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    Kendrick Lamar and SZA Bring Storms and Celebrations to the Stadium Stage

    The rapper and R&B star are taking victory laps for smash hits and albums. But their co-headlining tour is still threaded with angst and reflection.A little over a year ago, Kendrick Lamar had a comfortable perch as one of hip-hop’s most popular performers, and also the most pious. Then came his monthslong quarrel with Drake, which turned into a referendum on ethics in hip-hop (and life). That led to the emergence of Lamar as a maker of tsk-tsking anthems, which turned into his leanest and meanest album to date. Then came a valedictory performance at one of the biggest stages in the world: the Super Bowl halftime show in February.The outlier song on that album, “GNX,” is the SZA duet “Luther,” which has reigned atop the Billboard Hot 100 for 11 weeks. It’s both sweet and dour, a love song that somehow romanticizes the obstacles that get in the way as much as the affection itself.Despite the success of “Luther,” Lamar and SZA aren’t necessarily natural duet partners; they’re two complementary but not overlapping styles of sentimentalist. Lamar treats remembrance as if it’s a moral act, and SZA expresses a kind of agitation about looking backward. They’ve shared a record label and collaborated several times over the past decade — some good songs, some great ones, all of them in slight tug of war with themselves.That added a layer of complexity to their current outing, the Grand National Tour, which came to MetLife Stadium in East Rutherford, N.J., on Thursday night for the first of two performances. Even if the overall song count tilted a bit in Lamar’s favor, it was in essence a co-headlining event: Lamar, his popularity at its peak, touring stadiums for the first time, while SZA takes a victory lap for “S.O.S.,” her beloved 2022 album.Lamar’s set list right-sized the role of the Drake beef in his career arc — important and perspective shifting, but not dominant.Graham Dickie/The New York TimesFor almost three hours, Lamar and SZA traded control of the stage, a few songs at a time, a conceit that gave the performance quickness and unpredictability. Sometimes they’d hand off the spotlight with a tender duet, little dollops of warmth amid the high-energy, boldly produced presentation. (Others have taken this trade-off approach before: Beyoncé and Jay-Z, Charli XCX and Troye Sivan.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Muni Long, Victoria Monét and Other Women Reinventing R&B

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

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    Breaking Down Kendrick Lamar’s Drake-centric Super Bowl Halftime Show

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeOn Sunday in New Orleans, Kendrick Lamar became the first solo rapper to headline the Super Bowl halftime show, performing a medley of hits, deep cuts and Drake disses.Writing in The New York Times, the critic Jon Caramanica called it both “curiously low-key” and, in the case of the climactic use “Not Like Us,” complete with a Serena Williams cameo, “quite a spectacle — perhaps the peak of any rap battle, ever.”Immediately after the game, on an emergency episode of Popcast, we discussed the way Lamar’s beef with Drake provided the momentum of the performance; the cameos from SZA, Samuel L. Jackson and Williams; the rest of the set list, including an unreleased, fan-favorite track (and no “Alright”); the surprise leak of the show a few days early; the protester who unveiled a flag for Gaza and Sudan; and whether this is finally the end of the biggest beef in hip-hop history.Connect 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.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More

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    Kendrick Lamar’s Super Bowl Halftime Show: The Peak of All Rap Battles?

    The first rapper to headline the N.F.L.’s biggest stage solo made his Drake diss “Not Like Us” the centerpiece of his set at the expense of a larger statement.Of course he performed “Not Like Us.”In the lead-up to Kendrick Lamar’s headline performance at the Super Bowl LIX halftime show on Sunday night, most of the chatter focused on whether he would play the song that was effectively the knockout blow in his monthslong battle with Drake last year. The song that became Lamar’s signature hit, and a generational anthem. The song that won both record and song of the year at the Grammys just a week ago. The song that appeared to recalibrate hip-hop’s power rankings, perhaps permanently.So yes, Lamar played the song. Toward the end of the set, of course, building up anticipation with a couple of brief musical nods to it, toying with the audience’s emotions and thirst.Lamar leaned on songs from his most recent album, “GNX,” like “Man at the Garden” and “Peekaboo.”Doug Mills/The New York TimesBut what will always be remembered from this performance is not the musical choices Lamar made, or the aesthetics of his choreography, or the silhouettes of his outfit. What will remain is his grin when he finally began rapping that song. It was wide, persistent, almost cartoonish in shape. The grin of a man having the time of his life at the expense of an enemy.Lamar is perhaps the most sober of all of hip-hop’s contemporary greats, a ferocious storyteller who values tongue-tripping polemics and introspection; he is not exactly a beacon of joy. During the beef, he appeared to take on the dismantling of Drake as necessary homework.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Cash App Wades Into the Exclusive World of Presale Concert Tickets

    Legacy credit cards and banks aren’t the only banking options to come with perks for premium access to events anymore.When Kendrick Lamar and SZA announced a joint tour this week, there were no American Express, Citibank or Capital One presale codes in sight. Instead, fans reached for the digital payments platform Cash App, and some even dropped their handles across social media in hopes that someone would donate to their ticket funds.Legacy brands aren’t the only banking options to come with such perks as early access to performances anymore.For their Grand National tour, which will be debuting in the spring, SZA and Lamar partnered with Cash App for early access, the latest move by the payment platform to try to open up what has become an exclusive ticket-access process.The “Grand National Tour” poster for the tour of Kendrick Lamar and SZA, featuring Cash App as one of the partners. “Everyone should have access to the financial system, and that includes the rewards that come along with premium credit cards,” said Catherine Ferdon, the chief marketing officer for Cash App. “Most artists don’t really care what their fans’ credit score is or if they carry a luxury credit card in their wallet. They care that their fans love their music and can get access to it easily.”Generally, the credit cards that grant access for concert presales come with “pretty significant barriers to entry,” Ms. Ferdon said, including high annual fees, credit score requirements, and qualifying for a high credit limit. Cash App acts like a prepaid debit card and does not require users to have a bank account or credit approval. A physical Cash App card was required for the presale.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Digging Into Kendrick Lamar’s Samples

