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    Sean Combs Accused of Raping 17-Year-Old Girl in 2003 in Lawsuit

    In the complaint, an unnamed woman says she was flown from the Detroit area to New York on a private plane and gang-raped in a recording studio. Mr. Combs denied the allegations.Sean Combs, the hip-hop mogul who has been named in three recent lawsuits accusing him of rape, now faces a fourth complaint, by a woman who says that Mr. Combs and two other men gang-raped her in a New York recording studio 20 years ago, when she was 17 years old.In the latest lawsuit, filed on Wednesday in Federal District Court in Manhattan, the woman, who is not named in the court papers, described a nightmarish scene on a night in 2003, when she was in the 11th grade. The woman says in the complaint that she met two associates of Mr. Combs at a lounge in the Detroit area, and they took her on a private plane to New York. There, the suit says, the three men gave the woman copious amounts of drugs and alcohol, and took turns raping her in the studio’s bathroom as she drifted in and out of consciousness.When they were done, the suit says, the woman fell into a fetal position in a bathroom, lying on the floor in pain, and she was soon driven to an airport and put on a plane back to Michigan.In a statement, Mr. Combs said: “Enough is enough. For the last couple of weeks, I have sat silently and watched people try to assassinate my character, destroy my reputation and my legacy. Sickening allegations have been made against me by individuals looking for a quick payday. Let me be absolutely clear: I did not do any of the awful things being alleged. I will fight for my name, my family and for the truth.”Through his lawyers, Mr. Combs has denied the allegations in the three earlier suits.Douglas H. Wigdor, a lawyer for the unidentified woman, released his own statement that said: “As alleged in the complaint, defendants preyed on a vulnerable high school teenager as part of a sex trafficking scheme that involved plying her with alcohol and transporting her by private jet to New York City where she was gang-raped by the three individual defendants at Mr. Combs’s studio.”“The depravity of these abhorrent acts,” he added, “scarred” the woman “for life.”The first of the recent lawsuits against Mr. Combs, who has been known as Puff Daddy or Diddy, was filed on Nov. 16 by Casandra Ventura, a singer once signed to Mr. Combs’s label, Bad Boy, who was also his longtime girlfriend. In a graphic 35-page complaint, Ms. Ventura, who performs as Cassie, accused him of rape and forcing her to have sex with a series of male prostitutes, as well as subjecting her to violent beatings that took place over nearly a decade. The case was settled in just one day. Mr. Combs denied the accusations and Ms. Ventura said in a statement that the case had been resolved “amicably.”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?  More

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    Best Songs of 2023

    Seventy-one tracks that asked big questions, found new kinship between genres and helped us see the good in Ken.Jon Pareles | Jon Caramanica | Lindsay ZoladzJon ParelesFumbling Toward EcstasyThe album may be imperiled; people have been saying so for decades, even though the form has resisted extinction. Meanwhile, songs flourish, whether or not they’re destined for albums, and are ever more flexible. Some maintain the pop conventions of verse-chorus-verse; others distill themselves down to TikTok-ready hooks or sprawl across digital time frames. Here are 30 of my favorite songs from 2023 — less a ranking than a playlist, a tribute to creative abundance.1. Allison Russell, ‘Eve Was Black’The tune could be a toe-tapping Appalachian hoedown. But the title’s blunt, irrefutable statement carries Allison Russell toward harsh thoughts about racism, slavery, exploitation, lynching and sin — and then to an unexpected coda.2. Peter Gabriel, ‘Road to Joy (Bright-Side Mix)’Like many Peter Gabriel songs, this one has a scenario. The narrator is waking from a coma into an overload of sensory experiences, getting “back in the world”; the music is a funk carnival that keeps adding euphoric layers.3. 100 gecs, ‘Dumbest Girl Alive’No band walks Spinal Tap’s “fine line between clever and stupid” like the duo 100 gecs. “Dumbest Girl Alive” has a primal stomp for a beat, an up-and-down guitar riff that whimsically hops around instruments, and filtered hyperpop vocals with 21st-century lines like “put emojis on my grave” — just the thing for an utterly knowing, utterly meta bash.4. Sampha, ‘Suspended’Sampha’s “Lahai” was brighter and more expansive than his previous LPs.Ayesha Kazim for The New York TimesSampha gathers ideas from R&B, classical Minimalism, twitchy hyperpop and more around the androgynous melancholy of his voice. He conjures a rapturous infatuation and the need it leaves behind in “Suspended,” three minutes of vertigo from his album “Lahai.”5. The Rolling Stones featuring Lady Gaga and Stevie Wonder, ‘Sweet Sounds of Heaven’The peak of the