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      A Holiday Version of ‘I’m Just Ken,’ and 12 More Songs

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      Hear tracks by Central Cee, Kesha, Jason Moran and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. 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, and The Amplifier, a twice-weekly guide to new and old songs.Ryan Gosling and Mark Ronson, ‘I’m Just Ken (Merry Kristmas, Barbie)’A well-timed holiday remix that doubles as shameless Oscar campaigning? Yes, they Ken! Ryan Gosling and Mark Ronson’s “Barbie” showstopper “I’m Just Ken” is reimagined in three different formats — acoustic lament, club banger and Christmas novelty — on the newly released “I’m Just Ken” EP. “I’m Just Ken (Merry Kristmas Barbie)” reworks the arrangement into a stately, vaguely festive bit of chamber-pop; Gosling doesn’t fill the lyrics with Christmas puns, thankfully, but merely mutters in conclusion a wistful, “Merry Christmas, Barbie … wherever you are.” LINDSAY ZOLADZCentral Cee, ‘Entrapreneur’“We put the trap in entrapreneur,” the British drill rapper Central Cee spits on his first solo single of the year, following high-profile collaborations with Dave, Drake and PinkPantheress. In his signature knottily conversational flow, Cee boasts about his hustler mentality and sudden success, never forgetting from where he came: “Went from a Toyota Yaris to Urus,” he raps. “I still got the same work rate as before.” ZOLADZFlagboy Giz and Kango Slim, ‘Fell in Love at the Secondline’Flagboy Giz grew up on hip-hop, but he’s also a proud carrier of New Orleans tradition as a member, since 2015, of the Wild Tchoupitoulas tribe of Mardi Gras Indians. The title of his 2023 album “Disgrace to the Culture” points to the way his music determinedly mixes hip-hop with New Orleans lore. Twitchy trap programming and a low-slung piano riff join hints of brass-band sousaphone and Mardi Gras tambourine to carry “Fell in Love at the Secondline,” a flirtation mapped onto the city’s streets. JON PARELESGenesis Owusu, ‘Survivor’A fierce beat, relentless but changeable — with percussion, voices and programming — drives “Survivor,” a knowing vow of defiance in the face of every obstacle. “I am the lawless, formless, thoughtless, flawless chaos of the sun/I am the seed of life and love, you see the blaze, you better run” chants Genesis Owusu, born in Ghana and living in Australia. The track is brutal, full of paradoxical wordplay — and fully confrontational. PARELESIza, ‘Que Se Vá’Iza, a Brazilian singer and rapper, isn’t just breaking up in “Que Se Vá” (“Let It Go”); she’s also canceling the ex’s credit card. Her gleeful good riddance, with verses that build toward laughter, is propelled by Afro-Brazilian rhythms, programmed handclaps and a harmony chorus that exults in its spite. PARELESKesha, ‘Eat the Acid’Kesha set aside her pop and rock reflexes for the somber “Eat the Acid” from her 2023 album, “Gag Order.” She sings about indelible drug revelations and warns, “You don’t wanna be changed/like it changed me.” With stark keyboard drones, a cappella moments, processed vocals and distant, ethereal harmonies, Kesha pushes toward the experimental realms of songwriters like Julia Holter and Björk. PARELESMedicine, ‘That’s Alright, Friend’Medicine, the indie-rock band Brad Laner has led since 1990, thrives on overload, placing poppy tunes within a pile-on of instruments, voices, electronics and distortion. “That’s Alright, Friend” — the opening track on its 2023 album, “Silences” — bashes out a six-beat stomp behind Julia Monreal’s cheerful voice while bells ping, electronics chatter and layered guitars pick up her melody. Then the track starts lurching into new territory, swerving through a few episodes before ending up somewhere like a psychedelic sea chantey, while Monreal repeats the title as reassurance amid the din. PARELESEsperanza Spalding and Fred Hersch, ‘But Not for Me’A vocalist sits on a stool in a dark-lit subterranean jazz club, topped with a beret, she-bopping through standards. Even if that’s more or less what you think of when you hear the word “jazz,” it’s