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    Rihanna, Taylor Swift and Beyoncé Missed the 2024 Met Gala

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    In the week leading up to the Met Gala, tabloids volleyed predictions about Taylor Swift’s possible attendance: She would be there with her football player boyfriend, Travis Kelce! Actually, she wouldn’t! She might go but leave Mr. Kelce at home!On Monday night, fans finally got their answer. The party of the year would have to go on without Ms. Swift.Other notable absences from the red carpet: Beyoncé, who had not been expected to attend, and Rihanna, who seemed poised to be the closing act of fashion’s annual parade of one-upmanship.Last year, every other guest had walked the carpet — as had one uninvited cockroach — before Rihanna arrived at 10:15 p.m., wrapped in Valentino camellias that she said made her feel “expensive.”Rihanna, 36, who swung from pop stardom into a prosperous second act as a lingerie and makeup mogul, told Extra TV earlier in the week that she had planned on attending the gala. People magazine reported on Monday that the singer had come down with the flu.The singer had become one of the most hotly anticipated presences on the Met’s steps. Her turn as a miniskirted pope in 2018 touched off an internet frenzy, and the 55-pound, daffodil yellow gown she wore in 2015 helped earn its designer a slot on the haute couture schedule in Paris.The gala’s influence as a joint advertising opportunity for brands, sponsors and celebrities depends in part on the level of star power that is willing to show up. The gala still attracted boldface names this year, including Zendaya and Jennifer Lopez, but many fans online said that the lack of Rihanna had been a blow. (Some even circulated images of the singer hitting the carpet that appeared to have been created by artificial intelligence.)Rihanna has been a frequent presence at the gala in recent years, but Taylor Swift and Beyoncé have not attended since 2016.Ms. Swift began attending the gala in 2008 and was a co-chair in 2016. In the past year she has not exactly been hurting for the Met’s spotlight: Her Eras Tour stimulated both economic and seismic activity on its yearlong (and counting) romp around the world, and her recent album, “The Tortured Poets Department,” overcame mixed reviews to become her 14th release to hit reach No. 1 on the Billboard album chart.Beyoncé attended the gala seven times from 2008 to 2016, toying with silhouette in strapless Armani and mermaid-style Emilio Pucci gowns. She has lately been leading a high-fashion rodeo in wide-brimmed hats and western boots while promoting her album “Cowboy Carter.”Even without showing up to the Met on the first Monday in May, Beyoncé wields immense power in the fashion sphere, Vanessa Friedman, the chief fashion critic of The New York Times, recently wrote: “She is practically a Met Gala unto herself.” More

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      Taylor Swift and Beyoncé Avoided a Collision on the Charts. (Again.)

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      Pop’s two reigning queens are often cast as rivals, but they have continually supported each other — and spaced out their album releases.In February, Taylor Swift took the stage at the Grammy Awards to accept the prize for best pop vocal album. After dutifully thanking the Recording Academy and her fans, she got down to business: “My brand-new album comes out April 19,” she said, in a surprise announcement revealing “The Tortured Poets Department.” It was a heads up for her loyal followers, as well as anyone else in the business with a spring release on the radar: If you want your new album to debut at No. 1, don’t release it on April 19. Or April 26. Or May 3, for that matter.A week later, following a teaser during a Super Bowl commercial, Beyoncé also dropped news of a new album: “Cowboy Carter” would arrive earlier than “Poets,” with breathing room, on March 29. Another pop powerhouse in the Grammy audience made her own announcement in early April: Billie Eilish will unveil her forthcoming third album, “Hit Me Hard and Soft,” a month after Swift’s release, on May 17.Beyoncé and Swift, the 21st century’s pre-eminent pop stars, have often been cast as competitors if not rivals, a story line partly rooted in misogyny and amplified by dueling fan armies filled with stans, or superfans.For their part, the two artists have regularly dispelled the notion over the years. They were first linked, through no fault of their own, at the 2009 MTV Video Music Awards, when Kanye West interrupted a Swift acceptance speech to advocate for her fellow nominee Beyoncé; later that night, Beyoncé brought Swift onstage to finish her remarks. In 2021, Swift shared on Instagram that Beyoncé had sent her congratulatory flowers after Swift won the album of the year Grammy for “Folklore,” calling Beyoncé “the queen of grace & greatness.” And last year, following their blockbuster stadium tours, they appeared at each other’s concert film premieres, a pointed rebuke to message-board zealots looking to sow discord.“Clearly, it’s very lucrative for the media and stan culture to pit two women against each other, even when the two artists in question refuse to participate in that discussion,” Swift told Time magazine. (Representatives for Swift and Beyoncé declined to comment.)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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      Beyoncé’s ‘Cowboy Carter’ Spends a Second Week at No. 1

