Sean Combs’s hair and beard, once jet black, are gray now. Hair dye is not allowed at the Metropolitan Detention Center.Breakfast is at 7 a.m. The exercise room has yoga mats and a small basketball hoop. The communal space in the dorm-style housing he’s been assigned has pingpong and television. There is phone access that has allowed him to speak to the rapper Ye and also to his children who, on his 55th birthday, serenaded him on speakerphone.“Thank y’all for being strong and thank y’all for being by my side,” Mr. Combs said in a video released by his family.The Brooklyn jail has drawn complaints over the years as a place filled with mold, vermin and neglect, which the Federal Bureau of Prisons has pledged to address. For nearly seven months, its most famous tenant has been Mr. Combs, who is awaiting trial in circumstances far removed from the life of personal chefs and enormous mansions he once enjoyed.He is facing years in prison if convicted on the racketeering and sex trafficking charges he faces when his trial begins next month. His lawyers argued strenuously after his arrest last September that Mr. Combs should be free until trial.Motion after motion, and three hearings, were devoted to arguments over whether he posed too much of a threat to the community — and of witness tampering — to be released on bail.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

Judge Ural Glanville, who had overseen the case for more than two years, must step aside for meeting with prosecutors and a key witness without the defense.The unpredictable, much-delayed criminal trial of Young Thug, the Atlanta rap star, has been thrown for another loop: The judge overseeing the case for two years has been ordered to step aside.Following weeks of upheaval in the courtroom over an uncooperative witness, a judge in Fulton County, Ga., ruled on Monday that Judge Ural Glanville, who has already presided over 10 months of jury selection and eight months of arguments, must recuse himself in order to preserve “the public’s confidence in the judicial system.”The trial has been paused for two weeks and will resume once a new judge is assigned to the case.The move to have Judge Glanville removed stemmed from motions by lawyers for Young Thug, born Jeffery Williams, and another of the rapper’s five co-defendants in the sprawling gang conspiracy case after the judge met secretly with prosecutors and a key witness who refused to testify last month. The defense lawyers said they should have been present for, or at least informed of, the meeting, calling it “improper and coercive.”The ruling by one of Judge Glanville’s judicial colleagues disagreed. “While the meeting could have — and perhaps should have — taken place in open court, nothing about the fact of the meeting or the substance discussed was inherently improper,” Judge Rachel Krause wrote in her decision.But the fact that Judge Glanville defended his actions regarding the meeting in court and ruled on related motions instead of immediately referring those decisions to another judge meant that he should step aside to assure fairness, Judge Krause wrote.“This court has no doubt that Judge Glanville can and would continue presiding fairly over this matter if the recusal motions were denied,” the decision said, “but the ‘necessity of preserving the public’s confidence in the judicial system’ weighs in favor of excusing Judge Glanville from further handling of this case.”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

As certainly as country music tells a story about itself — it is rural, it is authentic — there are dissenters tugging it in new directions. Often those dissenters end up becoming revered in hindsight, even if their loyalties were questioned in the moment.Take Sam Hunt, the most proficient of the many hip-hop hybridizers that converged on Nashville in the early part of the 2010s. He has just released his second album, “Southside,” which combines his most traditionalist work and his most forward-thinking, and suggests that those need not be two different things.In the case of Kenny Rogers, who died last month at 81, the layer of pop gesture atop his country set him apart. He was a gentler, more centrist kind of country star than some of his contemporaries, but no less integral to the genre and its growth.On this week’s Popcast, a conversation about the borders Nashville polices, and the excellence that can emerge when they are tested.Guests:Bill Friskics-Warren, who contributes regularly to The New York Times and is the co-author of “Heartaches by the Number: Country Music’s 500 Greatest Singles”Natalie Weiner, who writes about music for Billboard, Pitchfork and others More