Rolling Stones’ resurgent album “Hackney Diamonds” is an all-star concoction that sounds like a raw studio jam. Mick Jagger extols the glories of music and the song climbs to a big, gospelly finish, with Jagger and Lady Gaga goading each other to belt more. When it winds up, they catch their breath but they don’t want to quit — and the song builds even higher.6. Yahritza y Su Esencia and Grupo Frontera, ‘Frágil’Two Mexican American groups — from Washington state and Texas — unite for “Frágil,” a cumbia complaint about a heartless partner. While the men in Grupo Frontera sound mildly apologetic, Yahritza Martinez sings as if her heart might burst at any moment.7. Baby Rose, ‘Stop the Bleeding’With her low, tremulous, gripping voice, Baby Rose sings about love as self-sabotage, trying to break free while an orchestra underlines her despair.8. Shakira, ‘BZRP Music Sessions #53’In one of Shakira’s canny 2023 collaborations — others were with Karol G and the regional Mexican band Fuerza Regida — she enlisted the hitmaking Argentine electro producer Bizarrap to take revenge on her ex, with pointed wordplay and an airborne hook denouncing “guys like you.”9. Killer Mike featuring Future, André 3000 and Eryn Allen Kane, ‘Scientists & Engineers’In a track that roves from electro to guitar ballad to bursts of gospel, Killer Mike convenes fellow Atlanta rappers — the prolific Future and the elusive André 3000 — to address art, ambition, luxury, tenacity and paying dues, culminating in a marathon verse from Killer Mike himself.10. Brittany Howard, ‘What Now’Choppy, distorted, splintered hard funk pulses around Brittany Howard as she sorts through all the conflicting impulses of a breakup: taking blame and lashing out, feeling regret and relief, wanting to stay and knowing she needs to go.11. Jorja Smith, ‘Try Me’Jorja Smith used vocal nuance instead of volume to stir things up on her second studio album.Jose Sena Goulao/EPA, via ShutterstockA wounded, defensive Jorja Smith confronts someone who had put her down, in a track that evolves from pinging, percussive defiance to orchestral contemplation.12. Caroline Polachek, ‘Dang’One percussive syllable — “dang” — inspires an entire brittle production apparatus around Caroline Polachek’s deadpan voice. She sings about irreversible events, like shipwrecks and spilled milk, amid plinks, clangs, crashes, swooping strings and sampled screams, nonchalant amid the non sequiturs.13. aespa, ‘Better Things’Cowbells, handclaps and piano chords drive “Better Things,” a K-pop kiss-off with ingeniously cascading vocal harmonies and absolutely no regrets.14. Janelle Monáe featuring Doechii, ‘Phenomenal’Janelle Monáe’s 2023 album, “The Age of Pleasure,” exults in carnality while segueing through R&B, jazz and Caribbean styles. “Phenomenal” is a raunchy acclamation of lust and self-love, rapped and sung over springy, changeable Latin jazz grooves.15. Noname, ‘Namesake’Noname reels off brisk, matter-of-fact rhymes over a jazzy bass line as she strives to reconcile her personal comfort with all the world’s problems. She worries about complacency, complicity and hypocrisy; she doesn’t spare herself.16. Irreversible Entanglements, ‘Root Branch’Irreversible Entanglements is a fiercely riffing jazz band fronted by the low-voiced spoken-word poet Moor Mother. “We can be free — let’s fly,” she intones over the six-beat vamp of “Root Branch,” demanding something basic and essential.17. Jaimie Branch, ‘Take Over the World’The trumpeter and bandleader Jaimie Branch sets up a pummeling beat behind an environmental battle chant in “Take Over the World,” veers into a swirl of psychedelia, then whoops it up even harder.18. Dolly Parton, ‘World on Fire’Dolly Parton, of all people, delivers a full-fledged power ballad and stadium stomp to consider the dire state of the world. She counsels love, healing and kindness, but at the end she’s still wondering: “Whatcha gonna do when it all burns down?”19. Kylie Minogue, ‘Padam Padam’Kylie Minogue’s “Padam Padam” had a moment — during Pride celebrations and beyond — in 2023.Maggie Shannon for The New York TimesFor Kylie Minogue, “Padam Padam” is the sound of a heartbeat during a mutual flirtation at a club. The beat — a TikTok favorite — is a cheerful club thump, and a hint of Bollywood perks up the melody for three minutes of computerized bliss20. L’Rain, ‘I Killed Your Dog’L’Rain — the songwriter and performer Taja Cheek — ponders vengeful, destructive impulses in a near-lullaby that wanders through a chromatic chord progression, building ambivalence into the harmonies.21. Jamila Woods featuring duendita, ‘Tiny Garden’Jamila Woods sings about love as an accumulation of small connections and growing trust, a work in progress: “It’s not butterflies or fireworks.” The arc of the music, from isolated percussion and keyboards to multilayered, gospel-tinged vocals, radiates optimism.22. Olivia Dean featuring Leon Bridges, ‘The Hardest Part’With vintage soul chords and modern electronic subtleties, the English songwriter Olivia Dean and her American duet partner, Leon Bridges, sing