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    How Taylor Swift Fans Got Each Other Eras Tour Tickets

    After “historic demand” led to a Ticketmaster debacle, the singer’s most devoted online fans sprang into action to get each other into the Eras Tour at fair prices.When tickets for Taylor Swift’s first tour in nearly five years went on sale last November, Tina Studts, the mother of two young girls, thought she was well prepared.Like millions of others, Studts signed up for Ticketmaster’s “verified fan” program for early access, and she logged previous purchases of Swift merchandise that were supposed to provide a “boost.” She even watched hours of YouTube tutorials about how best to sign in and pick seats during a high-intensity drop.Her family had moved to Colorado from Kentucky in 2020, and adjusting amid a pandemic was tough, especially for her older daughter, Shannon, 15, who is autistic. But Swift had been Shannon’s “special interest” since elementary school, her mother said, and the vibrant fan culture around the pop star had provided a lifeline.With the holidays approaching, Studts knew that tickets to the stadium spectacle of Swift’s Eras Tour, which begins Friday in Glendale, Ariz., would give Shannon something to look forward to. Her daughter’s best friend from back home in Kentucky was even planning a surprise visit to Denver so they could all attend together.“It was the most obsessive thing I’ve ever done,” Studts, 51, said of training for her ticket mission. “I had this extreme self-imposed pressure to not disappoint my 15-year-old.”But as the Ticketmaster calamity unspooled that day, her hope dissipated. Studts waited and waited for eight hours at work, clicking around fruitlessly while fielding anxious texts from her daughter. The next morning, Shannon “didn’t even want to go to school because she was afraid of seeing people who had tickets,” Studts said.Their crushing experience matched the struggle of many Swifties — as the singer’s superfans are known — whose vocal anguish and collective online might, paired with Swift’s own public frustration, led to a canceled general sale and a congressional hearing. But what happened next was a welcome surprise to Studts and others who know pop fandom as a cutthroat (and pricey) battle royale — an arms race of haves and have-nots all jockeying for limited access.Instead of leaving one another to scrap it out on the official secondary market, where ticket prices were astronomical and scammers were salivating, some resourceful fans banded together, using their tight-knit community on social media to problem solve: From Twitter and Facebook to Tumblr and TikTok, on pages like @ErasTourResell and TS Tour Connect, volunteers created a network of spreadsheets, Google Forms and online bulletin boards to facilitate face-value sales and exchanges among fellow devotees.“The fandom can be kind of crazy,” said Amanda Jacobsmeyer, 29, the founder of the TS Fandom Fund, a Tumblr collective that seeks to address, however incrementally, economic inequality among Swifties. “But it really is a community and we look out for each other. With Ticketmaster just completely failing at their one job, people have really stepped up to make sure that actual fans are in the audience.”In a sea of bots, frauds and profit-seekers, most Swift fans involved are merely matchmaking and amplifying seemingly trustworthy deals for those in need, rarely touching the money or tickets themselves.Their only motive, Jacobsmeyer said, is altruistic enthusiasm: “We want Taylor to look out and see people who actually know the words to these songs, and we want to be surrounded by the people who make up our community, not just randoms.”Looking for tickets became “like my second job,” Studts said. “It felt like this puzzle to solve.” But with the help of the @ErasTourResell Twitter account, where tickets were vetted and announced by city, she was able to secure four seats with no markup in time to surprise her daughters on Christmas morning.“It’s really refreshing,” she said of the fan efforts. “I can’t believe that somebody would voluntarily spend this much of their time to make sure that we can get to the concerts. They just love seeing Taylor fans not getting screwed over by scammers and not being overcharged three or four times over.”Long a struggle for followers of the most popular live acts — I need a miracle, goes the ancient Grateful Dead fan prayer — landing hot concert tickets without taking out a second mortgage has only become more difficult amid rising prices and fees, post-pandemic demand and the continued consolidation of an industry that some lawmakers say is dominated by a monopoly. (The Justice Department is said to be investigating Ticketmaster’s parent company, Live Nation, the concert giant that merged with the ticketing behemoth in 2010.)Last month, amid extended hand-wringing about ticket prices, a leading Bruce Springsteen fanzine announced it would shut down after 43 years. To avoid a repeat of the Swift debacle, a more elaborately plotted set of staggered presales for Beyoncé’s new tour had rules and requirements resembling a brainteaser — with some fans opting still to travel to distant locations for easier, better deals. This week, it’s fans of the Cure feeling the pain.“It’s like a lottery to get stolen from now,” said Holly Turner, 26, who recalled spending just $23 — on the day of the concert — for floor tickets to her first Swift stadium show in 2011.By 2020, when Swift’s Lover Fest tour was planned to kick off, competition had turned steeper; Turner said she waited eight hours in a digital queue for those tickets, but had eventually gotten them. (The shows were later canceled because of Covid-19, only heightening demand for the Eras Tour, the singer’s first set of concerts since 2018.)Still, on Tumblr, the niche social network where many of Swift’s longest-serving and most loyal fans congregate, ticket release days were known to be a time of shared nervousness and then celebration. But this time around, joy was in short supply. Even among those who had managed to get Eras tickets, a sense of guilt prevailed.“Once the general sale got canceled, everyone just felt really, really distraught,” Turner said. “But the next day, after it set in, there was a lot of, ‘O.K., here’s what we’re going to do. Don’t give up hope.’”Using her sizable Tumblr following of some 20,000 Swifties, Turner’s TS Tour Connect page became a hub for those looking to sell tickets they could no longer use — at fair prices — to other loyalists. “I don’t have the resources to confirm if a ticket is real,” she said, “but what I can do, because I’ve been in the Tumblr community for so long, is make sure that they’re an actual fan who’s selling.”Risks abound regardless. Even as Jacobsmeyer was facilitating deals for others via the TS Fandom Fund, she lost $1,200 when she tried to buy tickets to attend Swift’s Nashville date with her sister from a Facebook group that turned out to be bogus.“It’s ripe for scammers, but it’s also been very ripe for showing the good sides of the community,” Jacobsmeyer said.Courtney Johnston, 24, of San Francisco, said she was inspired to start @ErasTourResell on Twitter after seeing similar pages dedicated to tickets for Harry Styles and other pop stars.She then recruited Channette Garay, 24, and Angel Richards, 27 — who met through the online fandom and are now dating and living together in Connecticut — to lend a hand. The three fans estimate that they are cumulatively spending more than 40 hours per week, in between work and school, sorting through ticket submissions and trying to verify them via screen recordings and confirmation emails before blasting the listings out to eager Swifties.With nearly 38,000 followers, the group has now helped arrange more than 1,300 deals and counting — a milestone they will celebrate when they meet up in Arizona to enjoy the opening night of the tour together.“I get to play a small part in someone getting tickets that they never thought they would get,” said Johnston, who plans to attend eight shows in all. “That’s really cool to me.”Garay and Richards, who have tickets to four tour dates, agreed. “At the end of the day,” Garay said, “honestly, we just love Taylor.” More