probably not what the name “Esperanza Spalding” calls to mind. But back in 2018, Spalding took a detour into the old songbook, at the elbow of the piano maestro Fred Hersch, during a weeklong stand at the Village Vanguard. A few tracks from those dates were released as an album earlier this year.Yes, she wore a beret and sat on a stool, and the lights were low. (She also left her bass at home.) Still, Spalding created healthy distance between herself and the old material. On “But Not for Me,” even as she delights in banter with Hersch’s piano, Spalding seems certain this Gershwin tune was not written “for” her. “They say that Russian plays do boast of many gray skies,” she sings, before tapping out on the next line. “And then some words I don’t really understand, ’cause it’s like Old English: ‘hi-ho, alas and lackaday?’” she says. “That’s how I feel — confused about the whole situation.” The audience laughs easily, agreeing that the old material shines best when thrown open to the light of the present day. GIOVANNI RUSSONELLODarcy James Argue’s Secret Society, ‘All In’Darcy James Argue and his airtight big band, Secret Society, have long made a cottage industry out of dynamic torque, and Argue rarely wastes a note. “All In,” from their aptly named album “Dynamic Maximum Tension,” starts with a tenuous and crooked drum beat, then a procession of rich harmonies — packed with just enough dissonance to tighten up the energy — before a heavier beat kicks in. The horns swell atop a percussive, string-muted piano part from Adam Birnbaum. Even as the sound grows triumphant, that catalytic dissonance never goes away. RUSSONELLOJason Moran featuring Brian Settles, ‘Flee as a Bird to Your Mountain/Ghosts’“From the Dancehall to the Battlefield” is the culmination of a long project for the pianist and multivalent artist Jason Moran, who has spent years exploring and elevating the legacy of James Reese Europe, a pioneering bandleader who was also the first Black American to lead U.S. troops into combat, as a lieutenant in the 369th Infantry Regiment (the renowned “Harlem Hellfighters”) during World War I. Europe also helmed the regiment’s orchestra, which made waves in France and helped pave the way for the Jazz Age’s big-band boom.On “From the Dancehall,” Moran leads a 10-piece ensemble through a swirl of material, placing Europe into conversation with the 100 years of jazz history that have followed in his wake. One highlight comes on “Flee as a Bird to Your Mountain/Ghosts,” as Moran pairs a dirge-like Europe composition — which Europe’s band used to play whenever an infantryman had died on the battlefield — with Albert Ayler’s spiritualist free-jazz classic “Ghosts.” Brian Settles, a prominent tenor saxophonist on the jazz scene in Washington (Europe’s hometown), carries the melody to “Ghosts,” smearing and savoring his notes, then shifts into a shivery, heart-spilling solo. RUSSONELLOConexión Divina, ‘Anestesia’A thunderstorm rumbles through “Anestesia” (“Anesthesia”) by Conexión Divina, a three-woman band based in Los Angeles that plays the regional Mexican style called sierreño, which features melancholy love songs. In “Anestesia,” Liz Trujillo sings about a longing so intense she needs to numb herself. Whether it’s a blinding infatuation or post-breakup regret, the desperation is palpable. PARELESAngelica Garcia, ‘El Que’In “El Que” (“He That”), Angelica Garcia wrestles with an inner demon who “chills, robs energy, controls and bewitches,” preying on her own self-doubt. A throbbing electronic pulse underlines her vulnerability; she fights back with booming drums and a choral chant, achieving a tense standoff. PARELESMary Lattimore, ‘Music for Applying Shimmering Eye Shadow’On her 2023 album, “Goodbye, Hotel Arkada,” the harpist Mary Lattimore welcomed electronics and processing while keeping the plucked, resonant tones of her instrument at the center of her music. “Music for Applying Shimmering Eye Shadow” is minimalistic and meditative with little exact repetition. Basking in the slow alternation of two echoey chords topped with ever-changing fragments of melody, it does, indeed, shimmer. — PARELES More