about growing apart and moving on, grappling with second thoughts.23. Nkosazana Daughter, Master KG and Lowsheen featuring Murumba, ‘Ring Ring Ring’In an amapiano track full of echoey, lonely spaces, the South African singer Nkosazana Daughter and guests lament the uncertainty and sorrow of an unanswered phone call.24. Margo Price, ‘Lydia’Margo Price turned her lens outward to characters other than herself on her album “Strays.”Sara Messinger for The New York TimesIn this unblinking character study, a woman named Lydia, with “an ex-husband and a midlife crisis,” smokes a cigarette outside a clinic, thinking back through a life of hard luck and rough decisions and trying to decide whether to end her pregnancy. Margo Price sets the story to simple guitar chords and an understated string arrangement, pondering the choices.25. Mitski, ‘Bug Like an Angel’A squashed bug on the bottom of a cocktail glass leads Mitski to fragmentary epiphanies about addiction, trust and sex, with a choir bursting in to affirm each cryptic insight.26. Margaret Glaspy, ‘Memories’Over a waltz of simple guitar chords, Margaret Glaspy blurts out unvarnished grief in a torn voice, bereft yet struggling to go on.27. The Smile, ‘Bending Hectic’A guitar meditation melts into an ecstatic death wish during the eight minutes of “Bending Hectic.” Thom Yorke sings about driving along a curvy Italian mountain road with a sheer drop, and “letting go of the wheel”; Jonny Greenwood’s string arrangement envisions the plunge, and then electric guitars careen to a finish.28. Lankum, ‘Go Dig My Grave’The Irish band Lankum connects the fatalistic, death-haunted side of Celtic tradition to something like black metal in this nine-minute dirge about dying for love. It’s an inexorable crescendo from a solo a cappella vocal to a tolling, clanging drone topped by a howling fiddle, haunted and bleak.29. Caroline Rose, ‘Love/Lover/Friend’In a flurry of plucked and orchestral strings, Caroline Rose affirms her love by ruling out other possibilities, then basks in wordless choral ecstasy.30. André 3000, ‘That Night in Hawaii When I Turned Into a Panther and Started Making These Low Register Purring Tones That I Couldn’t Control … Sh¥t Was Wild’In a 10-minute instrumental for muffled drums, percussion and prowling parallel flute lines, André 3000 maintains an aura of calm vigilance, contemplative but still on edge.Jon CaramanicaAnything GoesIt was a year in which the best pop music truly made it up as it went along. Off-the-cuff collaborations? Sure. Songs by fictional characters? Why not. A guy filmed singing in a field by a West Virginia public radio outlet? Absolutely. Microscene classics that clock in at 75 seconds and might be forgotten tomorrow? Always. (In the interest of avoiding redundancy, I’ve only included songs that aren’t on albums that made my best of the year list.)1. Central Cee & Dave, ‘Sprinter’This British rap tag team is about improbable wealth, bounteous opportunities, living so fast that what’s slipping by is almost as good as what you manage to grab hold of. As celebrations go, this is a controlled, pensive one — a relaxed ramble for the moments when the money’s so new, it sparkles.2. Jocelyn (Lily-Rose Depp), ‘World Class Sinner/I’m a Freak’A paean to emotional vacancy sung with emotional vacancy from a television show rife with emotional vacancy ends up … positively glistening. A cause for surrender.3. Oliver Anthony Music, ‘Rich Men North of Richmond’A great song, sure. More than that, though, a sense of great exasperation. The quick and strong embrace of this song suggests an ocean of frustration that pop music leaves largely untapped and unvoiced, and a grass-roots resistance that it has almost no hope of replicating.4. Mustafa, ‘Name of God’Few artists conjure a richness of sorrow the way the Canadian folk singer Mustafa does. Here, his singing is beautiful and a little distant, as if flinching ever so slightly from a pain that will never be anything but raw.5. PinkPantheress featuring Ice Spice, ‘Boy’s a Liar Pt. 2’PinkPantheress took her songs from her bedroom to bigger stages after a viral hit.Adama Jalloh for The New York TimesA glimpse at how pop might — should? — sound in the coming few years. Two stars of the internet of 12 to 24 months ago who found themselves at the vanguards of their respective scenes come together for a collaboration in which neither has to concede an inch.6. Jelly Roll with Lainey Wilson, ‘Save Me’What makes Jelly Roll so effective is the way the intensity of his howl only amplifies the potency of his scars. It’s perhaps most pointed on this duet with Lainey Wilson, whose crisp and clear tone initially seems like an antidote, but is quickly revealed as equally bruised.7. That Mexican OT featuring Paul Wall and Drodi, ‘Johnny Dang’An effortless blend of Texas rap generations, fusing the tongue-twisting with the slow-rolling.8. Cody Johnson, ‘The Painter’When someone is effusive, it might not mean as much when they gush. But when a stoic drops his guard, it can feel seismic.9. Ken (Ryan Gosling), ‘I’m Just Ken’When this