    Listen to some of the most notable sonic references on “GNX,” from SWV, Luther Vandross and Debbie Deb.Kendrick LamarAJ Mast/The New York TimesDear listeners,On Friday, the rap superstar Kendrick Lamar surprised everyone by releasing his sixth studio album, “GNX,” without warning. It is a fitting finale to a triumphant year for Lamar, who emerged victorious by just about every measure from a high-profile beef with hip-hop’s pre-eminent hitmaker Drake and scored one of the biggest smashes of his career with the caustic diss track, “Not Like Us.” The Compton rapper’s victory lap will continue into new year, too: On Feb. 2, he’s up for seven Grammys. A week later, he is set to headline the Super Bowl halftime show.On his intricately layered 2012 breakthrough “good kid, m.A.A.d. city” and its grand 2015 follow-up, “To Pimp a Butterfly,” Lamar established himself as an artist capable of epic statements and sweeping concept albums. He also proved to be a musician who takes his time between releases, tinkering with his bars and polishing sonic worlds until they are as close to perfect as he can make them. “GNX,” though, is a different kind of Lamar album: It’s lean, mean and immediate. The beef with Drake, as my colleague Jon Caramanica suggests in his sharp review of “GNX,” seems to have made Lamar more reactive and nimble, bringing him into the present tense.Accordingly, “GNX” carries its sense of history more lightly than some of Lamar’s denser releases — though it is still an album in deep conversation with the past and present sounds of West Coast rap. In order to evoke that history, Lamar often turns to one of hip-hop’s signature arts: sampling.Today’s playlist compiles the sources of some of the most notable sonic references on “GNX” — from SWV, Luther Vandross and Debbie Deb — and follows up on them with Lamar’s own tracks, so you can hear the ways he and his producers flip them into something new. It also features a few samples from earlier Lamar hits.This playlist is just a brief introduction to the samples in Lamar’s discography — “GNX” alone is overflowing with them. But I hope it’s an invitation to listen more deeply to all the references, homages and historical conversations happening between the lines of his music.Also, a programming note: I won’t be sending out a new edition of the newsletter this Friday, because of the holiday. If you need a Thanksgiving playlist, might I suggest revisiting this one from last year?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    A Bizarre Love Triangle Playlist

    Sabrina Carpenter, Loretta Lynn and SZA sing about all the points on a love triangle.Sabrina Carpenter’s “Taste” was the most successful of this year’s triangular tunes.Brendan Mcdermid/ReutersDear listeners,Today’s playlist is all about one of popular music’s favorite shapes: the love triangle.Full of drama, secrets and passion, songs about love triangles have never exactly gone out of style. But as I’ve been considering some of the patterns and trends in this past year of pop music, I’ve noticed that they’re more popular — and in some cases, subversive — than ever.This year has specifically been full of songs in which the singer is unusually fixated on “the other woman.” The most successful is “Taste,” a sassy, innuendo-stuffed pop-country smash by one of the year’s breakout stars, Sabrina Carpenter. “I’ve heard you’re back together,” she sings to her love interest’s former and current squeeze. “And if that’s true, you’ll just have to taste me when he’s kissing you.” That refrain has more than a hint of queer subtext, which Carpenter makes explicit in the campy, surprisingly gory music video, which ends with her kissing her female rival (played by Jenna Ortega) and the two accidentally killing their shared beau. In a twist, they’re not terribly bothered by it.But “Taste” wasn’t the only 2024 song with an eye on the other point of the triangle. Released in March, Olivia Rodrigo’s “Obsessed” — a track from the deluxe edition of “Guts” — finds the singer haunted by the imagined perfection of her current partner’s ex-girlfriend: “If I told you how much I think about her, you’d think I was in love,” she sings. Another prominent triangular tune, Billie Eilish’s “Wildflower,” from “Hit Me Hard and Soft,” has become such a beloved fan favorite that it has spent 26 weeks on the Billboard Hot 100. “I see her in the back of my mind, all the time,” Eilish sings of a partner’s ex — whom Eilish comforted when they first broke up, causing her to wonder, “Did I cross the line?”These songs all suggest some sort of transference and, at times, even a flirtation with both opposing points on the love triangle. Pop songs about same-sex desire are not nearly as taboo as they once were, and I suspect the surge in these sorts of songs reflect that shift.But in another sense, they’re telling a tale as old as time, a point I wanted to underscore by putting them in conversation with some older tracks. On today’s playlist, you’ll hear all the aforementioned songs, along with classics from the Cars, Loretta Lynn and Robyn, among other artists. It also features a certain global superstar’s 2024 remake of the ultimate “other woman” song, “Jolene.” No matter how you slice it, it seems, three’s a crowd.I know I’ve been known to share,LindsayWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    The Viral Choreographer Changing the Way Women Move

    In February 2023, Rihanna took the field during the Super Bowl LVII halftime show for her first performance in five years. As the opening notes of “Rude Boy” played, a group of dancers in identical puffy white suits and sunglasses gathered in the middle of the stage, moving with forceful precision, gathering speed as the […] More