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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’s ‘Tortured Poets’ Breaks Records With Blockbuster Debut

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      Only the Beatles have more No. 1 LPs now: The pop superstar reigns atop the Billboard 200 for the 14th time with the equivalent of 2.6 million album sales.There was never any doubt that Taylor Swift’s latest release, “The Tortured Poets Department,” was going to be big. The question was just how big.And the answer is, gigantic.“The Tortured Poets Department,” Swift’s 11th studio album, opens at No. 1 on the Billboard 200 album chart with historic numbers, including huge results in streaming and vinyl sales. It is Swift’s 14th chart-topping title, tying her with Jay-Z for the second-most No. 1 albums by any act in the 68-year history of Billboard’s flagship album chart; only the Beatles, with 19, have more.In its first week out, “Tortured Poets” had the equivalent of 2.6 million album sales in the United States, according to Luminate, which tracks the data behind Billboard’s charts. That is the biggest overall first-week take for any album since Adele’s “25” in 2015, which opened with nearly 3.5 million, driven by in-store CD sales.The “equivalent” figure is a composite, based on a formula used by Luminate and Billboard to reconcile the various ways listeners now buy and consume music. And in each way, “Tortured Poets” was a smash.It sold 1.9 million copies in traditional album sales, including 859,000 for vinyl alone, which blew away Swift’s own previous record of 693,000 LPs, set just six months ago. Advance sales through Swift’s website — begun the day Swift announced the album, at the Grammy Awards — were key. She offered an array of tinted vinyl variants and CDs, some in “deluxe” versions advertised with autographs or on-brand trinkets like engraved bookmarks that went for as much as $50 apiece. According to Billboard, 1.4 million copies of the album were sold on its first day, many preordered over the last two months.The opening followed a promotional blitz that included a blanketing of social media and radio, tie-ins with streaming platforms and IRL happenings like an Easter-egg-filled library installation at a Los Angeles shopping center. “Tortured Poets” also arrived following several years of Swift’s increasing saturation of pop culture, with her Eras Tour generating an estimated $1 billion in ticket sales last year, with months left to go.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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      Popcast (Deluxe): Taylor Swift’s ‘Tortured’ Era

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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:The new Taylor Swift album, “The Tortured Poets Department,” and Swift’s “imperial era” How the album addresses her rumored relationship with Matty Healy of the 1975 A possible face-off between this album and Beyoncé’s “Cowboy Carter” at next year’s Grammys The Tortured Poets Department” as a detailed recitation of Swift’s life over the past 2 years The production choices of Jack Antonoff and Aaron Dessner How the album alludes to the work of the 1975 and Healy Swift’s resentfulness streakSongs of the week from Drake featuring A.I. versions of “Tupac” and “Snoop Dogg,” plus Mozzy and Odetari featuring Ayesha EroticaSnack 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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      Taylor Swift Has Given Fans a Lot. Is It Finally Too Much?

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      Swift has been inescapable over the last year. With the release of “The Tortured Poets Department,” her latest (very long) album, some seem to finally be feeling fatigued.Four new studio albums. Four rerecorded albums, too. A $1 billion oxygen-sucking world tour with a concert movie to match. And, of course, one very high-profile relationship that spilled over into the Super Bowl.For some, the constant deluge that has peaked in the past year is starting to add up to a new (and previously unthinkable) feeling: Taylor Swift fatigue.And it is a feeling that has only solidified online in the days following the release of “The Tortured Poets Society,” which morphed from a 16-song album into a 31-song, two-hour epic just hours after its release.Many critics (including The New York Times’s own) have suggested that the album was overstuffed — simply not her best. And critiques of the music have now opened a sliver of space for a wider round of complaint unlike any Swift has faced over her prolific and world-conquering recent run.“It’s almost like if you produce too much… too fast… in a brazen attempt to completely saturate and dominate a market rather than having something important or even halfway interesting to say… the art suffers!” Chris Murphy, a staff writer at Vanity Fair, posted on X.Which is not to say nobody listened to the album; far from it. Spotify said “Poets,” which was released on Friday, became the most-streamed album in a single day with more than 300 million streams.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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      The Culture Desk: Taylor Swift’s “The Tortured Poets Department” Reviewed