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    Hilary Hahn Practices in Public, Wherever and However She Is

    BOSTON — Backstage at Symphony Hall here on a recent afternoon, Hilary Hahn opened her violin case and took out her instrument.She flipped it up to her chin, then paced around; she was warming up to play Bach for a group of Boston Symphony Orchestra staffers, as a run-through before she set out on a tour that continues in Los Angeles and Chicago this week. For the moment, she was trying to break in a new set of strings, as any violinist might.She paused. She set her pink-cased iPhone down to face her, having scouted the dressing room for an angle, then turned on its camera and pressed record. She played her Vuillaume violin toward the lens, but not exactly for it. She let it watch while she tuned and tuned again; while she repeated tricky little passages; while she sighed, composing herself. She stopped it when she was done.Hahn edited the video down to a bit more than a minute of unflashy content then posted it, with all the brisk efficiency of a social media intern, to Twitter, Instagram and TikTok. There were no retakes, no notes to her publicist. Season 6, Day 61, of #100daysofpractice was in the can.“I make a point of not picking up the part of the practice that is impressive,” Hahn, 43, said in an interview afterward. “I pick out the part that’s the actual work, where I know I was in the zone, and I wasn’t thinking about anything else.”Hahn, the artist-in-residence at the Chicago Symphony, has long thought about her role in broader terms than many superstar soloists. She has commissioned works including garlanded concertos and brief encores; taped Suzuki exercises for young students to aspire to; and given recitals for babies (all right, their parents). And this prodigy turned pre-eminence is an experienced poster, too: For years, she tweeted in the voice of her violin case.Even so, #100daysofpractice has become an unexpected phenomenon. Social media statistics are notoriously unreliable, but the hashtag counts 800,000 posts on Instagram alone, and has brought amateurs and professionals alike into a community of musicians who, for their own reasons and in their own ways, post part of their daily routine. Drawing back the veil on how musicians work when they are not onstage, Hahn is trying to relieve at least some of the negativity that can surround a crucial — yet traditionally private and largely untaught — element of a musical life.Hahn’s practice videos tend to be recorded where they can be — whether on the road, in a hotel room or at home.Sophie Park for The New York Times“I make a point of not picking up the part of the practice that is impressive,” Hahn said.Sophie Park for The New York TimesHahn came up with the idea in 2017, when she first noticed #The100DayProject, an initiative that asked creative, primarily visual artists to make something, day after day. She chose an activity that she thought she should have been undertaking with a similar commitment to regularity, but was not.“I desperately wanted to get reposted, get attention,” Hahn, laughing, recalled of a time when her social-media presence was not as formidable as it is now. “I didn’t get reposted at all, I was like: ‘I’m here! I’m doing something innovative! I’m boring my fans! Notice me!’”On one level, Hahn’s posts since are a diary of a virtuoso’s life. There’s Hahn at the Teatro La Fenice in Venice, at Wigmore Hall in London, at David Geffen Hall in New York, where she recently became the first artist to play a solo recital in the refurbished main theater. There’s Hahn on a private jet, in a hotel, and in another, and another. There’s Hahn in her Cambridge, Mass., home, with her Grammys on a side table or her guinea pigs behind her. There’s Hahn the working mother, playing with one of her two children as her impromptu accompanist, or stealing a quiet moment after midnight, exhausted.Part of Hahn’s message, she said, is that being deliberate about practice, whatever else might be going on in life, allows marginal gains to compound. That opportunity for accountability and self-discipline has attracted other soloists to join in. The pianist Dan Tepfer said that he adopted the hashtag this year to recommit to daily practice, after a grueling, monthslong tour.“I like to say that if your practicing isn’t a practice, you’re not practicing,” Tepfer said. “It truly is a practice, it’s a daily activity, and the power of practicing comes with that kind of continuity.”Hahn practicing on the stage of Symphony Hall in Boston.Sophie Park for The New York TimesHahn initially saw the project along similar lines, and to an extent still does. But as she read the replies to her posts, and spoke with fans after concerts, she saw that the posts were being interpreted as a statement about the need for musicians to accept imperfections and embrace their vulnerabilities — or as a challenge to “the toxic mentality around practice,” as she put it.“We’re just so often in classical music, really trained to beat ourselves up until we get it right, on our own,” Hahn said. “I compare it to walking into a room by yourself, and you’re looking in a mirror, and you’re having to pick out everything that’s wrong with you, and then fix it, with no ability to fix it. You’re supposed to walk out better. And it’s just such an impossible thing. You actually just walk out with all these ideas in your head of what’s wrong with you.”“I realized that we need to have a lot more self-compassion as musicians,” she added. “You can’t become someone you’re not in practice, and you can’t make the music become something that it’s not ready to be. It’s just difficult, though, to reconcile that with expectations, sometimes.”Hahn’s most powerful videos are not those in which she tosses off some Bach with all her familiar assurance, but those in which she does least with her instrument. “Practice” turns out to mean all kinds of things, from listening back to past concerts to doing near-silent left-hand studies while the laundry whirs along. But it can also mean mindfully taking a day off, or acknowledging feeling burned out, and responding appropriately.“I know some people say that’s not practice,” Hahn said on the video for Day 34 of last year’s series. “Can you count that as practice? But it is about the practice of long-term practicing, that mentality that it is — it’s a lifestyle. There’s a consistency to it, and being a consistent practicer doesn’t always mean practicing by data.”Hahn’s videos, she said, challenge “the toxic mentality around practice.”Sophie Park for The New York TimesMany of Hahn’s admirers have taken that lesson about mindfulness to heart. Another violinist, Elena Urioste, tried the project two years ago, and “promptly failed on my third day,” she wrote on Instagram. She responded with her own hashtag, #ErraticDaysofPractice.The rising violinist and hashtag devotee Nancy Zhou said that Hahn “positively reinforces the whole practice culture and what it should be,” and that she was “completely confident” that the star has had an influence.“It makes them start thinking,” Zhou said of colleagues she had talked with, “about, well, how can they more deeply and more forgivingly look at the way they practice?”Hahn said that series has been useful to her own routine, though it took her time “to be at one with the public and the private aspects of it.” And there have been periods when filming — or writing analytically about it — has interfered with practice itself. The series eventually dispelled a “cycle of commentary” that fixated on how she played “perfectly,” she said, denying that that was her intention.But even if Hahn sees her posts as modeling just one possible approach — practice isn’t perfect — and certainly not as lessons in how to practice or play the violin, she has come to accept what she calls their “greater purpose.” She has no plans to stop them just yet.“As a student, I never saw someone practice,” Hahn said. “I would sort of illegally listen to the wall, or even if I would poke my head into the window to see who was there, then you would duck down. You know, you tried to listen a little bit.”“We had no idea how people achieved what they achieved,” she continued, “and the fact that people have embraced the project, started doing it themselves, they’re getting comfortable posting stuff that isn’t polished — it feels like maybe the idea was mine, but the game changer is the pickup of this community.” More

