the song, including song and record of the year, and performed it to a huge global audience at the Super Bowl halftime show.Joe Coscarelli More

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    Drake and PartyNextDoor’s ‘Some Sexy Songs 4 U’ Is No. 1

    Their collaborative album “Some Sexy Songs 4 U” opens atop the Billboard 200, unseating his foe Kendrick Lamar’s “GNX,” which surged after the Super Bowl halftime show.News flash: Drake’s music is not dead.Although the Canadian rapper, the longtime prince of streaming, was badly pummeled in a diss-track war with Kendrick Lamar last year, and two weeks ago Lamar performed Exhibit A of that fight — the vicious “Not Like Us” — at the Super Bowl halftime show, Drake’s latest album has sailed to No. 1 on the Billboard 200 chart.“Some Sexy Songs 4 U,” a collaborative album with the singer and producer PartyNextDoor — with scant reference to Drake’s feud with Lamar — was released on Valentine’s Day and opens at the top of the latest chart. It had the equivalent of 246,000 sales in the United States, including 287 million streams and 25,000 copies sold as a complete package, according to the tracking service Luminate.It is Drake’s 14th title to go to No. 1, counting collaborative releases, which ties him with Jay-Z and Taylor Swift for the most albums by a solo act to reach the top of Billboard’s chart. (The Beatles have more No. 1 albums than anybody, solo or group, with 19.)The release of “Some Sexy Songs” also came after Drake sued Universal Music Group, the giant label behind him and Lamar, for defamation in “Not Like Us” (which was lightly censored at the Super Bowl). His joint album was released by Republic, a Universal label, along with OVO Sound, a Drake imprint, which is distributed through Sony Music, a Universal competitor.The numbers for “Some Sexy Songs” are modest for Drake, whose knack for taking over streaming services has made him one of the top-selling artists of the last decade-plus. Its 246,000 “album equivalents” last week — a composite figure that combines popularity on streaming with old-fashioned unit sales — is considerably lower than the opening-week totals for Drake’s last two releases, “For All the Dogs” (402,000 in 2023) and “Her Loss,” a joint album with 21 Savage (404,000 in 2022). But it is better than the 204,000 he had for “Honestly, Nevermind” in 2022 — still his lowest opening-week number for a studio LP — and the 109,000 for “Care Package,” a 2019 collection of non-album tracks.Also this week, Sabrina Carpenter’s “Short n’ Sweet” rises five spots to No. 2 after the release of an expanded version, and Lamar’s “GNX” falls two to No. 3, after it returned to the top slot in the week following his triumphant Super Bowl appearance. SZA’s “SOS” is No. 4 and Bad Bunny’s “Debí Tirar Más Fotos” is in fifth place. More

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    RZA Talks About Wu-Tang Clan’s Final Chamber Tour

    Few groups have had more impact on the shape and evolution of hip-hop than Wu-Tang Clan, the Staten Island supergroup that helped define the sound of 1990s New York rap and transform the industry.And yet seeing Wu-Tang Clan perform a full-length concert in the flesh — all of the members onstage together — is a privilege not many have experienced. Even in its golden era, the Wu-Tang Clan was never a reliable touring unit. Its smaller shows were often unruly, and by the time the group graduated to bigger stages, performances were often undone by competing egos and unreliable artist attendance, to say nothing of the limits on the opportunities available to rough-edged rap stars in the 1990s and 2000s.“There’s so many places we really haven’t been,” RZA, the chief architect of the Wu-Tang Clan, said in an interview on Popcast, The New York Times’s music podcast. “We had some successful touring, right? But not at the level of what the brand is.”He’s aiming to fix that with Wu-Tang Forever: The Final Chamber, billed as the group’s last tour, and the biggest road show it has undertaken as the headlining act, which will begin in June. All of the surviving original members — RZA, GZA, Raekwon, Ghostface Killah, Method Man, Inspectah Deck, U-God and Masta Killa — are slated to participate, as well as Cappadonna and Young Dirty Bastard, who will perform in place of his father, Ol’ Dirty Bastard, who died in 2004.“Jay-Z was like, Yo, I got the blueprint from you,” RZA recalled.Andre D. Wagner for The New York TimesThe tour, RZA told Jon Caramanica and Joe Coscarelli, is the culmination of a five-plus-year plan of legacy-building for the Clan, including a multipart documentary series, a dramatized mini-series, several individual biographies and a Las Vegas residency, the first for a hip-hop act.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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    Voletta Wallace, the Notorious B.I.G.’s Mother, Dies at 78

