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    2024 Met Gala After-Parties: Usher, Serena Williams and Other Celebs

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    One reason the Met Gala after-parties are nearly as famous as the Met Gala itself has to do with an incident that took place 10 years ago at the Standard Hotel in the West Village of Manhattan.On that night, Beyoncé was a star of the red carpet at the Metropolitan Museum of Art, along with her husband, Jay-Z, and her sister Solange Knowles. Afterward, in an elevator car headed to the Boom Boom Room, the club on the top floor of the Standard, Solange attacked her brother-in-law while Beyoncé stood watching and a bodyguard tried to restore order. The security-cam footage leaked to TMZ and the internet, and a family fight became the stuff of New York social lore.Things were less dramatic this year and less star studded at the annual Standard after-party. Just past midnight, the most famous person at Boom was the designer Christian Siriano, who had arrived with his date for the evening, the model Coca Rocha. Connie Fleming, the hotel’s longtime doorwoman, reflected on the changes in the social atmosphere since the heady days of 2014.“I think the Met Gala has peaked in its base of being about real fashion and real fashion people,” said Ms. Fleming, who became one of the trans community’s first stars in the 1990s, when she walked runways for Thierry Mugler.Christian Siriano and Coco Rocha at the party at Boom. Nina Westervelt for The New York TimesLil Nas X and Camila Cabello at Boom.Nina Westervelt for The New York TimesPedro Oberto and Marc Bouwer.Nina Westervelt for The New York TimesWe 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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      Lil Jon: The Popcast (Deluxe) Interview

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, features an interview with the hip-hop and EDM legend Lil Jon in conversation about:Behind the scenes at Usher’s 2024 Super Bowl halftime show, in which Lil Jon was the musical director and a performerThe peak of Lil Jon’s pop fame in the early to mid-2000s, with hits as a performer and producer and sketches on “Chappelle’s Show”The making of the song “Lovers & Friends”Lil Jon’s early days as a D.J., and stories about concerts by the Notorious B.I.G. and Ol’ Dirty BastardAtlanta bass music and “So So Def Bass All-Stars”Early Atlanta punk and skateboarding scenesThe connections between crunk and EDM and drillHis connection to PitbullLil Jon’s introduction to the EDM scene, including Steve Aoki and the Electric Daisy CarnivalGetting healthy later in life and learning about meditationThe fate of his Crunk Ain’t Dead chainSnack of the week: Lil Jon rates Girl Scout cookiesConnect 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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      Ye Has a No. 1 Album for the 11th Time With ‘Vultures 1’

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      The rapper’s collaboration LP with Ty Dolla Sign debuted atop the Billboard 200 with the equivalent of 148,000 in sales.A year and a half ago, the career of Ye — the rapper, producer and controversy generator formerly known as Kanye West — seemed all but dead. After a series of antisemitic remarks in late 2022, Ye lost his major-label record deal and booking agent, along with lucrative fashion partnerships with Adidas, Balenciaga and other brands.But he was never quite abandoned by many of his fans. And now Ye has the 11th No. 1 album of his career with “Vultures 1,” a joint LP with the singer Ty Dolla Sign that Ye released on his own, after previewing it this month with arena events in Chicago and Long Island where tickets went for $140 and up. Ye and Ty Dolla Sign’s new LP beats “Coming Home,” the comeback release by Usher, who had perhaps the greatest platform available to any performer: the Super Bowl halftime show.Ye had been teasing “Vultures 1” since late last year, and, fitting a pattern that long preceded his recent industry-pariah status, the album’s rollout was stumbling and chaotic. After its release to digital services following a listening event on Feb. 9, the LP’s availability briefly flickered, and Ye was quickly accused of borrowing music by Black Sabbath and Donna Summer without permission.Last week, “Vultures 1” again disappeared for a short time from Apple Music and was made unavailable as a download, while behind the scenes there was a switch in the distribution platform that Ye’s brand YZY used to supply the album to digital services. The song “Good (Don’t Die),” which appears to borrow a melody from Summer’s hit “I Feel Love,” was also removed from online versions of the album.“Vultures 1” ended its first week with the equivalent of 148,000 sales in the United States, which includes 168 million streams and 18,000 copies sold as a complete package, according to the tracking service Luminate. It is Ye’s first No. 1 album since “Donda” in 2021.Usher scores his highest-charting album in 12 years, with “Coming Home” arriving at No. 2 after the R&B veteran’s performance at the Super Bowl on Feb. 11, with guests including Alicia Keys, Lil Jon and Ludacris. “Coming Home,” also released independently, had the equivalent of 91,000 sales, including 46 million streams and 53,000 traditional sales. Usher’s last studio album, “Hard II Love,” went to No. 5 in 2016, and “Looking 4 Myself” reached No. 1 in 2012.Also this week, Noah Kahan’s “Stick Season” is No. 3, Morgan Wallen’s “One Thing at a Time” is No. 4 and SZA’s “SOS” is No. 5. More