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    Rihanna Rep Confirms the Singer is Pregnant

    Widespread speculation on social media during Rihanna’s halftime performance turned out to have merit: The singer, who starred in the Super Bowl halftime show, is pregnant, her representative, Amanda Silverman, confirmed on Sunday night.Rihanna, 34, performed for the first time in nearly four years, running through a quick medley of her hits. But, just as soon as fans applauded her return to the stage, Rihanna began to hint at her growing stomach in a ruby red Loewe jumpsuit and matching bustier, while singing fan favorites like “We Found Love,” “Diamonds” and “Only Girl (in the World),” occasionally rubbing and gesturing to her belly.the whole timeline afraid to ask if Rihanna is pregnant pic.twitter.com/KGQEhItzqx— Ira (@iramadisonthree) February 13, 2023
    This is not the first time Rihanna decided to make a splashy baby announcement: In January 2022, Rihanna and her partner, ASAP Rocky, announced they were pregnant through a series of photos taken by “fashion’s favorite paparazzi,” Miles Diggs, according to Vogue. Rihanna gave birth to a son in May.Fans have been waiting for a new Rihanna album since 2016 and pinned the start of a comeback with her halftime performance. Would she bring out a special guest? Release a new song? Announce a new tour? Instead, new rumors swirled.Once her publicist confirmed the news, reaction from fans was equal parts supportive and concerned. They expressed their admiration, but also some trepidation about how much longer they would need to wait for the next album.Caryn Ganz More

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    Lil Uzi Vert Gave the Eagles the Soundtrack to Their Season