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      Nicki Minaj Has No. 1 Album as Mariah Carey Regains Holiday Crown

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      Minaj’s first studio LP in five years, “Pink Friday 2,” opens at the top of the album chart, while “All I Want for Christmas Is You” takes the No. 1 singles slot back from Brenda Lee.On the music charts this week, Nicki Minaj scores the top album with her first studio LP in five years, and Mariah Carey claims the No. 1 single once again with her inescapable seasonal hit “All I Want for Christmas Is You.”Minaj has been teasing her latest album, “Pink Friday 2,” for at least four years, and for a while it had seemed questionable that it would ever come; at one point, Minaj even announced (and quickly retracted) her retirement from music. But “Pink Friday 2,” her fifth studio album — titled as a sequel to her 2010 debut — finally came out on Dec. 8, and it opens at the top of the Billboard 200 chart, becoming her third No. 1 album. “Pink Friday 2” had the equivalent of 228,000 sales in the United States, with 170 million streams and 92,000 copies sold as a complete package, including 25,000 on vinyl.Also this week, Taylor Swift’s “1989 (Taylor’s Version)” holds at No. 2 and Drake’s “For All the Dogs” is No. 3, while the 20-year-old Canadian pop singer Tate McRae arrives at No. 4 with “Think Later,” her second studio LP. Michael Bublé’s “Christmas” is in fifth place.Carey, whose 1994 holiday bauble “All I Want for Christmas Is You” took a 25-year path to No. 1 — and has notched a total of 12 weeks at the top over the last four Christmas seasons — retakes the top spot this week, for its 13th cumulative time at No. 1.For the last two weeks, the No. 1 position on the Hot 100 singles chart had belonged to Brenda Lee’s “Rockin’ Around the Christmas Tree,” which was released in 1958 and got a promotional push this year with a music video and TikTok spots. “Rockin’” drops this week to No. 2. More

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      Chatting About the Best Songs of 2023

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThe New York Times’s pop music critics have some overlap in their taste, but in their annual songs-of-the-year roundup, the differences truly reveal themselves. There are songs from across genres, of course. And naturally, across generations. But sometimes, a song isn’t a “song,” per se — it can come from a movie, or a TikTok, or a commercial, or anywhere else music is deployed. Everyone’s personal soundtrack is unique.That means tracks with pop sheen from Olivia Rodrigo and Central Cee, heartache from PinkPantheress and YoungBoy Never Broke Again, wind-instrument wildness from André 3000, and songs from “The Idol” and “Barbie.” Also featured: Noname, Yo La Tengo, Byron Messia, Kylie Minogue, Lankum and dozens more.On this week’s Popcast, a conversation about the most impressive songs of the year, the difference between a musical event and a song, and whether a best-songs list that excludes music from a critic’s best albums can be considered valid.Guests:Jon Pareles, The New York Times’s chief pop music criticLindsay Zoladz, a pop music critic for The New York Times who writes The Amplifier newsletterConnect 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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      Nicki Minaj, a Role Model for Herself, and Others on ‘Pink Friday 2’