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      Larissa Anderson and On Friday, Taylor Swift released her 11th studio album, “The Tortured Poets Department.” Two hours after the initial release at midnight, she announced a second volume of the album, bringing the number of new songs to 31.Our pop music critic Lindsay Zoladz assessed them all and found that despite several strong songs, Swift’s abundance yields diminishing returns.On today’s episodeLindsay Zoladz, a pop music critic for The Times.Photo Illustration by The New York Times; Photo: Michael Tran/Agence France-Presse — Getty ImagesAdditional readingLindsay’s review of “The Tortured Poets Department”The New York Times Audio app is home to journalism and storytelling, and provides news, depth and serendipity. If you haven’t already, download it here — available to Times news subscribers on iOS — and sign up for our weekly newsletter. More

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      Taylor Swift’s New Album, ‘The Tortured Poets Department,’ Could Use an Editor: Review

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      Over 16 songs (and a second LP), the pop superstar litigates her recent romances. But the themes, and familiar sonic backdrops, generate diminishing returns.If there has been a common thread — an invisible string, if you will — connecting the last few years of Taylor Swift’s output, it has been abundance.Nearly 20 years into her career, Swift, 34, is more popular and prolific than ever, sating her ravenous fan base and expanding her cultural domination with a near-constant stream of music — five new albums plus four rerecorded ones since 2019 alone. Her last LP, “Midnights” from 2022, rolled out in multiple editions, each with its own extra songs and collectible covers. Her record-breaking Eras Tour is a three-and-a-half-hour marathon featuring 40-plus songs, including the revised 10-minute version of her lost-innocence ballad “All Too Well.” In this imperial era of her long reign, Swift has operated under the guiding principle that more is more.What Swift reveals on her sprawling and often self-indulgent 11th LP, “The Tortured Poets Department,” is that this stretch of productivity and commercial success was also a tumultuous time for her, emotionally. “I can read your mind: ‘She’s having the time of her life,’” Swift sings on “I Can Do It With a Broken Heart,” a percolating track that evokes the glitter and adoration of the Eras Tour but admits, “All the pieces of me shattered as the crowd was chanting ‘more.’” And yet, that’s exactly what she continues to provide, announcing two hours after the release of “Poets” that — surprise! — there was a second “volume” of the album, “The Anthology,” featuring 15 additional, though largely superfluous, tracks.Gone are the character studies and fictionalized narratives of Swift’s 2020 folk-pop albums “Folklore” and “Evermore.” The feverish “Tortured Poets Department” is a full-throated return to her specialty: autobiographical and sometimes spiteful tales of heartbreak, full of detailed, referential lyrics that her fans will delight in decoding.Swift doesn’t name names, but she drops plenty of boldfaced clues about exiting a long-term cross-cultural relationship that has grown cold (the wrenching “So Long, London”), briefly taking up with a tattooed bad boy who raises the hackles of the more judgmental people in her life (the wild-eyed “But Daddy I Love Him”) and starting fresh with someone who makes her sing in — ahem — football metaphors (the weightless “The Alchemy”). The subject of the most headline-grabbing track on “The Anthology,” a fellow member of the Tortured Billionaires Club whom Swift reimagines as a high school bully, is right there in the title’s odd capitalization: “thanK you aIMee.”At times, the album is a return to form. Its first two songs are potent reminders of how viscerally Swift can summon the flushed delirium of a doomed romance. The opener, “Fortnight,” a pulsing, synth-frosted duet with Post Malone, is chilly and controlled until lines like “I love you, it’s ruining my life” inspire the song to thaw and glow. Even better is the chatty, radiant title track, on which Swift’s voice glides across smooth keyboard arpeggios, self-deprecatingly comparing herself and her lover to more daring poets before concluding, “This ain’t the Chelsea Hotel, we’re modern idiots.” Many Swift songs get lost in dense thickets of their own vocabulary, but here the goofy particularity of the lyrics — chocolate bars, first-name nods to friends, a reference to the pop songwriter Charlie Puth?! — is strangely humanizing.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 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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      They Loved Taylor Swift. They Loved Football. Then Their Worlds Collided.