    She played the rapper music as a child, stood by his side during his meteoric career and navigated the legal and artistic questions that arose after his killing.Voletta Wallace, the mother of the Brooklyn rapper the Notorious B.I.G., whose stewardship of her son’s career and legacy after he was killed in 1997 helped cement him as a hip-hop legend, died on Friday. She was 78.Ms. Wallace died in hospice care at her residence in Stroudsburg, Pa., according to a news release from the Monroe County coroner, Thomas Yanac. A cause was not specified.A middle-class immigrant and single mother from Jamaica, Ms. Wallace was forced into the hip-hop spotlight after the Notorious B.I.G., born Christopher Wallace and also known as Biggie Smalls, was killed at 24 in a Los Angeles drive-by shooting.Biggie’s death came just six months after the Las Vegas slaying of the rapper Tupac Shakur, a onetime friend turned bitter rival, with the killings abruptly ending a formative and fruitful moment in mainstream gangster rap amid a tangled East Coast-West Coast beef that went far beyond music.For decades, both cases remained unsolved, fueling an ongoing ecosystem of true-crime books, documentaries, articles and more that have attempted to explain the possible links between the two killings, including the involvement of national gangs and crooked cops. (In 2023, prosecutors in Las Vegas charged Duane Keith Davis, a former gang leader known as Keffe D, with murder in the Shakur case; he is set to stand trial later this year.)Ms. Wallace, a preschool teacher, took on the mantle of her son’s career almost immediately. Biggie’s second album, “Life After Death,” came out two weeks after he died; six months later, Ms. Wallace accepted the MTV Video Music Award for best rap video (“Hypnotize”), telling the New York crowd, “I know if my son was here tonight, the first thing he would’ve done is say big up to Brooklyn.”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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    Tate McRae Dances in and Out of Love, and 10 More New Songs

    Hear tracks by Ledisi, Perfume Genius featuring Aldous Harding, Smerz 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.Tate McRae, ‘Revolving Door’A lack of instantly recognizable, stylistically defining hits — aside from the slinky, irresistible 2023 smash “Greedy” — has somehow not stopped the 21-year-old singer and dancer Tate McCrae’s star from rising over the past few years. She dips into a more promising and vulnerable sound on the moody, pulsating “Revolving Door,” the latest single from her just-released third album, “So Close to What.” “I keep coming back like a revolving door,” she sings on a chorus that thumps like an anxious heartbeat, “saying I couldn’t want you less, but I just want you more.” A McCrae single is still only as good as the choreography in its accompanying music video, and by that measure, it’s one of her strongest yet. LINDSAY ZOLADZPerfume Genius featuring Aldous Harding, ‘No Front Teeth’Perfume Genius (Mike Hadreas) and Aldous Harding share “No Front Teeth,” a surreal excursion that seesaws between pretty folk-Baroque pop and noisy, neo-psychedelic rock. Perfume Genius sings about being shattered; Harding answers him with a high, angelic call for “better days.” The video just adds more layers to the conundrum. JON PARELESHurray for the Riff Raff, ‘Pyramid Scheme’On this heartfelt one-off single, Alynda Segarra returns to the gentle folk-rock sound they honed on “The Past Is Still Alive,” the excellent album they released last year as Hurray for the Riff Raff. “This is not a scene, it’s a pyramid scheme,” they sing, pointing to a larger feeling of social collapse that, as the song progresses, dovetails with personal struggle. “I don’t know who you want me to be,” Segarra sings. “And I don’t know, and that terrifies me.” ZOLADZSleigh Bells, ‘Bunky Pop’The latest blast from the Sleigh Bells album due in April, “Bunky Becky Birthday Boy,” memorializes Alexis Krauss’s dog, who died in 2023. “Nights are long here without you,” she sings. But the song is manic and upbeat, swerving from electro to power-chorded pop, with eruptions of thrash drumming and tangents of dissonance — mourning by celebrating. PARELESMamalarky, ‘#1 Best of All Time’Mamalarky makes musicianly antics sound nonchalant on its new album, “Hex Key.” The singer and guitarist Livvy Bennett breezes through the self-satisfaction of “#1 Best of All Time,” declaring, “I always win even when I fall.” Her voice stays casual (and doesn’t worry about being a little flat) while the beat hurtles ahead and the chords take unlikely chromatic turns. The biggest boast is making it sound so easy. 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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    Sean ‘Diddy’ Combs Files to Dismiss Sex-Trafficking Charge Due to ‘Racist Origins’