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      On “Pink Friday 2,” the rapper remains a star navigating hip-hop on sometimes untested terms. But even as she’s receded from the center of the genre, her lessons remain.Before the arrival of Nicki Minaj in the late 2000s, only a handful of female rappers had ever released platinum solo albums: Lauryn Hill, Missy Elliott, Lil’ Kim, Foxy Brown, Da Brat, Eve. Despite their innovations and artistry — or maybe because of them — the genre had narrow expectations and accommodations for the expression of women, and often pitted them against each other, as if the space for anyone but men was zero-sum.If hip-hop wouldn’t make room, Minaj would, though. Minaj — a theater kid with a vicious tongue, a fierce freestyler, a polyvalent character actor — definitively broke that stalemate, becoming a pop superstar without having to strictly follow in the footsteps of any of those women. Instead, she expressed multitudes in her variety of song styles, her outfits, her accents and ultimately, the arc of her career. At times the latter has been in strict alignment with hip-hop’s center; sometimes it has taken her to pop excess; at other moments, it has found her pursuing a path of rap idiosyncrasy.More than a decade and a half after her first mixtape, Minaj, 41, is an elder stateswoman: still a cantankerous figure in the genre, and still a sometime hitmaker. This year, her two collaborations with Ice Spice — “Princess Diana” and “Barbie World” — cracked the Top 10, and last year, the Rick James-sampling “Super Freaky Girl” became her first solo No. 1.Last week, she released “Pink Friday 2,” her fifth studio album (coming five years after her last, “Queen”), an up-and-down collection that showcases spurts of impressive rapping, some baffling melodies and production that runs all the way from innovative to afterthought. But what’s most striking is that Minaj, more or less, is as she always has been: a star navigating hip-hop on sometimes untested terms.One of the best songs here is the shortest: “Beep Beep,” with a twinkling beat and a lyrical snarl. The cheeky “Cowgirl,” which features a saccharine hook by Lourdiz, nods back to Minaj’s 2011 hit “Super Bass.” On both tracks, Minaj, one of the most rhythmically flexible rappers of all time, plays with syllables in an unfettered way.But there are multiple Minajes on “Pink Friday 2.” It is a prototypical modern pop album, heavily — perhaps overly — reliant on big-tent samples that spark immediate familiarity (including her recent hit singles “Red Ruby da Sleeze” and “Super Freaky Girl”). In the last couple of years, instantly recognizable references have become cheat codes for pop and rap stars, but obvious sampling has also been a staple in emergent drill and club music scenes.On “Everybody” — which features Lil Uzi Vert and plays with the exuberant hook of Junior Senior’s “Move Your Feet” — Minaj is toying with the way those two approaches aren’t so dissimilar. It’s one of the most invigorating performances she gives here, because she is an elastic enough rapper to both rough up pop sheen and smooth out underground rowdiness at once.Understanding the genre as an identity playground has always been one of Minaj’s strengths, and often she’s showed off new versions of herself when collaborating. But the team-ups here with Drake (“Needle”) and Future (“Nicki Hendrix”) are surprisingly listless, though the pugnacious “RNB,” with Lil Wayne and Tate Kobang, is a standout.Minaj got married in 2019 and had her first child the following year, and perhaps unavoidably, there is also a streak of intense sentimentality on this album, a mode that Minaj, whose best verses are imagistic and eccentric, has struggled with. She raps softly and distantly on “Are You Gone Already?” which samples Billie Eilish; “Let Me Calm Down,” a duet with J. Cole about a troubled relationship; and “Last Time I Saw You,” about the death of her father in 2021. The best song in this mode is “Blessings,” which includes some deeply invested singing from the gospel star Tasha Cobbs Leonard.Songs like these tend to mark someone in a transition toward reflection and maturity. The Minaj of old still feels more present. In the five years since her last solo album, the scale of the playing field claimed by female rappers has grown exponentially. TikTok has created a springboard for a cornucopia of rising stars with breakout hits (or at minimum, breakout catchphrases). And because young performers often emerge on visual-driven social media, the next generation of stars tend to default toward more visually vibrant presentations. The territory that Minaj worked hard to carve out 15 years ago is now the default starting point.Even as Minaj has receded from the center of the genre, her lessons remain. She sometimes spars with Cardi B, but the two have much in common. Ice Spice, who channels Minaj’s cartoon-esque visual exaggeration, is on an arena tour with Doja Cat, a mainstream pop star with boom-bap bona fides who feels like Minaj’s clearest inheritor. Younger performers like Lola Brooke, Scar Lip and Sexyy Red seem like they’ve arrived fully formed.Just last week, XXL magazine released a special edition of its signature cipher series, this one including only women: Latto, Flo Milli, Monaleo, Maiya the Don and Mello Buckzz. All are under 25, and all have had some success, whether viral or on the pop chart. But their approaches vary widely.Mello Buckzz, from Chicago, served up brash, right-angled rhymes; Maiya the Don, from Brooklyn, rapped with ease, sometimes sauntering in just after the beat, unbothered; Flo Milli, from Alabama, deployed a whimsical tone while casually playing with flow patterns; Monaleo, from Houston, had a verse that was ferocious and punchline-heavy. Latto, from Atlanta, is the elder of this group, and she closed out the affair with a tart, wry and slick verse about the dueling powers of independence and alliance.It’s a snapshot, and a telling one — a reminder that there is no one way to be a woman in rap now, and that teamwork is preferable to turf war. These artists are aware of history but not beholden to it. They’re not doing Minaj cosplay, but she’s in them all.Nicki Minaj“Pink Friday 2”(Young Money/Republic) More

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      Wu-Tang Clan Announces Las Vegas Residency