    Eagles players ran out onto the field to the Philadelphia rapper’s “Just Wanna Rock,” and they regularly celebrate with the song’s viral dance.PHOENIX — Like all N.F.L. teams, the Eagles employ many exceptionally large men. But as they left their locker room ahead of the N.F.C. championship game against the San Francisco 49ers, they were led by a musician who stands just 5-foot-4.The artist, clad in a midnight-green No. 16 Eagles jersey and diamond chains, was the rapper Lil Uzi Vert, who ran out with the group as “Just Wanna Rock” blared through the stadium. Uzi’s song, which has a viral hip-shaking dance to go with it, has become the soundtrack for the Eagles’ season.“That song got the city and the world buzzing,” Eagles linebacker Kyzir White said. “That feel like our anthem right now.”Uzi, who uses they/they pronouns, said in a recent interview that the response to the track “was like a dream come true.”The rapper, a native of Philadelphia, noted that it was gratifying to discover their fan base is “actually bigger than what I think,” adding, “I didn’t think that they really listened to me.”Dive Deeper Into Super Bowl LVIIThe God of Sod: George Toma, 94, has been a groundskeeper for all 57 Super Bowls. On Sunday, his perfectionism will be on display for millions of people who will have no idea who he is or how he suffers for his work.Philadelphia Swagger: After surviving a disastrous introductory news conference, an ill-chosen flower analogy and his “Beat Dallas” motivational shirt, Nick Sirianni has transformed the Eagles, and maybe himself.Inside a Kansas City Oasis: Big Charlie’s Saloon is a South Philadelphia bar with a bit of a conundrum: how to celebrate Kansas City’s Super Bowl berth without drawing the ire of locals.Halftime Show: The nearly four-year gap between Rihanna’s live performances will close when she takes the stage at the Super Bowl. During her hiatus, the stakes for her return have only grown.The up-tempo “Just Wanna Rock,” inspired by Jersey club music, doesn’t feature many lyrics. But its dance exploded on TikTok, and has evolved to include different variations. At its core, dancers shake their hips and move their arms while looking at a camera with a stoic facial expression.When running back Miles Sanders scored the Eagles’ first touchdown in the N.F.C. championship game, he celebrated with the dance; he was joined by center Jason Kelce, who looked more like he was trying to shake an insect off his back. “They still got some learning to do,” Uzi said, laughing.“That was the first time releasing that,” Kelce said with a smile. “I just felt it in the moment.”The song plays regularly in the Eagles’ locker room, White said. Often at the center of the dance circle is defensive lineman Jordan Davis, who stands at an imposing 6-foot-6 and 335 pounds. His moves always surprise his teammates because of his size.“He wants to dance all day,” White said. “Weight room, locker room, it don’t matter, he always hitting that.”Even Eagles quarterback Jalen Hurts, known for his love for old-school R&B tunes, has gotten behind “Just Wanna Rock.” When Uzi met Hurts in the locker room ahead of the N.F.C. championship game, the rapper remembers Hurts saying that the song was “crazy” — in a good way. Uzi said Hurts’s stamp of approval meant that much more because the song is so different from the player’s standard playlist. (After the Eagles ran out with Uzi before their game against the 49ers, Hurts’s favorite artist, Anita Baker, sang the national anthem.)Lil Uzi Vert performing last month in New York.Dimitrios Kambouris/Getty Images For SiriusXMDuring the Eagles’ 2017 Super Bowl-winning season, the team leaned on the song “Dreams and Nightmares” by the rapper Meek Mill. Eagles players danced and rapped the song word for word before blowing out the Vikings in the N.F.C. championship game. Players said that track is still in heavy rotation, and Mill performed it ahead of the Eagles’ game against the Cowboys in Week 6.“Dreams and Nightmares” has long been considered something of a city anthem, but the popularity of “Just Wanna Rock” has sparked a debate within the Eagles’ locker room.“I like the ‘Just Wanna Rock’ dance, but I like ‘Dreams and Nightmares’ more,” Eagles cornerback Darius Slay said. “I like both of ’em, but the new generation now moved from jumping around. Now they want to dance.”Uzi is hoping the Eagles can help the song lead to change in their city, which has dealt with a recent increase in violent crime. While the dancing is all for fun, Uzi suggested that perhaps people in Philadelphia watching popular Eagles players busting out moves will inspire them to seek positive outlets for their energy.“We from a rough area, and the only thing that gets praised is negative things, and this is a positive thing,” Uzi said, adding: “You would rather be in the house perfecting the dance and doing videos instead of going outside doing something that’s not positive. Why not just keep doing it to make sure that everyone’s safe?”The Eagles haven’t yet asked Uzi to run out with them on Sunday, the musician said. But the rapper will be at the game, and it’s almost certain that players will be shaking their hips in celebrations. More

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    David Crosby, a King of Twitter

    The musician relished sharing opinions big and small, sparring with fans and dispelling myths, often in sharp, hilarious quips. The vibe on the platform changed, but he posted until the end.On Wednesday, one day before the world learned of his death at 81, the musician David Crosby posted to Twitter over a dozen times.He picked his favorite Beatles song for a rainy day (“Eleanor Rigby”). He expressed support for the climate activist Greta Thunberg, and disdain for the Republican representatives Matt Gaetz and Marjorie Taylor Greene. In a bit of poignant foreshadowing, he shared some thoughts about heaven: “I heard the place is overrated,” he wrote, “cloudy.”Among his musical peers, Crosby lived out a unique series of American lives. He was a defining voice of the folk-rock music of the 1960s and ’70s. He was a boldfaced name for his brief prison stay on drug charges, his liver transplant and the revelation that he was the sperm donor for Melissa Etheridge’s two children with Julie Cypher.And there was his surprising ascent as Twitter pundit, cemented in 2017 when he appeared in a commercial for the social media service. There are no formal metrics, but it’s fair to say that no other Woodstock performer or double inductee in the Rock & Roll Hall of Fame tweeted as much as Crosby, or with such personable enthusiasm.Crosby was a true poster, a compliment handed out to those who seem to intuitively understand the unspoken rules for how to live an online life. He loved to interact with fans and haters; he never censored his thoughts or minced his words. He tweeted around 79,000 times in over a decade spent on the platform, a pace that dramatically eclipsed his contemporaries. Many musicians, and certainly those of his generation, exclusively use social media as a promotional service for tour announcements and new songs. Crosby, instead, treated Twitter as a walkie-talkie, a direct connection between himself and anyone who wanted to hear from him.This was one of Twitter’s initial appeals: The idea that you might actually interact with famous names like Ashton Kutcher or Shaquille O’Neal propelled thousands of newcomers to sign up in the platform’s early days. But numerous celebrities have quietly left in recent years, driven away by the increasingly combative dynamics that make sharing any opinion a risky proposition, or by Elon Musk’s messy takeover.Crosby did not care, and Crosby never quit. On any given day, he could be found opining on subjects like his distaste for Ted Nugent; his distaste for the Doors (which he eventually decided to tone down, though he never changed his mind about their lack of swing); his distaste for the songwriter Phoebe Bridgers’s attempted guitar-smashing on “Saturday Night Live”; his distaste for a not-so-bad painting of him drawn by a fan; his distaste for poorly rolled marijuana joints; his distaste for Donald Trump, always a subject on his mind.Possibly you notice a theme. But Crosby was no troll, complaining about every possible topic just to propel engagement. Many of his tweets were playful, and sweet. He loved to talk about his wife, and his appreciation for his family life. He never stopped praising his ex-girlfriend Joni Mitchell or his former bandmate Neil Young, even as his relationships with them were openly fraught.He advertised the sensual side of his discography. He solicited movie recommendations and promoted restaurants. He praised younger musicians like Jason Isbell and Jacob Collier. He really enjoyed the work of the director Alex Garland. He dispelled myths about his own life, regardless of whether the lie would have been more flattering.These posting tendencies evolved Crosby’s public persona for a new generation of music fans, in ways that felt both natural and genuine. As the music industry continues to change, its existing stars often attempt to latch onto emergent trends, through efforts that can easily seem forced or hatched by corporate fiat. (It’s hard to believe that Mick Jagger has anything to do with the Rolling Stones’ newly announced TikTok account.) But Crosby was right there, doing it himself. There was little doubt that he personally authored every tweet, because who else could post with such frequency, or idiosyncratic phrasing? His willingness to post so often and honestly did the work of several marketing budgets, and accompanied a late-career creative renaissance that saw the release of five solo albums in the last decade.This exposure didn’t suddenly transform Crosby into a commercial force. (His last album, “For Free” from 2021, did not chart in the United States.) Still, it was oddly reassuring to know that a public figure with such a varied and involved life, who had been present for some of the most consequential events in popular American music, could not resist the elemental pleasures of wasting time on Twitter like many of us, despite its myriad downsides.“I’m really trying to just have fun here,” he told Grammy.com in 2021. “I like people. I think they’re fascinating.” Celebrity is a fickle status, and surely there were moments in his career when Crosby wondered if people would ever care about him or his music. But here was evidence that they did. Even as Twitter frays and coarsens under Musk’s ownership, it’s still possible to have fun with others, one of the few things that keeps users from leaving. Crosby was right there until the very end.In his final weeks he was rating joints, once again advocating for the mood-setting capabilities of his own music and making plans to perform again. He was mad about George Santos and the environment, Spotify and Covid-19, as always, but the happy and the angry were intermingled for everyone to see.A few days ago, he posted his 1989 cover of the Noel Brazil song “Columbus,” with an opening verse espousing a philosophy he endorsed every day he spent on Twitter: “Better keep your distance from this whale/Better keep your boat from going astray/Find yourself a partner and treat them well/Try to give them shelter night and day.” More