stridently sad song from the “Barbie” movie hits its apogee, it’s channeling Dashboard Confessional, Meat Loaf, the Phantom (of the Opera) and maybe even Scott Stapp. Slash plays guitar, salting the melodrama hard.10. Gunna, ‘Fukumean’The Atlanta rapper Gunna quickly returned to work after accepting a plea deal in a wide-sweeping ongoing case.Craig Barritt/Getty Images For GunnaA year ago, Gunna accepted a plea deal that untethered him from the RICO trial that has ensnared his mentor, Young Thug. Relatively quickly, he returned to his familiar slippery garble with a hit so ubiquitous it felt like a memory of how things once were.11. YoungBoy Never Broke Again, ‘Dirty Thug’The best of another slew of lonely anthems from the most important and least publicly visible hip-hop star of the past few years.12. Kylie Minogue, ‘Padam Padam’A cool blast of not-quite-exuberance, this club-pop anthem is a continuation of Kylie Minogue’s sometime-diva legacy, a relentless queer anthem, a cheeky flirtation and a thump that just won’t quit.13. Doja Cat, ‘Agora Hills’It has been 11 and a half years since Kitty Pryde released “Okay Cupid,” plenty of time for a re-embrace.14. Chino Pacas, ‘El Gordo Trae el Mando’A meaty, beatifically meandering boast by one of the rising stars of corridos tumbados.15. Lil Uzi Vert, ‘Just Wanna Rock’Grandfathered in from late 2022, this song broke TikTok, broke dancing, broke the Grammys and maybe even broke hip-hop.And 10 More:Corpse, “Disdain”Miley Cyrus, “Used to be Young”Emilia, “GTA.mp3”evvls, “Belikeme?”Jack Harlow, “Lovin on Me”Sam Hunt, “Walmart”Byron Messia, “Talibans”Militarie Gun, “Very High”Nettspend, “Shine N Peace”Odetari, “Good Loyal Thots”Lindsay ZoladzBeautiful DisastersSo many of my favorite tracks of the year flipped scripts, turned tables and reimagined weaknesses as strengths. By no means a complete list of the songs I enjoyed the past 12 months, these are 20 I couldn’t stop listening to — most of them reminders of music’s ability to turn mess into meaning, anxiety into energy and heartache into a great song.1. Olivia Rodrigo, ‘Vampire’Olivia Rodrigo confronts a new class of villain on “Vampire,” the incisive first single that heralded her second album, “Guts,” but she also proves she has learned new ways to slay. “Vampire” is wrenching and formally restless, at first masquerading as a piano ballad, only to ramp up into a miniature rock opera complete with a showstopping high note worthy of a tragic heroine. But don’t cry for Rodrigo — she doesn’t need protection. Her words, her observations and her stylistic flair all have plenty of bite.2. PinkPantheress featuring Ice Spice, ‘Boy’s a Liar Pt. 2’In a previous millennium, two of pop’s main young girlies joined forces to each assert that “The Boy Is Mine,” but PinkPantheress (b. 2001) and Ice Spice (b. 2000) were not alive when that song was released. On their bubbly and utterly infectious collaboration, they sidestep any hint of rivalry and turn against the guy, deciding he’s not worth the drama. “What’s the point of crying?” they shrug blithely. “It was never even love.”3. Lana Del Rey, ‘A&W’The year’s best song about telling an ex-boyfriend’s mom that her son is a disaster (runner-up: Rodrigo’s “Get Him Back!”), the sprawling, portentous seven-minute “A&W” is an unfiltered look into Lana Del Rey’s stream of consciousness: misremembered movie titles, sexually frank admissions, inside jokes about Californian geography (“I say I live in Rosemead, really, I’m at the Ramada”) and all manner of other oddly juxtaposed American flotsam. “Maybe,” she reasons with a weary sigh, arriving at some self-knowledge, “I’m just kinda like this.”4. boygenius, ‘Not Strong Enough’Everyone’s favorite musical besties — Julien Baker, Phoebe Bridgers and Lucy Dacus — riff on pop clichés and gender roles in this highlight from their breakout year, succinctly summing up their individual songwriting personalities and demonstrating the magic that happens when they combine their powers.5. Romy, ‘Enjoy Your Life’Romy Madley Croft was the final member of the xx to release a solo album.Charlotte Hadden for The New York TimesThe xx’s Romy Madley Croft finds a solution for anxiety and self-doubt on this thumping, compassionate club banger: What if she looked at her life through the eyes of a benevolent mother? A luminous sample from the synth pioneer Beverly Glenn-Copeland — “my mother says to me, enjoy your life” — guides the way.6. Mitski, ‘My Love Mine All Mine’TikTok’s reluctant darling Mitski has released her share of songs that sound destined for pop crossover — last year’s sleek, synthy “Laurel Hell” was full of them — but, unexpectedly, she became a fixture on this year’s Hot 100 for the first time ever with this slow, moony ballad that sounds unlike anything else on the charts. Oblique, poetic and sumptuously sung, it’s a welcome moment of Zen.7. Zach Bryan featuring Kacey Musgraves, ‘I Remember Everything’An old-fashioned he-said/she-said country duet cut through with a chill of bleak finality. Zach Bryan and Kacey Musgraves are both at their emotive best