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      Popcast (Deluxe): Usher, Beyoncé and Ye Lead a Busy Week in Pop

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:Usher’s Super Bowl halftime show performance, which was a showcase for his biggest hits and his obsession with small detailsThe announcement of Beyoncé’s imminent return with a pair of songs suggesting her long rumored country turn is afootTaylor Swift’s big day at the Super Bowl“Vultures 1,” the new album from Ye and Ty Dolla $ign (or ¥$) and how it intersects with Ye’s recent public misbehaviorsNew songs from Mk.gee and Chief Keef & Mike Will Made-ItSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Usher Super Bowl Halftime Review: A Focus on Details With Alicia Keys, Lil Jon and More

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      In a halftime set that touched on more than a dozen songs, the R&B star delivered a raucous Atlanta party and a lesson in intimate showmanship.A few minutes into Usher’s dynamic and sly Super Bowl LVIII halftime show performance Sunday night at Allegiant Stadium in Las Vegas came a moment of uncommon, almost startling calm.Alicia Keys had just appeared, in a sequined red jumpsuit and matching encrusted gown, and rather gratuitously flubbed the opening note of her hit piano ballad “If I Ain’t Got You.”She recovered, and as she approached the end of the chorus, you could hear Usher singing in quiet harmony as the camera panned back, settling on the two of them at opposite ends of Keys’s piano. Usher picked up the final line of the chorus — alone, smooth and confident, almost whispered — before Keys returned to share the last note.Allegiant Stadium holds approximately 65,000 people, but in that instant, there were only two. It was one of the quietest sequences in halftime history, a remarkable testament to the gifts of Usher, a performer of precise detail who is enjoyed best with rapt attention.Usher was joined by Alicia Keys on Sunday.Bridget Bennett for The New York TimesAnd H.E.R. played guitar during his halftime set.Doug Mills/The New York TimesMost of the rest of the performance — which touched on more than a dozen songs — was grander in scale, designed to fill a football field: A small-bore, granular-gestured showcase gave way to an explosive party. But what this set did so well was make plain that Usher’s commitment to minutiae and his capacity for grandeur are fired in the same cauldron. He can control the stage when it is packed to the gills, and he can do it alone. More

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      Usher’s Biggest Songs and Career Highlights: A Super Bowl Guide

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      The singer will perform at halftime of the N.F.L.’s championship game in Las Vegas on the heels of his popular career-spanning residency and the release of a new album.Usher’s “My Way” residency, which began in 2021 in Las Vegas (the town where Frank Sinatra himself once gallivanted), had the R&B singer courting celebrities and viral social media moments for 100 consecutive sold-out shows. The staging was energetic, replete with roller skates and stripper poles.But spectacle wasn’t the only draw. Usher, 45, used the retrospective to showcase the hallmarks of his 30-year music career: pristine vocals, polished but effortless dance moves and heart-melting charm in the tradition of his idols Sammy Davis Jr. and Ben Vereen, his godfather. It’s appropriate, then, that on Feb. 11 the eight-time Grammy winner will perform the halftime show at Super Bowl LVIII in Las Vegas, days after he’s slated to release his ninth studio album “Coming Home,” which he called a “love letter to the legacy of my career.” Here are the eras that have defined Usher’s career.1988-1994New Jack Swing BeginningsAfter starting out in his church choir, Usher began singing professionally at age 10 with an R&B group in his hometown, Chattanooga, Tenn. A solo performance on “Star Search” in 1991 landed him an audition with the LaFace Records co-founder L.A. Reid, who signed him to the label based in Atlanta. Usher moved there at age 12 and worked under the tutelage of producer Sean “Puff Daddy” Combs, who had developed Jodeci and Mary J. Blige. More