    The music mogul’s lawyers filed a motion to dismiss a sex-trafficking charge, saying that the law involved has “racist origins.”Lawyers for Sean Combs filed a motion on Tuesday night seeking the dismissal of one of the sex trafficking charges he is facing, arguing that the hip-hop mogul is being unfairly prosecuted based on his race.Mr. Combs, who has pleaded not guilty to the charges against him and is awaiting trial in a Brooklyn jail, was indicted on federal racketeering and sex trafficking charges — the most serious of which carries a mandatory minimum sentence of 15 years in prison.His lawyers’ filing focuses on a lesser sex trafficking charge, which stems from a federal law known as the Mann Act. The law makes it illegal to transport a person “with intent that such individual engage in prostitution.”Mr. Combs’s lawyers contend that the law has “racist origins” and that it is being deployed against a “prominent Black man” for allegedly using an escort service to transport male escorts across state lines to have sex with his girlfriends.“The use of escorts, male or female, is common and indeed widely accepted in American culture today,” they write. To emphasize what it depicted as the noncriminal nature of the conduct, the filing notes that the chief executive of the escort service that Mr. Combs is said to have used has been interviewed in the media and was featured in a Showtime reality series.The lawyers questioned whether any white person had been charged under the law based on similar allegations.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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    ASAP Rocky Found Not Guilty of Shooting Former Friend in Assault Trial

    The rapper had faced two felony counts of assault with a firearm in connection with a 2021 altercation in Los Angeles.The rapper Rakim Mayers, also known as ASAP Rocky, jumped into the courtroom gallery to hug his wife, Rihanna, after the jury found him not guilty of shooting a former collaborator.Daniel Cole/ReutersASAP Rocky, the Grammy nominated hip-hop artist, was found not guilty on Tuesday of shooting a former collaborator. The jury deliberated for nearly three hours in a case that threatened to derail his career.Rocky, 36, born Rakim Mayers, faced two felony counts of assault with a deadly weapon, stemming from an altercation with his one-time friend, Terell Ephron, known as ASAP Relli, near a Hollywood hotel in 2021.Rocky dived into the gallery to hug family including Rihanna, the singer, businesswoman, and mother of his two young sons, and embraced his lawyer, Joe Tacopina, after the verdict was read.“Thank y’all for saving my life,” he told jurors.The trial hinged on jurors’ assessment of the gun used in the incident, which prosecutors said was a semiautomatic firearm and witnesses for the defense testified was instead a prop gun acquired at the filming of a music video. No gun was presented as evidence in the trial and Rocky did not take the stand in his defense. He faced up to 24 years in prison if convicted of both counts.Rocky faced trial at a time when he had several notable projects in the works. He is scheduled to be one of the headliners of the Los Angeles stop of the Rolling Loud festival in March, and was announced as one of the celebrity chairs for the Met Gala, to be held in May. He also stars alongside Denzel Washington in a Spike Lee-directed movie scheduled to open in summer.John Lewin, a deputy district attorney for Los Angeles County, had asked the jury not to be swayed by the court appearances of Rihanna, who was a frequent presence during the 13-day trial and attended the start of closing arguments last week with the pair’s two young sons.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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    Muni Long, Victoria Monét and Other Women Reinventing R&B