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      The Taylor Swift-Travis Kelce romance has brought together two of the internet’s most engaged fan bases. What happens when you’re already in both?Emily Calhoun remembers the moment she realized her worlds were colliding. It was in the early days of the 2023 N.F.L. season, and suddenly her phone was buzzing nonstop.“Twelve people called me,” she said. “‘Are you seeing this?!’”Ms. Calhoun, who was raised on Denver Broncos football, sure was. It was impossible to miss the seismic overlap. Her love of football was fusing with her fandom of another pop culture phenomenon: a onetime country singer whom Ms. Calhoun, 38, had come to love in the early 2000s.We’re talking, of course, about one of the most consequential mergers of our time, one that united two of the world’s most rabid fan bases in unholy internet matrimony: Taylor Swift and the N.F.L., via her boyfriend, Kansas City Chiefs tight end Travis Kelce.For the sliver of fans like Ms. Calhoun, it’s been a joyful, and complicated, overlap of identities and algorithms. They have been in fantasy drafts and in the Ticketmaster queues. They’re in the same stadiums for the Eras Tour as they are on a Sunday in September. They’re probably even in your football groupchats, the middle section of the Venn diagram that has animated American sports for the last year: Swifties who grew up football die-hards.“It was like two elemental forces that shouldn’t be allowed to touch,” Prof. Galen Clavio, who studies sports and social media at Indiana University, said of the collision.In the months since the Swift-Kelce relationship started, a considerable amount of ink has been spilled on the dynamics of their romance. There was the outrage over the pop star supposedly usurping substantial camera time during N.F.L. broadcasts (she really wasn’t), the navel-gazing over whether the relationship was a publicity stunt, and then, finally, the spiral into conspiracy, with some right-wing commenters speculating that the relationship was somehow a scheme to support President Biden in the 2024 election. 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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      Audience Snapshot: Four Years After Shutdown, a Mixed Recovery

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      Covid brought live performance to a halt. Now the audience for pop concerts and sporting events has roared back, while attendance on Broadway and at some major museums is still down.It was four years ago — on March 12, 2020 — that the coronavirus brought the curtain down on Broadway for what was initially supposed to be a monthlong shutdown, but which wound up lasting a year and a half.The pandemic brought live events and big gatherings to a halt, silencing orchestras, shutting museums and movie theaters and leaving sports teams playing to empty stadiums dotted with cardboard cutouts.Now, four years later, audiences are coming back, but the recovery has been uneven. Here is a snapshot of where things stand now:Broadway audiences are still down 17 percent from prepandemic levels.On Broadway, overall attendance is still down about 17 percent: 9.3 million seats have been filled in the current season as of March 3, down from 11.1 million at the same point in 2020. Box office grosses are down, too: Broadway shows have grossed $1.2 billion so far this season, 14 percent below the level in early March of 2020.Broadway has always had more flops than successes, and the post-pandemic period has been challenging for producers and investors, especially those involved in new musicals. Three pop productions that have opened since the pandemic — “Six,” about the wives of King Henry VIII, “MJ,” about Michael Jackson and “& Juliet,” which imagines an alternate history for Shakespeare’s tragic heroine — are ongoing hits, but far more musicals have flamed out. The industry is looking with some trepidation toward next month, when a large crop of new shows is set to open.Many nonprofit theaters around the country are also struggling — attracting fewer subscribers and producing fewer shows — and some have closed. One bright spot has been the touring Broadway market, which has been booming.— More