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      Usher Proves His Mastery on His New Album, ‘Coming Home’

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      “Coming Home,” his ninth solo album, cruises through every musical challenge.It has taken perseverance, extraordinary musical gifts and a little luck for Usher to land where he is right now. At 45, the R&B singer and songwriter Usher Raymond is releasing his new album, “Coming Home,” just two days before he will headline the Super Bowl halftime show. In December 2023, he completed an acclaimed 100-show residency in Las Vegas. His single “Good Good,” released last summer, has racked up tens of millions of plays on Spotify. It’s one of the 20 tracks on “Coming Home,” an album that sums up and expands what Usher does best.Usher returns in familiar guises on “Coming Home,” his ninth solo album, and first since 2016. He plays a loyal partner (“Keep on Dancin’”), a sensualist (“Please U”), a heartsick ex (“Cold Blooded”), a somewhat repentant cheater (“On the Side”), a confident stud (“Big”) and a proud product of Atlanta (“A-Town Girl,” a catalog of local references that samples Billy Joel’s “Uptown Girl”).The personas are familiar, and so is Usher’s musical universe, with the supple physicality of his vocals floating in electronic soundscapes. But he still comes up with ingenious variations on his longtime subjects. “Good Good,” which features Summer Walker and 21 Savage, is a downright mature post-breakup song about genuinely staying friends afterward. “Usually my exes turn to enemies/But this is different,” Usher marvels.Usher is three decades into a recording career that hit its first commercial peak with his 1997 album, “My Way,” and earned him five consecutive No. 1 albums from 2004 (the blockbuster “Confessions”) to 2012 (“Looking 4 Myself”). He carries the skills of the analog era — when real-time performance was everything — into the digital landscape, making music that’s exquisitely calculated but still places his voice at its emotional core.That voice can be grainy or lascivious or achingly sincere, and it easily ascends to an otherworldly falsetto. Usher draws deeply on some of the best elements of Stevie Wonder and Michael Jackson. He’s also a precise, disciplined and riveting dancer — something to look forward to at the Super Bowl.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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      How Usher Arrived at the Super Bowl Halftime Show

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicIn a 30-year career, Usher has been many things — an R&B prodigy, a history-minded technician, a legitimate crossover pop star, an EDM experimenter and lately, a consummate showman with a Las Vegas residency that prompted untold viral videos of a performer extraordinarily at ease with his gifts.And yet Usher, 45, has long felt curiously undervalued, which perhaps explains why it is only now that he has been offered what might be music’s biggest stage: the 2024 Super Bowl halftime show. (He was a guest during the 2011 show.)On this week’s Popcast, a conversation about Usher’s long career path through several generations of R&B, how he was received at his pop peak, and what he might do on the halftime stage.Guests:Thomas Hobbs, who writes about music for The Evening Standard, The Telegraph and othersDanielle Amir Jackson, editor in chief of The Oxford AmericanConnect 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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      Billy Joel’s Long-Awaited Return to Pop, and 8 More New Songs

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      Hear tracks by Camera Obscura, Yaya Bey, Paramore and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes), and sign up for The Amplifier, a twice-weekly guide to new and old songs.Billy Joel, ‘Turn the Lights Back On’In his first new rock song in nearly two decades, Billy Joel sings about striving to rekindle a romance that has faded to indifference or worse. He blames himself; he longs for forgiveness; he wonders if there’s a second chance; he vows not to give up on “trying to find the magic that we lost somehow.” It’s a stately piano ballad, an heir to “Piano Man,” with Joel’s forthright, unmistakable voice and an orchestral buildup to match the narrator’s rising heartache. JON PARELESCamera Obscura, ‘Big Love’“It was a big love, she said,” Tracyanne Campbell sings on Camera Obscura’s new single. “That’s why it took 10 years to get her out of your head.” It’s been 11 years, actually, since the beloved Scottish indie-pop band released its last album, “Desire Lines,” but Camera Obscura is back in fine form here, combining foot-stomping percussion, electric guitar embroidery, and the clarion tone of Campbell’s voice into a lightly country-tinged sound. A new album, “Look to the East, Look to the West,” will follow on May 3. LINDSAY ZOLADZParamore, ‘Burning Down the House’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