Aurelia Butler

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    Frederick Forsyth, Master of the Geopolitical Thriller, Dies at 86

    He wrote best-sellers like “The Day of the Jackal” and “The Dogs of War,” often using material from his earlier life as a reporter and spy.Frederick Forsyth, who used his early experience as a British foreign correspondent and occasional intelligence operative as fodder for a series of swashbuckling, best-selling thrillers in the 1970s and ’80s, including “The Day of the Jackal,” “The Odessa File” and “The Dogs of War,” died on Monday at his home in Jordans, a village north of London. He was 86.His literary representative, Jonathan Lloyd, who confirmed the death, did not specify a cause, saying only that Mr. Forsyth’s had died after a short illness.Mr. Forsyth was a master of the geopolitical nail-biter, writing novels embedded in an international demimonde populated by spies, mercenaries and political extremists. He wrote 24 books, including 14 novels, and sold more than 75 million copies.His stories often juxtapose a single individual against sprawling networks of power and money — an unnamed assassin against the French government in “The Day of the Jackal” (1971), a lone German reporter against a shadowy conspiracy to protect ex-Nazi officers in “The Odessa File” (1972).A film version of “The Day of the Jackal,” starring Edward Fox, right, and Cyril Cusack was released in 1973, just two years after the novel’s publication.George Higgins/Universal Pictures“It’s one man against a huge machine,” he told The Times of London in 2024, explaining why so many readers of “The Day of the Jackal” sided with a hit man intent on killing French President Charles de Gaulle, instead of with the authorities. “We don’t like machines, so one guy even trying to kill a human being, taking on this vast machine of government, secret intelligence service, police and so on, has appeal.”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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    Sly Stone, Maestro of a Multifaceted, Hitmaking Band, Dies at 82

    Sly Stone, the influential, eccentric and preternaturally rhythmic singer, songwriter, multi-instrumentalist and producer whose run of hits in the late 1960s and early ’70s with his band the Family Stone could be dance anthems, political documents or both, died on Monday in Los Angeles. He was 82. The cause was “a prolonged battle with C.O.P.D.,” or lung disease, “and other underlying health issues,” according to a statement from his representatives.“Sly was a monumental figure, a groundbreaking innovator, and a true pioneer who redefined the landscape of pop, funk, and rock music,” the statement said.As the colorful maestro and mastermind of a multiracial, mixed-gender band, Mr. Stone experimented with the R&B, soul and gospel music he was raised on in the San Francisco area, mixing classic ingredients of Black music with progressive funk and the burgeoning freedoms of psychedelic rock ’n’ roll.The band’s most recognizable songs, many of which would be sampled by hip-hop artists, include “Everyday People,” “Dance to the Music,” “I Want to Take You Higher,” “Family Affair,” “Hot Fun in the Summertime” and “Thank You (Falettinme Be Mice Elf Agin).”Mr. Stone, second from left, with the other members of Sly and the Family Stone in 1970.GAB Archive/RedfernsWe 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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    Sean ‘Diddy’ Combs’s Ex-Girlfriend to Resume Testimony About Sex Under Duress

    The woman, known in court as Jane, has testified that she felt obligated to participate in sex marathons with male escorts because the mogul was paying her rent.A former girlfriend of Sean Combs is set to retake the stand on Monday at his federal trial to continue her testimony about a series of sex marathons with male prostitutes, which she said she felt pressured to continue because Mr. Combs was funding her livelihood.As the trial enters its fifth week, prosecutors are expected to drill down on a key part of their sex-trafficking case: allegations of financial coercion.The former girlfriend, who is known in court by the pseudonym Jane, spent more than seven hours last week testifying about her tumultuous relationship with the music mogul, which started in 2021 and continued until his arrest in 2024. Mr. Combs has pleaded not guilty to the charges of sex trafficking and racketeering conspiracy, and his lawyers have denied that the sex at the center of the case was ever coercive.Jane testified last week that in an effort to fulfill her boyfriend’s fantasies, she began to participate in drug-fueled sexual encounters with a succession of hired men that the couple called “debauchery” or “hotel nights.” Her account of the sex marathons — which could last for days and typically involved Mr. Combs watching and masturbating — aligned with the “freak-offs” described by Casandra Ventura, another former girlfriend who testified at the start of the case.The pattern of “hotel nights” left Jane feeling used, exhausted and at times sick, she testified. But Mr. Combs was dismissive when she voiced her reluctance, she said, and she continued out of a desire to please him. At times, she arranged to hire certain “entertainers” herself so she could choose the men involved, she testified.The dynamic shifted in 2023, when Mr. Combs began paying her $10,000-a-month rent. Jane said she feared losing her home if she did not comply.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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    ‘Guntram’ Review: In Concert at Carnegie, Strauss’s First Opera