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      “Cowboy Carter” tops the Billboard 200 for a second week, boosted by physical sales of her album on CD and vinyl.Beyoncé’s “Cowboy Carter” holds at No. 1 for a second week on the Billboard album chart, fending off new releases from J. Cole and the K-pop group Tomorrow X Together.“Cowboy Carter” stays at the top of the Billboard 200 with the equivalent of 125,500 sales in the United States, according to the tracking service Luminate. That total includes 133 million streams and 20,500 copies sold as a complete package. It is the first time Beyoncé has repeated at No. 1 since her self-titled “visual album” in 2013, which notched three consecutive times at the top and was initially available only as a download from iTunes.As in its opening week, Beyoncé’s total was helped by sales of physical copies of her album on CD and vinyl, which for the album’s first two weeks were available only through her website. Since then, retailers have started stocking “Cowboy Carter,” and — as she did with “Renaissance,” her last album, in 2022 — Beyoncé herself showed up for an in-store promo in Los Angeles, where fans could buy autographed LPs. (They quickly appeared on eBay for $2,000 and up.)“Might Delete Later,” a surprise release by the rapper J. Cole, comes in at second place with the equivalent of 115,000 sales, largely from streaming. The album got some attention for a diss track, “7 Minute Drill,” targeting Kendrick Lamar, which J. Cole promptly apologized for and removed from streaming versions of the album.Tomorrow X Together, a five-man South Korean group, opens at No. 3 with “Minisode 3: Tomorrow,” a seven-track mini album, which had 107,500 sales and was offered in 17 collectible CD editions. Also this week, Future and Metro Boomin’s joint album “We Don’t Trust You,” released three weeks ago, falls to No. 4 (a sequel, “We Still Don’t Trust You,” came out on Friday), and Morgan Wallen’s “One Thing at a Time” is No. 5. More

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      Beyoncé’s ‘Cowboy Carter’ Opens at No. 1 With the Year’s Biggest Sales

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      The pop superstar’s new album also reigns on Billboard’s Top Country Albums chart, the first time a Black woman has led that tally in its 60-year history.Beyoncé’s genre-bending “Cowboy Carter” has become her eighth No. 1 album, opening with the biggest sales of any release so far this year.“Cowboy Carter,” billed as “Act II” of a trilogy that began with Beyoncé’s dance-oriented album “Renaissance” almost two years ago, had been expected by fans, and the music industry at large, as primarily a country project. And indeed it features banjos, lyrics about hoedowns and a remake of Dolly Parton’s classic “Jolene.” But Beyoncé’s new release turned out to be a much broader take on modern pop music, with a kaleidoscopic array of references to the Beatles, Nancy Sinatra, Chuck Berry, rap and mellow rock, and critics praised it as a bold vision and a challenge to the historical segregation of pop genres.“Cowboy Country” arrives with the equivalent of 407,000 sales in the United States, and in addition to topping the all-genre Billboard 200 chart it is also No. 1 on the magazine’s Top Country Albums chart, the first time a Black woman has led that tally in its 60-year history. Each of Beyoncé’s eight solo studio LPs, going back to “Dangerously in Love” in 2003, has hit No. 1 on the Billboard 200.Of its composite total sales figure, “Cowboy Country” sold 168,000 copies as a complete album, including 62,000 on vinyl versions sold through Beyoncé’s website. The 27-track full album also racked up 300 million streams, according to the tracking service Luminate — a blockbuster number, but less than Future and Metro Boomin had for their new joint release, “We Don’t Trust You,” which opened at No. 1 last week with 324 million clicks. (That album falls to No. 2 this week, with its overall numbers down 48 percent from the opening.)As impressive as Beyoncé’s numbers were, they may not hold for long as the year’s biggest, with Taylor Swift’s latest, “The Tortured Poets Department,” set for release next week.Also this week, Morgan Wallen’s “One Thing at a Time” is No. 3, Ariana Grande’s “Eternal Sunshine” is No. 4 and “Hope on the Street Vol. 1,” a six-track release by J-Hope of the K-pop giants BTS, opens at No. 5. More

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      Beyoncé’s ‘Cowboy Carter’ Is a Vivid Mission Statement. Let’s Discuss.