on this bruised-hearted crossover hit.8. Doja Cat, ‘Agora Hills’An arsenic-laced confection that shows off Doja Cat’s multiple personalities — a romantic and an ironist, an angel and a devil, a singer fluent in dreamy hooks and a rapper with razor-sharp teeth.9. Jess Williamson, ‘Hunter’The indie singer-songwriter Jess Williamson chronicles both the promise and fatigue of looking for love in this bittersweet, poetically rendered reflection, her twangy voice brimming with a weary hope.10. Olivia Rodrigo, ‘Bad Idea, Right?’Olivia Rodrigo sings about mistakes in serious and humorous ways on her second album, “Guts.”Chantal Anderson for The New York TimesWith the possession of a driver’s license comes the ability to drive to an ex’s house in the middle of the night for an ill-advised hookup. That’s the trade-off. At least such circumstances gave us one of Rodrigo’s spunkiest, funniest and most irresistible singles yet.11. Palehound, ‘Independence Day’El Kempner has a keen eye for tragicomic detail on this ramshackle rocker about regret, denial and long-simmering incompatibility that results in a July 4 breakup. “I’m living life like writing my first draft,” they sing. Aren’t we all.12. Water From Your Eyes, ‘Barley’All year I have been describing this zany, looping song from the Brooklyn art-rockers Water From Your Eyes as “what it would sound like if Sonic Youth had made an appearance on ‘Sesame Street,’” and I’m not going to stop now.13. Noname, ‘Namesake’The Chicago rapper Noname says the quiet part loud — and oh so dexterously — on this refreshingly honest track, an incisive examination of pop-cultural ethics unafraid to name names, including (in addition to Beyoncé, Rihanna and Kendrick Lamar) her own.14. Wednesday, ‘Chosen to Deserve’In her cracked wail, the Southern rock band Wednesday’s Karly Hartzman — “the girl that you’ve chosen to deserve” — paints an achingly vivid portrait of suburban boredom and young adult malaise, finding just the right surface details to express something deep: “I was out late, sneaking into the neighborhood pool,” she sings. “Then I woke up early and taught at the Sunday school.”15. Mandy, Indiana, ‘Pinking Shears’Comment dit-on “hypnotic, endlessly loopable industrial banger”?16. Jenn Champion, ‘Jessica’There’s no right or wrong way to grieve, Jenn Champion reminds us on this icy, arresting piano ballad, as she rages against a friend’s overdose in lacerating detail.17. Jamila Woods featuring duendita, ‘Tiny Garden’Jamila Woods’s album “Water Made Us” achieves the musician’s greatest synthesis yet between her voices as a poet and as a songwriter.Bennett Raglin/Getty Images For Slow FactoryA warm, wise ode to incremental progress and tiny, beautiful things from R&B’s resident poet laureate.18. Yo La Tengo, ‘Fallout’Still knitting aural autumn sweaters, after all these years.19. Sufjan Stevens, ‘So You Are Tired’What state is he on now? Alaska? Disrepair? Grace? Regardless, this song is a quiet doozy that watches a long-term love unravel in slow motion like a spool of ribbon underwater.20. Drake featuring Sexyy Red and SZA, ‘Rich Baby Daddy’Exhibit Z that Drake is at his best not when he tsk-tsks grown women, but when he risks being outshone by inviting them on the track. More

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    At the Kennedy Center, an Ode to the Arts, and a Gentle Jab at Biden’s Age

    Billy Crystal, Renée Fleming, Queen Latifah, Barry Gibb and Dionne Warwick are honored; Robert De Niro joked that Crystal is just a few years younger than the president.Rarely is the president of the United States, nestled in his box, the center of attention at the Kennedy Center Honors, the annual awards ceremony that brings a carousel of celebrities, musicians and actors to the stage to pay tribute to lifetime achievements in the arts.But such was the case on Sunday night, when Robert De Niro, celebrating Billy Crystal’s career, marveled at all the honoree had packed into his career.“You’re only 75,” Mr. De Niro said. “That means you’re just about six years away from being the perfect age to be president.”As President Biden grinned, waved and ruefully shook his finger at Mr. De Niro from the presidential box, members of the audience leaped to their feet with applause — some to gawk at Mr. Biden’s reaction from the front row of the balcony.Billy Crystal attending the Kennedy Center Honors. Robert De Niro noted that Mr. Crystal is nearing the age of the president.Paul Morigi/Getty ImagesIt was the only suggestion of politics in an apolitical, if quintessentially Washington event that sees throngs of dignitaries and politicians gather each year to pay tribute to the arts.On Sunday, the Kennedy Center honored artists who not only revolutionized their genres but transcended them: Billy Crystal, the actor and comedian; Barry Gibb, the musician and songwriter who rose to fame as the eldest member of the Bee Gees; Renée Fleming, the opera singer; Queen Latifah, the rapper, singer and actress; and Dionne Warwick, the singer.Ms. Warwick, who has performed five times at the Kennedy Center and previously appeared at the honors gala to perform tributes to two separate honorees, said her reaction to learning that she would be honored was: “Finally, it’s here!”