In an emotional ode to Sinead O’Connor at the Grammys, Annie Lennox performed “Nothing Compares 2 U,” the Irish singer-songwriter’s cover of the Prince original that became a No. 1 hit.A forceful performer known for her lilting voice and her political provocations, O’Connor died in July at 56. Her rendition of “Nothing Compares 2 U,” her best-known track, highlighted her ability to veer from breathy high notes to penetrating, heavy vocals, delivering performances with an emotional gut punch.There was a bit of irony in Lennox’s performance: In 1991, the year that O’Connor won the Grammy for best alternative music performance — for the album “I Do Not Want What I Haven’t Got,” which featured “Nothing Compares 2 U” — she boycotted the ceremony over what she called the show’s excessive commercialism.In a fitting tribute, Lennox took a moment at the end of her performance for an antiwar statement, saying, “Artists for cease-fire,” in reference to the ongoing Israel-Hamas war.O’Connor had a tendency of turning public performances into headlines, famously ripping up a photo of Pope John Paul II on “S.N.L.” in protest of sexual abuse in the Roman Catholic Church. As Amanda Hess wrote in a 2021 profile of O’Connor, the act was more personal than it may have seemed. Her mother, who the singer said in her memoir had physically abused her, died when O’Connor was 18. It was her mother’s photo, plucked from a bedroom wall, that O’Connor destroyed on national television.“I’m not sorry I did it. It was brilliant,” she said. “But it was very traumatizing.” Her career never recovered, but she felt a sense of freedom. “I could just be me,” she wrote in her book, “Rememberings.” “I’m not a pop star. I’m just a troubled soul who needs to scream into mikes now and then.”In the days and months following O’Connor’s death, which a coroner later said was the result of natural causes, scores of artists spoke of her bravery and pure talent.Lennox, a Scottish singer-songwriter who started her own solo career around the time of O’Connor’s rise, posted to social media a moving tribute to the singer after she died, calling her raw, fierce and brilliant. More

The Jim Henson TV special was a hit in 1978. Now its furry creatures return in a new theatrical production in Manhattan, just in time for the holiday season.Paul Williams — yes, that Paul Williams, the rare singer-songwriter to have collaborated with Barbra Streisand, Brian De Palma and Daft Punk — only had a few tips during a rehearsal back in November, but when he spoke, everybody listened. The squirrels, who had been quite rambunctious seconds earlier, focused. George and Melissa Rabbit were all ears.After all, when the guy who wrote the score gives out notes, even woodland animals pay attention.Williams, spry and impish at 81, had dropped by the New Victory Theater in Manhattan to check on the early stages of “Jim Henson’s Emmet Otter’s Jug-Band Christmas,” which boasts an onstage menagerie of puppets from Jim Henson’s Creature Shop.Paul Williams composed the score of the original TV special from 1977, with echoes of Randy Newman, Alice Cooper and the Carpenters.Vincent Tullo for The New York TimesWilliams and Henson went way back, of course: In 1976, the musician was a guest on the eighth episode of “The Muppet Show,” and a few years later he wrote or co-wrote the songs for “The Muppet Movie,” including the Academy Award-nominated “Rainbow Connection.”In between these two projects, Henson asked him to come up with the score for “Emmet Otter’s Jug-Band Christmas,” an hourlong TV special that aired in America on HBO in 1978.“I was just thrilled to work with Jim,” Williams said. “He sent me the script and the book, and I just sat there and wrote. I think I was kind of being auditioned for ‘The Muppet Movie,’ which was a huge risk for them at the time.”A scene from the 1977 TV special, which employed the kind of madcap wit that had made “The Muppets” so popular.The Jim Henson CompanyBased on an illustrated children’s book by Lillian and Russell Hoban, “Emmet Otter’s Jug-Band Christmas” starts off with the title character and his mother barely making ends meet by doing small jobs by the river in Frogtown Hollow. So when they hear of a talent show with a $50 cash prize, they separately decide to enter. Emmet plays the washtub bass in a group with his furry friends, and Ma sings, but they face stiff competition, especially from the naughty Riverbottom Nightmare Band, whose members include a stoat, a snake and a weasel. The 75-minute musical production runs Dec. 11-Jan. 2 at the New Victory, with streaming available Dec. 17-Jan. 2.Ma and Emmet Otter from the new production. In the story, they hear of a talent show with a $50 cash prize, and they separately decide to enter.Vincent Tullo for The New York TimesThe puppeteer Jordan Brownlee with Doc Bullfrog.Vincent Tullo for The New York TimesYancy Woodchuck with the puppeteer Matt Furtado.Vincent Tullo for The New York Times“What I love about the show, and really appreciate more now that I’m older, is that it has so much heart,” said Christopher Gattelli, who is directing and wrote the book with Timothy Allen McDonald. “At the same time it has that great Muppet madcap wit, those zingers and those really fast takes, and those 30-second acts that are just hilarious. It’s like a ‘Muppet Show’ with a story.”Gattelli and McDonald worked on a first adaptation for Connecticut’s Goodspeed Musicals in 2008, but they went back to the drawing board for this one, which features four puppeteers and eight actors. “There’s more puppet business going on, and that’s music to my ear,” said Cheryl Henson, Jim’s daughter and an investor in the new show. (John Tartaglia, a Tony nominee for “Avenue Q,” is credited for puppet direction.)While Goodspeed used some original figures from the special, they are now in museums and had to be rebuilt for the New Victory..