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    Prosecutors Say Young Thug’s YSL Is Both Gang and Rap Label

    Listen to This ArticleTo hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.ATLANTA — Day after day, the young men came before a judge, handcuffed, clad in county jumpsuits and answering to their government names rather than their rap monikers: Slimelife Shawty, Unfoonk, Lil Duke and even the chart-topper Gunna, who is nominated for two Grammy Awards at next month’s ceremony in Los Angeles.Each pleaded guilty to a racketeering charge, some to other crimes. And each agreed, in open court, that the famed Atlanta rap crew they were associated with — YSL, headed by the enigmatic star Jeffery Williams, or Young Thug — was not only a renowned hip-hop collective, but also a criminal street gang.At the hearing for Slimelife Shawty, born Wunnie Lee, a prosecutor prompted him to acknowledge that his associates “have committed at least one of the following acts in the name of YSL: murder, aggravated assault, robbery, theft and/or illegal firearms possession.”“Yes, ma’am,” Mr. Lee, 24, said.The case has pitted law enforcement officials who say they are determined to stamp out a violent gang problem against those who see it as yet another moral panic inspired by rap, in a city with one of the most vibrant scenes in the nation. And it has once again raised questions about whether lyrics should only be taken as artistic expressions meant to portray a harsh reality, or as evidence of crimes.The guilty pleas by the four Atlanta rappers and four other men associated with YSL, all of whom are now free after seven months in jail on probation or with requirements that they meet special conditions, may have bolstered prosecutors’ blockbuster case against 14 other alleged members of the group, who are accused of conspiracy to commit racketeering, gang statute violations and more. Jury selection began last week, and the judge estimates that the trial could last six to nine months.Most remarkable among the remaining defendants is Mr. Williams, 31, whose iconoclastic mystique and psychedelic flow have landed him on pop hits, the “Saturday Night Live” stage and in Vogue. With a maximum 120-year sentence hanging over his head, the man who fans worldwide have come to love as Young Thug — but whom prosecutors describe as a cutthroat gang leader — is now facing the prospect of growing old in prison.Young Thug performed with Gunna (seated on piano) on “Saturday Night Live” in 2021, the year two albums headlined by Young Thug hit No. 1 on the Billboard 200 chart.Will Heath/NBC, via Getty ImagesThe indictment charges Mr. Williams with participation in criminal street gang activity and of furthering the interest of a criminal conspiracy through a number of illegal acts; it does not charge him individually with most of those acts, which include accusations that he rented the car used in the murder of a rival gang leader and provided safe harbor for those responsible after the killing.Mr. Williams has denied everything. “Jeffery is a kind, intelligent, hard-working, moral and thoughtful person,” his lawyer, Brian Steel, said in a statement, arguing that the rapper had been wrongly targeted by law enforcement because of his fictional persona. “Despite the unthinkable oppressive, impoverished and cruel conditions of his upbringing, he has been able to cultivate his creative genius to lawfully and ethically attain phenomenal worldwide success.”The case has deeply shaken the pop culture universe, especially in Atlanta, Mr. Williams’s hometown, which can stake a claim as the hip-hop capital of the world. Fans, fellow artists, record executives and influential figures including Stacey Abrams, who was the Democratic nominee for governor last year, have sounded notes of concern, even outrage.Some have accused the prosecutor, Fani T. Willis — the aggressive district attorney for Fulton County, a Black Democrat who is best known for pursuing the criminal investigation into postelection meddling in Georgia by former President Donald J. Trump — of applying a “gang stereotype” to Atlanta’s rap community, and putting Black art on trial.The case has prompted an outcry, given how artists from the poorest parts of Atlanta have shaped global popular music. Young Thug’s nickname and YSL’s slang term of choice — slime — has gone international, its “wipe your nose” hand gesture a popular N.F.L. celebration.But the recent admissions in court point to a parallel reality: In Atlanta, law enforcement officials say, it has become increasingly difficult to discern the difference between some rap crews and street gangs, and to disentangle where exactly the credibility-obsessed art form overlaps with criminality.Ms. Willis contends that Atlanta is suffering from a plague of gang violence, estimating — with a hazy explanation for the figures — that up to 80 percent of violent crimes in the area are committed by gang members. She says that an eight-year war between YSL and a rival gang known as YFN, headed by another major-label rap artist, has accounted for more than 50 incidents.But in a city with a well-established path from the hardest streets to a world of fame, fortune and major awards shows — often via songs that chronicle, and some argue glorify, an outlaw life of drugs and guns — the nature of gang culture is also mutating, according to the authorities, with social media and music increasingly important to establishing dominance and influence.So while many young Black men in Atlanta see an escape in turning their dire circumstances in neglected communities into hard-edged rap music, investigators say some of it serves to establish clout, inspire fear, recruit members and fund illegal activity.“We believe that Mr. Williams doesn’t sing about random theoretical acts — he sings about gang acts he’s a part of,” Don Geary, then a lawyer for the district attorney’s office, said in court last year.Authenticity, an always slippery but foundational concept in hip-hop, has taken on even greater significance in the internet age. In places like Atlanta, it is a crucial selling point for the unflinching style of hip-hop known as trap music, which builds on earlier iterations of gangster rap and centers on the drug trade.And on social media, fans follow not just the music, but the lives of rappers and their associates, keeping scorecards of beefs and scores settled, even rooting them on.“It feels like they’re playing Grand Theft Auto in real life, and people are commenting on a video of them playing Grand Theft Auto,” said Gerald A. Griggs, president of Georgia’s conference of the N.A.A.C.P.Blurring the lines between gangs and musicAtlanta was not traditionally a stronghold of the major national gangs that took root in prisons and cities like New York, Los Angeles and Chicago. But as a rapidly gentrifying city with some of the highest income inequality in the nation — and in a state with some of the laxest gun laws — gang culture has changed.Most common now, experts say, are what are known as “hybrid gangs”: looser constellations mixing members from various national sets, local crews and neighborhood cliques. These groups may have connections to the Bloods, Crips or Gangster Disciples, but often without their rules and hierarchies.While some traditional gangs, like the Mafia, are strict, top-down enterprises earning money through illicit business, the chief mission of today’s groups may be simply bolstering the brand.“That lack of structure makes it dangerous and unpredictable,” said Cara Convery, a former deputy district attorney for Fulton County who now runs a statewide unit targeting gangs. Money and territory remain important, she added, but “respect is still the primary currency of all of these gangs — it’s everything.”In places like Atlanta, law enforcement officials contend, it has become commonplace to align primarily with homegrown stars, who can offer aspirants prestige and money.