“It’s a privilege to wear this,” she said, gesturing to the signature rainbow medallion given to each honoree.Missy Elliott, performing at the Kennedy Center. She spoke of Queen Latifah, recalling that for her, Ms. Latifah’s “Ladies First” anthem “was saying, ‘You will respect me.’”Gail Schulman/CBSOne of the quirks of these Honors is that the cast of musicians, actors and singers paying tribute to the honorees are kept secret from the attendees, and even the honorees themselves. On Sunday, a nonstop series of bold-lettered names descended on the stage, including Missy Elliott, Jay Leno, Meg Ryan and Lin-Manuel Miranda.The evening blazed through a Broadway-style medley toasting to Mr. Crystal by Mr. Miranda; a showstopping rendition of “Alfie” by Cynthia Erivo, the Tony and Grammy-award winning singer and actress; tributes to Queen Latifah by Kerry Washington and Rev. Stef and Jubilation, the choir Queen Latifah’s mother had belonged to. It was capped by a stirring rendition of “You’ll Never Walk Alone” by Tituss Burgess, Christine Baranski and Susan Graham, and a medley of Bee Gees songs by Ariana DeBose.The honorees Dionne Warwick and Renée Fleming.Paul Morigi/Getty ImagesFor Mr. Crystal, the Kennedy Center conjured the Lower East Side onstage, projecting a likeness of Katz’s Delicatessen as a backdrop for Ms. Ryan, Mr. Crystal’s most famous co-star, in their famous scene together.“This scene really came naturally to me,” Ms. Ryan said, to laughter. “I’ve actually never been around anyone who made faking an orgasm easier.”For Mr. Gibb, musicians including Barbra Streisand, Dolly Parton and Paul McCartney on Sunday reflected on his extensive list of songs — more than 1,000, with tracks in different genres, like “Islands in the Stream” and “How Can You Mend a Broken Heart,” and the Bee Gees hits that made him and his brothers famous.“He taught us how to walk,” Lionel Richie said in a prerecorded video interview, as the famous guitar hook in “Stayin’ Alive” pulsed through the theater.“Kindness and understanding — we seem to be losing that,” Mr. Gibb said. “And we need to grab it back as quickly as possible.”Ms. Fleming, the soprano known as “the people’s diva,” said that she was grateful for the opportunity to highlight the arts.Barry Gibb and Queen Latifah, who were also honored.Manuel Balce Ceneta/Associated Press“Artists really can change hearts and minds and we’re allowed to wrestle with difficult problems and life and death,” Ms. Fleming said. “Because I’m in the opera world, we all die in opera.”But she allowed ahead of the show that she was experiencing a strange reverse form of stage fright. Performing on the world’s biggest stages may be second nature to her, but, she said, “The thing that scares me is sitting in the box!”Queen Latifah, for her part, appeared prepared to soak up the experience. At the State Department dinner on Saturday night, she told attendees how she would “never forget” the moment. And she appeared visibly moved when Ms. Elliott regaled members of the audience on Sunday with the memory of Queen Latifah on television declaring “Ladies first” in her feminist anthem of the same name, at a time when “we kept hearing, ‘It’s a man’s world.’”“She was saying, ‘You will respect me,’” Ms. Elliott said. “‘I will be a leader. I will be a provider. I will be an inspiration to many.’”The show will be broadcast on CBS on Dec. 27. More

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    Doja Cat Makes the Leap From the Internet to the Arena Stage

    The extremely online 28-year-old singer and rapper’s Scarlet Tour accentuates her flair for big statements.More than most artists on pop’s current A-list, the 28-year-old rapper and singer Doja Cat is a child of the internet. Born Amala Ratna Zandile Diamini, she spent much of her youth making beats and rabble-rousing social media posts. She first experienced viral fame in 2018 when her goofy but surprisingly well-executed novelty song “Mooo!” blew up, and still — even after racking up bona fide hits, including two that ranked No. 1 on Billboard — retains the glint-eyed, anarchic spirit of an internet troll.Just as screen charisma doesn’t always translate IRL, not every terminally online musician can convincingly make the leap from, say, Instagram Live to the 19,000-capacity Barclays Center, where Doja headlined her first New York City arena show as part of her Scarlet Tour on Wednesday night.She has been a near constant presence on the charts for almost four years, but as a live performer she is still largely unproven. Her dreamy, disco-inflected breakout hit, “Say So,” was released in January 2020 and, during the pandemic, became a TikTok sensation.Doja Cat’s dreamy, disco-inflected breakout hit, “Say So,” became a TikTok sensation during the pandemic. Nina Westervelt for The New York TimesThere have been hints, though, that she can handle a large stage with flair. Many of her awards show numbers have been showstoppers, announcing her as an electric performer willing to take unexpected risks. During a pretaped appearance at the 2020 MTV Europe Music Awards, she reimagined the bubbly “Say So” as a brooding nü-metal anthem — and actually pulled it off. At this year’s MTV Video Music Awards, she vamped her way through a transfixing medley from her latest album, “Scarlet,” including the brash, rough-edged diss track “Demons.”