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      The first four concert dates will begin with Super Bowl weekend in February.Wu-Tang Clan will begin a Las Vegas residency in February as the city hosts its first Super Bowl, the Grammy-nominated rap collective announced on Tuesday.Though rap stars frequently perform in Las Vegas for concerts and appearances at nightclubs, it is unclear if a hip-hop group has held a traditional residency, which became popular in the city around the 1940s.“Wu-Tang Clan: The Saga Continues … The Las Vegas Residency” will begin next year at the Theater at Virgin Hotels Las Vegas, starting with concerts on Feb. 9-10, Super Bowl weekend, and March 22-23, when fans flock to the city to bet on the N.C.A.A. college basketball tournaments. Tickets go on sale on Friday, and more dates will be released in the coming months.Known for hits like “C.R.E.A.M. (Cash Rules Everything Around Me)” and “Protect Ya Neck,” Wu-Tang Clan recently concluded a tour with the rapper Nas. The group’s leader, Robert Diggs, known as RZA, said the residency had been in the works for about five years and was meant in part to elevate the genre, which has been celebrating its 50th anniversary this year.“Hip-hop is rich in its content and what it offers creatively to an audience,” he said, adding that the nine-member group, which was founded in New York in the early 1990s, wants “to put it on flagpoles to show that hip-hop can go where any other art form has gone before.”“I think the art form has evolved,” he added.Residencies in Las Vegas this year included the pop artists Adele and Katy Perry. The band U2 will conclude its residency at the Sphere, the video-screen-wrapped orb-like venue built by the Knicks owner James Dolan, in March. Usher Raymond, the R&B star who will headline the Super Bowl halftime show, recently completed a residency in the city.Las Vegas, which has long been known for hosting boxing and mixed martial arts fights, has also expanded its reputation as a destination for other top-caliber sporting events. In addition to hosting the upcoming Super Bowl, the city held its first Formula 1 race in November and saw its professional hockey and women’s basketball teams win championships this past season.RZA said he was hopeful that Wu-Tang Clan’s residency would inspire other rap artists to inject themselves into Las Vegas’s entertainment scene.“I’m in that spirit of loving where there’s a hub of art and then loving that I — in my talent and the Wu-Tang brothers — can add to that hub and of course eventually invite more hip-hop artists to come and play in this sandbox with us,” RZA said. More

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      Ye, Formerly Kanye West, Previews ‘Vultures’ With Ty Dolla Sign

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      For months, the rapper has teased “Vultures,” his first album since he made a string of antisemitic comments last year. He said the LP will be released Friday.Kanye West, the contentious artist and provocateur now known as Ye, appeared onstage in Miami after midnight on Tuesday wearing a pointed black hood that resembled a Ku Klux Klan robe — and the 10-year-old artwork for his song “Black Skinhead” — as the musician previewed his first new album since a string of incendiary and antisemitic comments threatened to tank his career in music and fashion last year.The listening event, which was dubbed a “rave” and streamed online amid technical difficulties, teased “Vultures,” an album that Ye has been plugging intermittently for months alongside the R&B singer Ty Dolla Sign, a frequent collaborator.In various appearances around the Miami area in the last week, Ye has played songs from the album and said that it would be released on Friday, Dec. 15, although false starts, delays and missed deadlines have long been a feature of Ye’s process and marketing prowess. Billboard reported in October that Ye and Ty Dolla Sign were considering label distribution partners for the release, since Ye’s longtime record company, Def Jam, distanced itself from him amid the controversies last fall.The two musicians had previously attempted to stage a concert or listening event at an arena in Italy for up to 100,000 people, then pivoted to teasing a “multi stadium listening event” last month, similar to the events Ye used to promote his album “Donda” in 2021. Both plans fizzled.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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      YSL Defendant Shannon Stillwell Is Stabbed, Delaying Young Thug Trial