“The new color lines,” said Marissa Viverito, a gang investigator in Ms. Willis’s office, “are the rappers.”The authorities say they are not targeting famous individuals or rap, a varied art form, writ large. Instead, they say, prosecutors hope to hold those at the top of the criminal food chain accountable, even when they overlap with a beloved, city-defining cultural product.Recent high-profile crimes said to be gang-related include the July 2020 killing of an 8-year-old girl; home break-ins targeting celebrities that have been tied to a recently indicted group called Drug Rich; and the December shooting deaths of two boys, ages 12 and 15, near the popular Atlantic Station mall.Fani T. Willis, the district attorney for Fulton County, contends that Atlanta is suffering from a plague of gang violence.Ben Gray/Associated PressMs. Willis is a seasoned prosecutor who took office in January 2021, amid a spike in homicides and growing unease about violent crime. Her work investigating Mr. Trump, which could result in indictments this year, has earned plaudits from liberals. But her focus on gangs has also made her a de facto ally of conservative leaders who have raised alarms about a statewide problem.Ms. Willis has expanded her anti-gang team and promised to make vigorous use of the state’s Street Gang Terrorism and Prevention Act and its Racketeer Influenced and Corrupt Organizations act, or RICO. She charged Mr. Williams, or Young Thug, under both laws, and has done the same for his rival Rayshawn Bennett, the rapper known as YFN Lucci, and his associates.Her beefed-up focus on gangs stands in contrast to other prosecutors, like George Gascón, the Los Angeles County district attorney, who in 2021 reduced, renamed and reorganized his office’s famous Hardcore Gang unit, moving away from a “purely prosecutorial model.”Ms. Willis has faced criticism for her hard-line approach to gangs, especially her office’s use of rap lyrics in indictments, which critics say raises First Amendment concerns.“People can continue to be angry about it,” Ms. Willis said at a news conference announcing the racketeering indictment against Drug Rich, which also included lyrics. “I have some legal advice: Don’t confess to crime on rap lyrics if you do not want them used. Or at least get out of my county.”Lawyers for Mr. Williams have called the practice unconstitutional, arguing it is “racist and discriminatory because the jury will be so poisoned and prejudiced.”Ms. Abrams, the prominent Democrat, said at a campaign appearance with the rapper 21 Savage last year that while “bad actors should be held accountable,” she did not believe that lyrics should be used as the basis for criminal charges. “The reality is we cannot thwart the entertainment industry in pursuit of justice,” she said.But the authorities argue that songs are no different than a text message or a confession, if the content can be tied to real-life events. (Prosecutors, for example, say that after YSL members fired on the home of YFN Lucci’s mother, Young Thug rapped, “I shot at his mommy, now he no longer mention me.”)“It’s a dangerous line,” said Ms. Convery, the gang prosecutor. “Art and expression and exaggeration surround all of this stuff.” However, she added: “If you are making music about the crime that you committed, I think it’s evidence. It would be crazy to leave that on the table.”Some critics are concerned that the justice system’s focus on young Black men seems to come at the expense of other issues, including Georgia’s white nationalist groups, and worry that Ms. Willis’s aggressive use of RICO statutes, which give prosecutors wide leeway, could wrap up innocent people.“When you blur the line between a criminal street gang and a music label, that could bring a lot of people into the net that don’t have anything to do with furthering criminal acts,” said Mr. Griggs, of the N.A.A.C.P.In a video interview from jail before his guilty plea, Mr. Lee, better known as Slimelife Shawty, said he had been wrongly ensnared by the scope of the case.Unlike other YSL defendants, some of whom were charged with murder, drug dealing and assault, he was accused of a single count: racketeering, or furthering YSL’s criminal enterprise by making music videos, posting online and rapping vague but threatening lyrics.At his Dec. 16 plea hearing, however, Mr. Lee confirmed that he had sent a message containing rat and brain emojis to a witness in a YSL-affiliated suspect’s murder case. Prosecutors interpreted this as a threat of violent retaliation.Mr. Lee was one of many young people who grew up along Cleveland Avenue, a desolate South Atlanta corridor, and were inspired by Mr. Williams and his transformation into the global star Young Thug.Rapping the often-violent content audiences wanted to hear, Mr. Lee said from jail, became “our main go-to to get out of this place.”A rap innovator on trialAccording to court documents, YSL was founded along Cleveland Avenue in late 2012 by Mr. Williams and two other men, both of whom have pleaded guilty in the case.But while the rapper’s defense team argues that he was repping Young Stoner Life, a fledgling record label and lifestyle brand, prosecutors say it was first Young Slime Life, an upstart criminal organization with ties to the national Blood offshoot Sex Money Murder.The battle with crosstown rivals YFN was sparked in 2015 with the murder of Donovan Thomas, known as Nut, a behind-the-scenes connector instrumental in the rap careers of YFN Lucci and Rich Homie Quan, a once-frequent collaborator of Young Thug.In the aftermath of the killing, the authorities say, many in the city picked sides as retaliatory shootings spilled across Atlanta.Prosecutors say Mr. Williams rented the car used during the fatal shooting of Mr. Thomas and then urged those involved to “lay low,” giving them cash and traveling with them to Miami, according to the guilty plea last month of a YSL founder charged in the case, Antonio Sledge.As law enforcement opened its investigation into the murder, Mr. Williams’s profile as a whimsical, genre-shifting musician — with attention-grabbing fashion sense that includes, in defiance of macho gangster stereotypes, wearing dresses — only grew.Last January, not long before the indictment, 300 Entertainment, the label that had signed Young Thug and his YSL imprint, sold to Warner Music for a reported $400 million.At a bail hearing last year, Kevin Liles, the chief executive of 300, was brought to tears on the stand describing Mr. Williams and “how good this guy is,” pointing to the rapper’s generosity and mentorship. He said in a statement on Wednesday: “Young Stoner Life Records is and always has been exclusively a recorded music partnership with Jeffery Williams. Nothing I’ve seen has changed my point of view.”But the authorities say Mr. Williams’s good deeds were a cover for his dark side. The case seeks to tie him to a spate of other violent crimes, including a 2015 tour bus shooting that targeted Lil Wayne, a one-time idol turned rival.Whether or not Young Thug is found to be YSL’s mastermind, there may be lasting consequences for members who publicly identified it as a gang. Artists who came up under him, like Mr. Lee and Gunna, born Sergio Kitchens, now face accusations of being snitches — a potentially fatal label for rappers who trade in toughness and loyalty.Mr. Kitchens, who like the others had agreed to testify as part of his plea deal, released a statement saying he would claim his Fifth Amendment privilege if called. And on Instagram, Mr. Lee said his plea did not tell the authorities anything they did not already know.“I admitted Young Slime Life was a gang ’cause it ain’t illegal for no group to be a gang,” he said, adding that he did not know anything about specific crimes. “Look it up.”As Slimelife Shawty, he teased, he would soon be rapping about all of it.Audio produced by More