“Demons” was the second song Doja Cat played during her commanding, confident and occasionally repetitious hour-and-a-half set at Barclays Center, which featured an opening set from the rising star (and Bronx-born hometown hero) Ice Spice. For that track, Doja Cat was joined by an animatronic spider nearly twice her size, a reference to the dark, occasionally nightmarish aesthetics of the uncompromising “Scarlet.”Prowling around a triangular stage that sometimes spurted fire, and flanked by a nimble troupe of dancers dressed as if Kanye West had designed the costumes for “The Warriors,” Doja was at her best when she was free to rap with dexterity and chest-thumping bravado. “Attention,” the sharp, self-assured first single from “Scarlet,” was a highlight, along with a few deeper cuts from the album, including the buoyant, lusty “Gun” and the imperturbably laid-back “Balut,” which has a vintage boom-bap vibe.In an age of fan service and stan armies, Doja Cat’s relationship to her listeners has been unique, even antagonistic. In July, she generated headlines when, on the social media platform Threads, she refused some fans’ requests to tell them she loved them (“i don’t though cuz i don’t even know y’all,” she replied) and criticized those who had chosen to call themselves “Kittenz.” Rude? Honest? You be the judge. But at a time when most pop stars are expected to cater to their most vocal fans to the point of infantilization, a dissenting voice can be refreshing.Doja’s online barbs didn’t seem to diminish the enthusiasm of the adoring fans at Barclays, some sporting Halloween-store devil horns (a reference to her recent hit “Paint the Town Red”), a few wearing cat ear headbands, and several having already changed into the most sardonic offering from the merch table, a white T-shirt that proclaimed its wearer’s “hate” for Doja Cat, emphasized with an expletive.Doja wore a form-fitting, full-body muscle shirt, imprinted with chiseled abs, bare breasts and exposed buttocks.Nina Westervelt for The New York TimesThroughout her set, Doja wore an outfit that was provocatively unprovocative: a form-fitting, full-body muscle shirt, imprinted with chiseled abs, bare breasts and exposed buttocks, which she paired with tall suede boots that extended up to her hips like chaps. In her own absurdist way, it was a Doja Cat power suit, lending her an exaggerated physicality and a playful androgyny that she controlled depending on how she moved her body. She could pantomime sexualized femininity one minute — while, say, twerking with her back to the audience — and conjure masculine swagger the next, strutting around the stage in a wide stance. At times, it felt like Doja (ever a student of ’90s hip-hop) was playing both characters in the video for Busta Rhymes and Janet Jackson’s 1998 collaboration, “What’s It Gonna Be?!”The softer side of Doja Cat, though, is something she hasn’t yet learned how to communicate on an arena stage; a brief interlude when she sat on a stool and indulged in some R&B crooning was less than captivating. The performance of the pop hits from her previous era, “Say So” and “Kiss Me More,” felt rote, even if “Kiss Me More” featured a crowd-pleasing kiss cam.Doja often suggests on “Scarlet” that she is more at home making razor-edged rap songs than surefire pop hits, and her stage presence backed that up. Still, at an arena show, a musician must find a balance between challenging audiences and keeping them in their seats. The show could have used more visual variety, and its structure — superfluously divided into Acts I through V, though devoid of a narrative arc — was puzzling. When Doja finished the last of her biggest hits, her recent No. 1 “Paint the Town Red,” she still had seven more songs to go.Before a sultry, downbeat cover of “Red Room,” by the Australian band Hiatus Kaiyote, Doja, from her stool, briefly addressed the audience. New York, she said, “is where my mother’s side of the family is from, so I know this place a little bit.” The crowd cheered; modern concert rhythms had primed us to expect that this was the scripted part where the pop star would drop the armor and let us in on something personal, vulnerable, maybe even tear inducing. But she didn’t.Instead, ever the trickster, Doja Cat just thanked the opener and — enrobed in that costume that gave the cheeky illusion of nakedness — introduced the next song.Doja Cat’s Scarlet Tour, which comes to the Prudential Center in Newark on Thursday, runs through Dec. 13 in Chicago; dojacat.com/tour. More

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    Popcast (Deluxe): Can Rap Bridge Its Generation Gap?