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      The pop superstar teased a move to country, then tackled so much more. Three critics and a reporter explore her new album’s inspirations, sounds and stakes.BEN SISARIO I don’t usually say this about news releases, but since Beyoncé says so little about the making of her art, the “Cowboy Carter” announcement was intriguing for noting that “each song is its own version of a reimagined Western film,” and that Beyoncé screened movies while she recorded, including “Urban Cowboy,” “The Hateful Eight,” even “Space Cowboys” (?!).My first reaction to hearing the album was surprised gawking at its range of genre and sound, after she head faked us all into perhaps more limited expectations of “country.” (Of course we should have known better.) Viewed only as a genre-hopping exercise, “Cowboy Carter” might be a confusing jumble. But the film frame puts narrative and character at the center of her message, and with that everything came into clearer focus for me.As a heroine, Beyoncé makes a big, bold statement of her quest in “Ameriican Requiem,” taking on nothing less than American history. She finds villains in Jolene and (ahem) the Grammys. Songs like “II Most Wanted” and “Levii’s Jeans” could be plot-break montages while our conquering cowgirl hangs with some sidekicks she meets along the way. By the final reel she’s recapitulating her complaints and declaring herself the victorious leader of a grand resistance (“We’ll be the ones to purify our fathers’ sins”).SALAMISHAH TILLET I’ve listened to the album so many times now — on a plane, in a spin class, and, as I think she intended, while I drove on the highway (sadly, 280, not the 405). Yes, Ben, she has gone big here! But, instead of longing for some lost past, she is taking on “History” — musical and American — with, as we say in academia, a big “H,” or those big narratives about identity, belonging and discrimination.I almost missed those lyrics, “Whole lotta red in that white and blue, ha/History can’t be erased, oh-oh/You lookin’ for a new America” because I was too busy Proud Marying, jerking and twerking to “Ya Ya.” I think that might be the point — it is as if she saying, “The times are so desperate, I am going to use all the vocal gifts and genres at my disposal to bring the country together and show you how good I am at doing them (again)!”Beyoncé onstage with the Chicks performing “Daddy Lessons” at the 2016 Country Music Association Awards.Image Group LA/ABC, via Getty ImagesWe 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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      ‘Cowboy Carter’ Review: Beyoncé’s Country Is America. Every Bit of It.

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      On the bold, sprawling “Cowboy Carter,” the superstar plays fast and loose — and twangy — with genre.The first song on “Cowboy Carter,” Beyoncé’s not-exactly-country album, makes a pre-emptive strike. “It’s a lot of talking going on while I sing my song,” she observes in “Ameriican Requiem” over guitar strums and electric sitar, adding, “It’s a lot of chatter in here.”That’s an acknowledgment that a pop superstar’s job now extends well beyond creating and performing songs. In the era of streaming and social media, Beyoncé knows that her every public appearance and utterance will be scrutinized, commented on, cross-referenced, circulated as clickbait and hot-taked in both good faith and bad. Every phrase and image are potential memes and hyperlinks.It’s a challenge she has engaged head-on since she released her visual album “Beyoncé” in 2013. For the last decade, even as her tours have filled stadiums, she has set herself goals outside of generating hits. Beyoncé has deliberately made each of her recent albums not only a musical performance but also an argument: about power, style, history, family, ambition, sexuality, bending rules. They’re albums meant to be discussed and footnoted, not just listened to.“Cowboy Carter” is an overstuffed album, 27 tracks maxing out the 79-minute capacity of a CD and stretching across two LPs. It flaunts spoken-word co-signs from Willie Nelson and Dolly Parton that interrupt its flow; it includes some fragmentary, minute-long songs. Its sprawl is its own statement of confidence: that even half-finished experiments are worth attention.The “Cowboy Carter” album cover is an opening salvo, brandishing western and American symbols: Beyoncé holding an American flag while riding a white horse sidesaddle, with platinum-blond hair proudly streaming. In a red-white-and-blue outfit, high-heeled boots and a pageant sash that reads “Cowboy Carter,” she’s a beauty queen and a white-hatted heroine claiming her nation — her country, in both senses. The politics of her new songs are vague and glancing, but the music insists that every style is her American birthright. As a pop star it is: Pop has always breached stylistic boundaries, constantly exploiting subcultures to annex whatever might make a song catchier.Beyoncé grew up in Texas, where country music has long mingled with styles from jazz to blues to hip-hop — and where, in fact, early cowboys were enslaved Black men. Beyoncé met a racial backlash when she performed “Daddy Lessons,” a country song from her 2016 album “Lemonade” about gun-toting self-defense, with the (then-Dixie) Chicks at the 2016 Country Music Association Awards. Presumably that’s what she alluded to when she wrote on Instagram that there was “an experience that I had years ago where I did not feel welcomed.”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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      Beyoncé Fans Turn Out in Nashville to Celebrate ‘Cowboy Carter’