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-m80ywj header{margin-bottom:5px;}.css-m80ywj header h4{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:500;font-size:1.25rem;line-height:1.5625rem;margin-bottom:0;}@media (min-width:740px){.css-m80ywj header h4{font-size:1.5625rem;line-height:1.875rem;}}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}“But of course they don’t make the same fur anymore,” said Rollie Krewson, who built Wendell Porcupine and Charlie Beaver for the TV show; she is now a master puppet designer and builder at the Creature Shop. “I had to find furs that mimic more what the Emmet actor is wearing. They also wanted a new Ma, and we built a Pa Otter — there had never been one.”Williams at a rehearsal in Long Island City in November. “There are all these little touches in the script, amazing little clues to who the characters are,” he said.Vincent Tullo for The New York TimesVincent Tullo for The New York TimesVincent Tullo for The New York TimesDuring that rehearsal in Long Island City, the felt cast often behaved as if it had a life of its own in between scenes. “I consider it a good run if I forget they’re puppets,” Colin Trudell, who plays Emmet, said of his co-stars. “The puppeteers are also improv masters — the things that come out of their mouths in rehearsal really bring the characters alive.”Trudell, who graduated from Texas State University in May, had not seen the TV show when he auditioned for the stage version, and he watched it for the first time before his callback. You can’t blame him for missing out: “Emmet Otter” stayed under the radar for a long time (it is now available for streaming on Amazon and other platforms); and a proper soundtrack did not come out until 2018, so it does not have the following of more famous Henson properties.Its fans, however, are dedicated and loyal, often passing on the “Emmet Otter” tradition from one generation to the next, as happened in Gattelli’s family.A big reason for the show’s cult following is its rare humor and warmth. Without getting preachy, it’s an ode to friendship and family bonds, as well as the idea of community. Sure, you won’t be able to get the song’s riff from your head after hearing the Riverbottom Nightmare Band snarl, “We take what we want/We do anything that we wish/We got no respect/For animal, birdy or fish.”But it’s Ma Otter’s words you’ll remember: “Some say our world is getting too small,” she sings, “I say, with kindness,/There’s room for us all.”Wendell PorcupineVincent Tullo for The New York TimesLady PossumVincent Tullo for The New York TimesWilliams’s numbers for the original show offer an uncanny mélange of 1970s styles, with echoes of Randy Newman, Alice Cooper and the Carpenters. Except when the rollicking Nightmare Band pipes up, the music is filtered through a rootsy Americana vibe that transcends the decades, and was beautifully captured by My Morning Jacket in an aching cover of “Brothers in Our World” on the tribute “Muppets: The Green Album.”“To me, the music is the heart and the soul of this piece,” Henson said. “What works so well is that it’s delivered by these characters that are creatures — it’s a living storybook.”For Williams, those creatures made the assignment feel effortless: He just got the show’s furry (or scaly, as the case may be) subjects.“There are all these little touches in the script, amazing little clues to who the characters are,” he said. “My wife and I use the line all the time when the Riverbottom Nightmare Band has just been totally rude to all the guys in the tree house, and Charlie says, ‘They seem nice.’ It’s that human element that speaks to me,” he continued, “and it speaks to me at a level where it’s the easiest writing I ever get to do.”One thing that did not fit, though, is a conventional, “Jingle Bells”-type number. Though the story takes place around Christmas, there’s no song specifically about the holiday. Williams just did not see a need for it in “Emmet Otter.”“There are two tasks in writing songs for a film or a stage play or whatever,” he said. “One is to illustrate the inner life of the character, and the other one is to advance the story. When you’re done, you go, ‘What’s missing?’ And it never felt like anything was missing.” More