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:Rap music’s generational divide, touching on André 3000’s comments about what older rappers might rap about, and how the stars of the 2000s and 2010s like Lil Wayne, Gucci Mane and Rick Ross are still releasing albums into their 40sThe stagnation on the Billboard Hot R&B/Hip-Hop Songs chart and streaming platform hip-hop playlists, as seen in the ongoing prevalence of songs by Drake, Rod Wave, Travis Scott and othersPotential breakthrough songs by Sexyy Red, 310babii, and others, plus TikTok-driven hits by Lil Mabu and JIDTravis Scott, Playboi Carti and Yeat setting the table for the noisy, new rap undergroundNew songs from Nettspend and KarrahboooSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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    Drake Returns to No. 1 as Dolly Parton Opens Big With ‘Rockstar’

    The country star’s rock-themed new LP debuts at No. 3, becoming her highest-charting album on Billboard’s all-genre Top 200.Drake’s latest album, “For All the Dogs,” returns to No. 1 on Billboard’s album chart this week thanks to an expanded edition, while Dolly Parton notches her highest chart position ever.Six weeks ago, “For All the Dogs” opened at the top with big streaming numbers, and it has held in the Top 5 since. Last week, Drake released a new version of it — the “Scary Hours Edition” — with six new songs, which has sent the album back to No. 1 with the equivalent of 145,000 sales in the United States, including 190 million streams, according to the tracking service Luminate.That was enough to keep Taylor Swift’s “1989 (Taylor’s Version)” at No. 2, while Parton, 77, starts in third place with “Rockstar,” the rock-themed double album she made after her induction into the Rock & Roll Hall of Fame last year (an honor she initially declined). It features songs like “(I Can’t Get No) Satisfaction,” “Stairway to Heaven” and “Let It Be,” with guests including Joan Jett, Elton John, Rob Halford of Judas Priest, plus Paul and Ringo.Incredibly, “Rockstar” becomes Parton’s highest-charting album, and only the third in her storied career to reach the Top 10 of the all-genre Billboard 200 chart. “Trio,” her 1987 collaboration with Emmylou Harris and Linda Ronstadt, and “Blue Smoke,” from 2014, both went to No. 6. Among Parton’s solo albums, and LPs with her onetime singing partner Porter Wagoner, she has had numerous titles in the Top 10 of Billboard’s country chart, including eight No. 1s.Also this week, the K-pop septet Enhypen opens at No. 4 with “Orange Blood,” and Morgan Wallen’s “One Thing at a Time” holds at No. 5. Last week’s top seller, “Rock-Star” by Stray Kids, another K-pop group, falls to No. 7 in its second week out. More

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    André 3000’s Experiments With Flutes and Fame

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThis month, André 3000 — half of Outkast, and one of the most innovative rappers of all time — made a tentative return to music with the release of his first solo album, “New Blue Sun.” It is … not a hip-hop album. Instead, André, who has regularly been spotted out and about playing one of several flutes, has released an LP of contemplative experimental music, in which he is a supporting character, not the star.What does it mean when one of the most famous musicians of his generation decides to take such a radical creative turn? In what ways is this unconventional musical choice as revealing as the ones for which he’s long been known?On this week’s Popcast, a conversation about André’s reluctant relationship to stardom, the musical scene providing the setting for his public return, and the ways in which one can be in the spotlight but still very much in hiding.Guests:Zach Baron, GQ senior special projects editorSadie Sartini Garner, a critic for Pitchfork and othersConnect 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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    ‘Cypher’ Review: Tierra Whack in a Twisty Music Documentary

    A biographical look at the Philadelphia rapper Tierra Whack takes a hard left turn.“Cypher” is a fakeout film disguised as a real music documentary. For a while, you believe it will chronicle the rapper Tierra Whack’s rise, from teenage Philadelphia poet to Grammy-nominated hip-hop artist whose fans include Cardi B and Billie Eilish.As the film eases you in with a cushy setup, Whack jokes that it could be completely derailed, ending in jaw-dropping fashion — which it does. “You could die, I could die and then we can’t shoot anymore,” she says, amusing even the director, Chris Moukarbel. Then things get weird. When Whack and her crew wind down at a late-night diner after a Chicago concert, she meets a fan desperate for her to watch a video that you know she shouldn’t watch. Afterward, she is still the real Whack, but in a very different movie. Adding to the sinister shift, she spots an ominous radio on the set of Beyoncé’s “Black Is King” film (Whack, who has a cameo, was actually there).A cunning experiment in cross-genre filmmaking, “Cypher” is all fun, games and hagiography until it’s not, effectively deceiving at every conspiratorial turn. The less you know about how this meta spine-chiller comments on the dark side of celebrity surveillance, the greater the thrill of discovering the “real or not?” events as they come. I’ll say this much: When “Cypher” stops masquerading as a sincere artist bio and ends up where you never thought it would, the film certainly gives new meaning to “behind-the-scenes access.”CypherRated R. A few expletives. Running time: 1 hour 21 minutes. Watch on Hulu. More