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    Celebrities Remember Lisa Marie Presley

    On social media, they recalled her talent, her kindness and her struggles.Celebrities expressed shock and heartbreak on social media over the death of Lisa Marie Presley, the singer-songwriter and only child of Elvis Presley.“There is heartbreak and then there is sorrow. This would be sorrow and on more levels than I can count,” the Smashing Pumpkins singer Billy Corgan said late Thursday on Instagram, where he also shared a photograph of himself with Ms. Presley. “I truly cannot find the words to express how sad this truly is.”“Lisa baby girl, I’m so sorry,” the actor John Travolta said on Instagram. “I’ll miss you but I know I’ll see you again.”The songwriter Linda Thompson, who dated Elvis in the 1970s, also took to Instagram. “My heart is too heavy for words,” she said.The fashion designer Donatella Versace said on Instagram that she would never forget the times they spent together, adding: “Your beauty and your kindness shone so bright.”“So sad that we’ve lost another bright star in Lisa Marie Presley,” the actress Octavia Spencer said on Twitter. “My condolences to her loved ones and multitude of fans.”The Twitter account of the Golden Globes awards said “We are incredibly saddened” by the news of her death. Ms. Presley’s last public appearance was on Tuesday at the awards ceremony to celebrate Austin Butler, who won Best Actor for the title role in the Baz Luhrmann biopic “Elvis.”“Lisa Marie Presley … how heartbreaking,” singer LeAnn Rimes Cibrian said on Twitter. “I hope she is at peace in her dad’s arms.”Some celebrities also remembered the difficulties that she had faced.“Lisa did not have an easy life,” the actress Leah Remini said on Twitter, adding that she was heartbroken by the news. “May she be at peace, resting with her son and father now.”Ms. Presley lost her father when she was 9. Married and divorced four times, she had also struggled with opioid addiction. Her son, Benjamin Keough, died by suicide in 2020. Less than six months before her own death, she wrote about grieving his loss.Corey Feldman, an actor and singer, said that he had spent hours on the phone with Ms. Presley when she was divorcing the singer Michael Jackson. Benjamin Keough was “like a little brother” to him, Mr. Feldman said.“So much loss, so much tragedy,” he said on Twitter, adding that “She was a beautiful, powerful woman” who wanted to “make her own rules.”“A sweet and gentle soul,” the actor Cary Elwes said on Twitter. “We send our deepest, heartfelt condolences to Priscilla, Riley and her family and friends.” More

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    Is It Toxic to Tell Everyone to Get Therapy?