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      Mr. Stillwell, known as SB or Shannon Jackson, is among the six defendants currently on trial in the racketeering and gang conspiracy case underway in Atlanta.Shannon Stillwell, a co-defendant of the superstar rapper Young Thug in the racketeering and gang conspiracy case currently underway in Atlanta, was stabbed in jail on Sunday night, a lawyer for Mr. Stillwell said, delaying the blockbuster trial.Mr. Stillwell was being held at the Fulton County Jail, known as Rice Street, a facility that has faced criticism for its disorder and a recent spate of violence.“He is with us — he is alive,” Max Schardt, a lawyer for Mr. Stillwell, said in an interview on Monday. “But I fear that it was serious.”Mr. Schardt said that he was still gathering details about the circumstances of the attack, and that he had arranged to speak with his client this afternoon.Natalie L. Ammons, the director of communications for Fulton County Sheriff’s Office, confirmed that Mr. Stillwell was stabbed but did not immediately provide additional details. Jeff DiSantis, a spokesman for the Fulton County District Attorney’s Office, declined to comment.Mr. Stillwell, known as SB or Shannon Jackson, is among the five defendants currently on trial alongside the popular Atlanta rapper Young Thug, born Jeffery Williams, who stands accused of being the leader of a violent criminal street gang known as YSL, or Young Slime Life. Mr. Williams, who has pleaded not guilty, has said that his gangster persona is fictional and that YSL is simply his record label.In addition to being charged with conspiracy to violate the Racketeer Influenced and Corrupt Organizations Act, or RICO, and participation in criminal street gang activity, Mr. Stillwell faces two counts of murder, including involvement in the 2015 drive-by shooting of a rival gang member that prosecutors say set off a yearslong war that terrorized the area. Mr. Stillwell has pleaded not guilty to all charges.The case also includes claims that other members of YSL attempted to kill a rival, Rayshawn Bennett, known as the rapper YFN Lucci, by stabbing him at the Fulton County Jail. (Mr. Bennett is awaiting trial following a 2021 RICO indictment against YFN in Fulton County.)On Monday, the judge in the YSL case, Ural Glanville, called for a recess, citing a “medical issue” involving one of the trial participants. He called for the lawyers to return to court on Tuesday morning to decide how they would proceed.After court adjourned on Monday, Judge Glanville filed two orders in the case related to Mr. Stillwell. One stated that Mr. Schardt and his colleagues could visit Mr. Stillwell at Atlanta’s Grady Hospital, where he was being treated, “to the extent that it is medically cleared.” The other ordered that Mr. Stillwell, upon his recovery, be “kept separate from the other defendants in this case at all times,” including in jail, during transport and at the courthouse.The complex RICO case from the office of the prosecutor Fani T. Willis originally included 28 defendants, many of whom have pleaded guilty or had their cases severed. Since the initial indictments in May 2022, the case has seen disruptions from all sides, including nearly 10 months of jury selection.Opening arguments began on Nov. 27; the trial could last up to six months or more.“We’ve invested a large amount of time in this case to prepare for trial,” Mr. Schardt, the lawyer for Mr. Stillwell, said. “Quite frankly, we want Shannon to have his day in court because we believe that he is innocent. We don’t want unnecessary delays, but we’re going to defer to the doctors.” More

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      Bad Blood: A Timeline of the Taylor Swift-Kanye West-Kim Kardashian Feud

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      After 14 years, a new interview suggests this dispute may keep giving us new chapters.Alexander Hamilton and Aaron Burr. Joan Crawford and Bette Davis. Optimus Prime and Megatron.And Taylor Swift and Kanye West.Feuds don’t get more colossal than the one between two of the biggest stars in music. (And the reality TV star Kim Kardashian, who was married to West for a time, has been involved too.) There has been a leaked tape, diss tracks and videos, and a naked wax figure. The latest salvo came in Swift’s interview with Time magazine after the publication chose her as Person of the Year.The story has bubbled up even more as fans await the expected rerelease of Swift’s album “Reputation,” which was particularly focused on the dispute.Here’s the decade-long story of how the feud has progressed.Sept. 13, 2009West interrupts Swift.West interrupts Swift as she accepts the award for best female video at the MTV Video Music Awards in 2009.Jason Decrow/Associated PressThe incident that started it all. Swift, 19, goes onstage at Radio City Music Hall to accept the MTV Video Music Award for best female video for “You Belong With Me,” after defeating Beyoncé, among others.She has barely said thank you when West, 32, bum rushes the stage, takes her microphone and declares: “I’m really happy for you; I’m going to let you finish. But Beyoncé had one of the best videos of all time.”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