    To accompany this article, Adam Bradley created a playlist of the songs that define R&B’s new era.THE R&B SINGER-SONGWRITER Muni Long has a voice that people say could sing the dictionary and they’d still listen. In 2007, as a teen growing up in Gifford, Fla., she put that claim to the test, recording a five-minute YouTube clip in which she sings from Webster’s II New Riverside Dictionary (“aardvark, aardwolf, Aaron …”) to the tune of Fergie’s “Glamorous” (2006). That playful stunt, along with a handful of covers, caught the attention of Capitol Records. Under her given name, Priscilla Renea, she recorded her 2009 debut, “Jukebox,” an album of pop originals that earned good reviews but modest sales. By her 22nd birthday, she no longer had a record deal. Reinventing herself as a songwriter, she spent the next decade building a chameleonic career, writing the 2013 global hit “Timber” for Pitbull and Kesha, as well as songs for Miranda Lambert, Rihanna, Madonna, Sabrina Carpenter and dozens of others.H.E.R., Coco Jones, Victoria Monét and Muni Long pay tribute to the women singer-songwriters of the 1990s and early 2000s.Megan LovalloBut Long never gave up on her own voice. In 2018, she released a slept-on country album. Then, a couple of years later, she found her way to R&B. “I think it was the only genre I hadn’t explored,” says the artist, now 36. She devised a new stage name: Muni, from the Sanskrit for “sage,” a seeker of self-knowledge, filtered through a line from the rapper 2 Chainz’s 2012 song “I’m Different” — “hair long, money long.” That juxtaposition of spirituality and the streets animates the two albums that she’s released under her chosen name: “Public Display of Affection: The Album” (2022) and “Revenge” (2024). On songs like 2021’s “Hrs & Hrs,” her breakout hit, and 2023’s “Made for Me,” Long sings about love, sex and heartache with a passion reminiscent of 1990s slow jams. “R&B hasn’t been at the forefront in over 20 years,” she says. Now’s the time to “help mold a new era.”That new R&B era is here, with women artists leading the way. Born between the late 1980s and the early 2000s, this generation of artists came of age when the music’s stars needed no last name: Whitney and Mariah, Brandy and Monica, Aaliyah and Beyoncé, all chart-topping performers with gifted, even generational, voices who steered R&B through a period defined by male-dominated rap. Today’s stars — SZA and Summer Walker, Normani and Arlo Parks, Raye and Tems, to name just a few, along with the women photographed here — are defying industry formats and fans’ expectations. Some are reviving R&B’s gospel roots, while others are claiming new sonic territory by hybridizing with hip-hop, curating global rhythms and securing the genre’s rightful claim to pop.“R&B is pop music,” Long says — a necessary reminder, given that the music industry has co-opted R&B’s most appealing qualities while relegating the genre itself to the margins. “They took the sounds and they took the swag and they made it mainstream,” she adds. As a consequence, some of R&B’s brightest stars deny the label for fear that it might restrict their audience or, worse, suggest capitulation to de facto racial segregation. “Any music I do will easily and quickly be categorized as R&B because I’m a Black woman,” the 26-year-old singer and actress Chlöe Bailey told Nylon last year. Listen to her sophomore album, “Trouble in Paradise” (2024), and you’ll hear shimmering pop production, booming hip-hop bass lines and the syncopated log drums of Afrobeats. Above all, though, you’ll hear her powerful voice, heir to a distinct tradition that she’s hesitant to claim.Coco Jones (left) and Victoria Monét were also photographed in Los Angeles on Dec. 16, 2024. Jones wears a Gucci dress, $6,900, bracelet, $1,300, bracelet, $1,150, and cuff, $920, gucci.com; Christian Louboutin shoes, $995, christianlouboutin.com; LO Collections earrings, $425, and ring, $300, dinosaurdesigns.com; and Dinosaur Designs ring, $235, dinosaurdesigns.com. Monét wears an Off-White dress, price on request, similar styles at off—white.com; Amina Muaddi shoes, $715, aminamuaddi.com; and LO Collections earrings, $280.Photograph by D’Angelo Lovell Williams. Styled by Milton David Dixon IIIWe 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