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      On Friday night, in the capital of country music, the artist’s fans showed up in force to celebrate “Cowboy Carter.”Beyoncé fans had spent the day racing from store to store, searching for their first cowboy hat or pair of white cowboy boots. They brought out the denim jackets lined with silver fringe, the brown and white cow print skirts and the silver rhinestones to stud just above their eyelid.Then on Friday night, they headed downtown to the famed strip of honky-tonks and bars on Lower Broadway in Nashville to listen to Beyoncé’s new album, “Cowboy Carter,” a tapestry of not only country music, but also contemporary pop music, funk and other genres.“I’ve never seen so many people that look like me in cowboy hats in my life,” Nia Blair, 24, marveled, dancing in her own pair of new boots. She added, “one album did all this.”There was no shortage of celebrations of the superstar’s new album this week: There were listening parties from Atlanta to Houston, a fan day at the Rock & Roll Hall of Fame in Cleveland and a seemingly endless stream of on-theme posts from brands and politicians.Christian Nevils dances on Friday night.Liam Kennedy for The New York TimesSheldon Thomas, a singer, at the listening party.Liam Kennedy for The New York TimesSunset Wilson and Nadia Agahozo. Liam Kennedy 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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      Luar Brings Beyoncé to Bushwick

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      If you haven’t heard of Luar, you will now.Only two days after Taylor Swift bestowed some of her fairy dust on a niche New York Fashion Week label by wearing Area jeans to the Super Bowl, an even more unlikely moment of celebrity-show synergy occurred: Beyoncé showed up in a warehouse in deep Brooklyn for the Luar show.Yup, Beyoncé’s first public appearance after announcing Renaissance “Act II,” and her first appearance at a New York Fashion Week show in years, was in Bushwick.Even in a world that has become somewhat jaded about celebrity frows (a few hours before the Luar show, Blake Lively, Brie Larson, Gabrielle Union-Wade and Rachel Zegler had shown up at Michael Kors), a Beyoncé appearance at an edgy, independent brand — the kind of brand that doesn’t have the money for pay-to-play arrangements, meaning she must actually like it — was a surprise.It’s the fashion equivalent of winning the attention lottery.The guest of honor made her entrance covered in a blinding number of rhinestones, with mirrored shades and a cowboy hat, toting a Luar bag that she carefully held front and center so it would be in every photograph. Was this a clue to her coming album couturier?Not necessarily. It turned out she and her mother, Tina Knowles, were there to support her sister, Solange, and Solange’s son, Julez Smith Jr., who was making his catwalk debut in the show.That Beyoncé’s appearance would also act like a magnet to bring eyeballs to a label that has been bubbling up through the edges of New York Fashion Week for a few seasons now was a bonus. (Raul Lopez, the Luar designer, was named the 2022 Council of Fashion Designers of America accessory designer of the year and was a finalist for the 2023 LVMH Prize for young designers.)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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      Taylor Swift, Usher and a Kansas City Chiefs’ Super Bowl Win in Las Vegas

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      Take America’s biggest game, add Taylor Swift and Usher, and put it all in Las Vegas, and Kansas City’s repeat as Super Bowl champion makes perfect sense.At some point, the Super Bowl stopped being entirely about football and evolved — or is it devolved — into a corporate carnival with lavish parties, halftime extravaganzas and commercials whose budgets seemed to rival a blockbuster movie.The apex of that transformation arrived with the N.F.L. planting this year’s event in Las Vegas, where the prevailing ethos might well be that a bellyful of anything is barely enough.But Super Bowl LVIII, with its attendant flash — and America’s favorite football fan, Taylor Swift, chugging a beer in a private box — demonstrated on Sunday night how sports stands apart from other types of entertainment.If the Kansas City Chiefs’ 25-22 overtime victory over the San Francisco 49ers was as tightly scripted as Usher’s elaborate choreography, the teams might have been pelted with rotten tomatoes or booed off the stage by halftime. It was mostly an evening of stumbles and bumbles: two fumbles, an interception, a muffed punt, a blocked extra point, a raft of untimely penalties — and for the 49ers enough regrets to last a lifetime.But all the mistakes and all those field goals — seven in all — would eventually be subsumed by the tension that unfolded in the fourth quarter and continued on into overtime of what became the longest game in Super Bowl history.Kansas City receiver Mecole Hardman caught the winning touchdown with three seconds left in the first overtime period.Bridget Bennett 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