    It has become a social credential to be in therapy. It’s also incredibly difficult to access.About 30 minutes into “Stutz,” a new Netflix documentary from Jonah Hill, the movie’s slick veneer cracks open to expose a deeper artifice. We see Hill and his therapist, the 70-something Phil Stutz, shot in crisp black and white, sitting side by side in what appears to be Stutz’s Los Angeles office. Hill has long hair and a scraggly beard; he says he’s going to use one of Stutz’s treasured “tools,” and he closes his eyes and takes a deep breath. Then he makes a confession: “I’ve been lying to you in our private therapy sessions.” As he reveals this, the film flips into color and lays bare that they are actually on a set, in front of a green-screen simulation of Stutz’s office. Hill removes the wig he has been wearing to hide a haircut. The film’s initial premise was that we were seeing a single session unfold, but we now learn that it has been filmed over the course of two years — and Hill, in his real sessions, has been hiding his feeling that the project is stuck.Hill’s mission, announced early in the film, is to spread the healing power of therapy and share Stutz’s psychological tools with Netflix’s enormous audience. But the whole endeavor, he now tells Stutz, has felt “weird and false.” For half an hour, Hill has played the role of a distanced documentarian, interviewing Stutz while dodging any personal questions he received in return — like one about being an overweight kid and the conflict that generated with his mother. “I’m not going to go into it because this film is about you, not me,” Hill says. But the film, he eventually comes to realize, is like therapy itself: It can’t work unless he is willing to be vulnerable and share his own grief, fear and insecurity. The movie’s breakdown, however contrived, is meant to replicate a breakthrough — an opportunity to take a risk, connect with others and move forward.In today’s therapy-saturated culture, you hear countless messages about what therapy is and what it is for, many of them starkly different from Hill’s. Back in 1979, the historian and critic Christopher Lasch wrote that the New Left had retreated from politics and turned inward, focusing on personal psychological well-being instead of external collective struggles. These days that is funnily reversed: Psychology is often used, especially online, as a way to collectively press others. In some corners therapy has become a kind of social imperative, something anyone can urge strangers to engage in — not so they can explore their own experiences, but so their psychic toxicity can be contained before it spills onto others. Social media is filled with memes and jokes in which people “beg” men to get therapy, or deploy variations of the formula that “men will literally do anything but go to therapy.” On dating apps, being in therapy can vouch for your emotional soundness, while not being in therapy may be considered a red flag. Articles suggest, in the words of one writer, that “therapy could be the secret to a flourishing love life.”Hill had to confront the fact that therapy is irreducible to a set of abstract tools.These competing images of therapy — one personal, the other social — each stem from the basic assumption that therapy can do a lot of people a lot of good, and from the impulse to share it widely. The version we see in “Stutz” is based largely on self-exploration; by revealing the parts of ourselves we often hide, it suggests, we come to know ourselves more deeply and live our lives more fully. (Hill says he originally came to Stutz “out of desperation to get happier,” having “no healthy self-esteem” despite his wild success in Hollywood.) Therapy as a kind of social credential, meanwhile, is more about proving to others that you are safe to engage — that your projections, defenses and unresolved traumas won’t hurt those around you. One is akin to cleaning up roadside litter because you think it’s the right thing to do; the other is like slipping on a fluorescent vest and picking up garbage because a court so ordered.It did not take long for therapy to go from a social taboo to something very much out in the open. The pandemic only furthered this shift, leaving countless Americans alone (meaning, for some, in bad company) amid incessant talk of mental health and an ever-growing bombardment of content taking therapy to the masses. Young people have been especially hard hit: In 2021, 44 percent of high schoolers reported persistently feeling sad or hopeless. No wonder that young people have also seemed especially receptive to absorbing the ideas of therapy into their lives and their lexicons — speaking with casual familiarity about triggers and traumas and diagnoses.On “therapy TikTok,” therapists amass millions of followers, to whom they offer tidbits and buzzwords about things like attachment styles. Pop stars like Ariana Grande and Demi Lovato serve as spokespeople for teletherapy companies. Other celebrities incorporate mental-health awareness into their work. The singer-actor Selena Gomez has released a documentary, “My Mind & Me,” about her own mental illness; in September, the rapper Megan Thee Stallion introduced a mental-health website linked to her album “Traumazine,” which features a song called “Anxiety” (“I’m a bad bitch, and I got bad anxiety”). Divulging mental-health struggles has become routine among pop figures, a way of both connecting with young fans and offering a message that it’s OK to seek help.And yet high-quality psychotherapy remains staggeringly expensive and hard to find. According to the American Psychological Association, six in 10 psychologists say they don’t have openings for new patients. (My own therapist’s website says there’s a waiting list for teletherapy.) Reading about therapy on social media, I came across a popular post from the writer Casey Johnston, who summed up the search for a therapist like this: “Finding a therapist is simple, just contact 50 people, 25 are no longer in network, 15 don’t answer, 5 have switched to $600/hr life coaching, 2 don’t like your vibe, one now only does pets.” The shortage is especially acute for professionals who work with children and teenagers.In lieu of access to actual therapy, we seem to be inundated with content about therapy, as though its material scarcity creates an urge to spread the gospel by other means. You can devour never-ending media feeds promising tools to help process trauma, techniques to regulate emotions, tips for setting healthful boundaries. But something crucial to therapy feels missing when we’re absorbing these ideas passively, in solitude.What Hill came to realize while making “Stutz,” after all, is that his true subject isn’t his therapist or the tools he has learned. The real action is found in the sui generis nature of the patient-therapist relationship itself — one that is vulnerable, endearing and genuinely moving to watch. Those of us doing the watching are mere viewers engaged in a risk-free parasocial relationship, connecting to someone else’s connection. Hill had to confront the fact that therapy is irreducible to a set of abstract tools. This is something different from any of the millions of articles or TikTok videos offering, say, nine tips for handling a narcissist. All the therapy content online helps to demystify something that long operated behind closed doors, but it also underlines a new problem — that many of us are facing these challenges alone.Source photographs: Netflix More