    Leon Botstein’s American Symphony Orchestra dusts off “Guntram,” and singers unveil the beauties and flaws of a 19th-century epic fail.After the Munich premiere of Richard Strauss’s first opera, “Guntram,” in 1895, the orchestra went on strike, the two lead singers refused to reprise their roles and another cast member demanded the promise of a better pension before considering any further performances. Add in derisive reviews, and the opera, which had gotten a lukewarm reception in Weimar a year before, was dead in the water. In his garden, Richard Strauss put up a grave marker to “venerable, virtuous young Guntram” who had been “gruesomely slain by the symphony orchestra of his own father.”On Friday, the American Symphony Orchestra under the sure-handed direction of Leon Botstein resurrected “Guntram” in a concert performance at Carnegie Hall that unearthed stretches of ravishing music but also confirmed the structural weaknesses of a work that sags under the weight of its Wagner worship. For the lead tenor, the title role is a tour de force requiring the kind of unflagging power Strauss would later demand of his “Salome.” John Matthew Myers delivered a bravura performance of astonishing resourcefulness and tonal beauty in the role.I did not come away convinced, as Botstein argued in the printed program, that the work deserves a place on the opera stage. But the performance offered a tantalizing glimpse of a musical storyteller who had yet to find a worthy subject for his dramatic instincts, but was already looking to pour his melodic gifts into the service of psychological insights.Here, Strauss wrote his own libretto, thick with Wagnerian alliterations and clichés. It tells the story of Guntram, a medieval minnesinger on a mission to spread the gospel of peace in a realm gripped by war and social repression. He saves Freihild, the unhappily married daughter of a duke, from suicide. At a banquet, her warmongering husband, Robert, threatens Guntram, who kills him in self-defense and is then thrown into the dungeon. Freihild frees him and declares her love. But after Friedhold, a member of Guntram’s brotherhood, intervenes, he resolves to atone in monastic solitude and directs Freihild to sublimate her passion into charitable works.For an opera centered on renunciation, the music is headily sensuous. The score weaves in quotations from Strauss’s own “Death and Transfiguration” as well as the late operas by Wagner. (When Strauss berated a musician in rehearsal for flubbing one tricky spot, he is reported to have said, “But Maestro, we never get this passage right in ‘Tristan,’ either.”)Long monologues dominate each of the three acts. (Botstein presented the composer’s edited version from 1940.) While dramatically stifling, these are some of the most musically convincing passages, especially in Myers’s rendition, which brought a wealth of tone colors and emotional nuance to his narrations. These monologues, in addition to the gorgeous instrumental preludes, fully deserve to be programmed in concerts.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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    Takeaways From Graduation Speeches by Trump, Taraji P. Henson and Others

    The New York Times studied videos of addresses posted online, including those by President Trump, Kermit the Frog and a slew of celebrity speakers. Here is a look at key themes that emerged.It has been a graduation season unlike any other. The Trump administration is investigating elite universities and cutting research funding. Pro-Palestinian activism and claims of antisemitism are shaping campus life. International students are worried about having their visas revoked.In contrast with past generations, what a speaker says on a commencement stage now reaches an audience far larger than the crowd that day. Universities routinely post footage of ceremonies online, giving faraway relatives of graduates a chance to tune in and handing keynote speakers a global stage.The New York Times studied videos of dozens of keynote commencement addresses that were posted online — more than 170,000 words delivered this spring at a cross section of America’s higher education institutions — in order to analyze the most pressing topics. Many speakers, including Kermit the Frog at the University of Maryland, the gymnast Simone Biles at Washington University in St. Louis and Homeland Security Secretary Kristi Noem at Dakota State University, avoided the political fray and focused on timeless lessons.But plenty of others, including journalists, scientists and politicians from both parties, weighed in directly on the news of the moment. Many of them described 2025 in existential terms, warning about dire threats to free speech and democracy. Others heralded the dawn of a promising new American era. Here is a look at key themes that emerged in those speeches.A Moment of OpportunitySeveral speakers struck an upbeat tone about the world students were entering.Videos posted by Vanderbilt University, Liberty University and Furman University showed many commencement speakers voicing optimism about the opportunities awaiting graduates.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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    Roger Nichols, Songwriter Behind Carpenters Hits, Dies at 84

    With Paul Williams, he wrote enduring 1970s soft-rock classics like “We’ve Only Just Begun” and “Rainy Days and Mondays.”Roger Nichols, a California songwriter and musician who, with his pop-alchemist partner Paul Williams, wrote an advertising jingle for a bank that turned into “We’ve Only Just Begun,” a milestone hit for the Carpenters and a timeless wedding weeper, died on May 17 at his home in Bend, Ore. He was 84.His death, from pneumonia, was confirmed by his daughter Caroline Nichols.Mr. Nichols was best known for his collaborations with Paul Williams, the songwriter, lyricist and all-around celebrity known for songs like “Rainbow Connection,” Kermit the Frog’s forlorn anthem from “The Muppet Movie” (1979).With Mr. Nichols focusing on the music and Mr. Williams conjuring up the words, the duo churned out silky pop nuggets like Three Dog Night’s “Out in the Country” (1970), which rose to No. 15 on the Billboard Hot 100; “Traveling Boy,” which Art Garfunkel released in 1973; and “I Never Had It So Good,” recorded by Barbra Streisand in 1975.But it was with their work for the Carpenters, the hit-machine sibling duo Karen and Richard Carpenter, that Mr. Nichols and Mr. Williams scaled the heights of pop success.“We’ve Only Just Begun” peaked at No. 2 in 1970, sold more than a million copies of sheet music and served as a timeless showcase for Ms. Carpenter’s spellbinding contralto vocal stylings.The single “We’ve Only Just Begun,” by Mr. Nichols and Paul Williams, rose to No. 2 on he music charts and became a staple of weddings. A&M RecordsWe 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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    Ferris Bueller’s Vest Hits the Auction Block. ‘Anyone, Anyone?’

    Worn by Matthew Broderick in “Ferris Bueller’s Day Off,” the vest could fetch several hundred thousand dollars, according to Sotheby’s.There might be a temptation to play hooky when wearing it — stealing away in a Ferrari GT to catch a matinee game at Wrigley Field.Alas, no one is likely to confuse the person donning it with Abe Froman, the “sausage king of Chicago.”But for a six-figure sum, you could still channel Ferris Bueller, whose patterned sweater vest from “Ferris Bueller’s Day Off,” the 1986 John Hughes comedy about a suburban Chicago teenager ditching school, hit the auction block this week.The vest worn by the actor Matthew Broderick in the movie could fetch several hundred thousand dollars, according to Sotheby’s, which is handling the garment’s sale.The auction began on Thursday, the 40th anniversary of Ferris’s high jinks, and runs through June 24, with the bidding taking place online.As Ferris’s monotone economics teacher, played by Ben Stein, would say: “Anyone, anyone?”The vest is reminiscent of a cheetah print and made from acrylic yarn. It is expected to fetch an estimated $300,000 to $600,000, far outpacing the rate of inflation. And then some.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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    Why Beyoncé and BET Keep Calling Jesse Collins

    There’s a memorable scene in Beyoncé’s “Homecoming” documentary about her headlining performance at Coachella in 2018, when she asks a production crew member for a 30-foot-wide camera track. He tells her it doesn’t exist. She then proves him wrong.The Emmy-winning television producer Jesse Collins remembers that moment well, so when the pop superstar called on him to produce her Christmas Day N.F.L. halftime extravaganza “Beyoncé Bowl” for Netflix, he was ready to meet her demands.“Hell no, I will never tell her something doesn’t exist unless it really doesn’t exist,” he said recently with a laugh, “because she’ll Google it and she keeps up with technology. If it can’t happen, I am 1,000 percent certain it can’t happen.”Collins, 54, has worked closely with Beyoncé on awards show performances, including her raucous rendition of “Freedom” at the 2016 BET Awards, when she danced and kicked in a shallow pool of water.“The water was one of the most complicated things that I’ve ever done on any award show,” Collins recalled in a video interview from his office in Burbank, Calif., in a comfy black hoodie as the sun beamed behind him. “Most people try to get away from water,” he said, but an executive had promised it. “When you start the conversation with, ‘This was promised to Beyoncé,’ everybody’s like, ‘We’re going to make this happen.’”Making things happen is Collins’s specialty, and it’s why heavyweights like Oprah Winfrey and Jay-Z have recruited him for their projects.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