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      Smokey Robinson Accuses Housekeepers of Defamation in Countersuit

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      Four of Mr. Robinson’s former employees had sued the Motown singer, saying he sexually assaulted them for many years. He argues their anonymity is a reason to dismiss their suit.Lawyers for the Motown singer Smokey Robinson, whom four former housekeepers have accused of sexually assaulting them dozens of times, filed a cross-complaint on Wednesday that accuses the women and their lawyers of defamation.Mr. Robinson’s lawyers also filed a motion to dismiss the women’s lawsuit, arguing that they should not have been granted anonymity.In the legal filings, Mr. Robinson’s lawyers said the housekeepers had “fabricated” the abuse allegations “in support of their extortionate scheme.” The countersuit describes a caring relationship that Mr. Robinson and his wife, Frances Robinson, had with the women, noting that they vacationed together, celebrated holidays and doted upon them with concert tickets and, in one case, a car.The court papers, which were filed in Los Angeles County Superior Court and ask for $500 million in damages, offered as evidence text messages in which the women wished Mr. Robinson a happy birthday, invited him to celebrations and gave other expressions of support. The filings said Ms. Robinson had considered at least one of the women a friend, including her in a will.“The Robinsons did not abuse, harm or take advantage of plaintiffs; they treated plaintiffs with the utmost kindness and generosity,” the countersuit said. “Unfortunately, the depths of plaintiffs’ avarice and greed knows no bounds.”John Harris and Herbert Hayden, lawyers for the former housekeepers, said in a statement that the countersuit was an attempt to silence and intimidate the women.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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      At Sean ‘Diddy’ Combs Trial, ‘Victim-4,’ His Ex-Employee, Set to Talk of Sex Abuse

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      Prosecutors say the woman, who will testify under the pseudonym “Mia,” was forced into sex when she worked for Sean Combs.Jurors at Sean Combs’s sex-trafficking and racketeering trial have heard gripping testimony from Casandra Ventura, the singer known as Cassie, who described in lurid detail the violence and coerced sex that she suffered at the hand of the music mogul.On Wednesday, they are set to hear from a second woman, testifying under the pseudonym “Mia,” who prosecutors say had her own harrowing experience with Mr. Combs.For months before trial, little was disclosed about Mia — then identified only as “Victim-4” — other than that she is a former Combs employee who prosecutors say was coerced into sex with him. In one filing last month, the government redacted virtually an entire page-long passage about her.But in opening statements this month, lawyers for both sides fleshed out the woman’s profile somewhat. Emily A. Johnson, a prosecutor, described Mia as a former personal assistant whom Mr. Combs “worked to the bone for years.” At some point, she said, he then “forced himself on her sexually, putting his hand up her dress, unzipping his pants and forcing her to perform oral sex, and sneaking into her bed to penetrate her against her will.”“Mia will tell you how she could not talk about what happened to her until recently,” Ms. Johnson added, “how she wanted to take the secret of what the defendant did to her to her grave.”Mr. Combs, who has pleaded not guilty to all charges, has denied having anything but consensual sex with women, and his defense team has suggested it will pursue that approach in countering the testimony of Mia when she appears on Wednesday, likely in the afternoon.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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      What It’s Like on the Ground at the Sean Combs Trial

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThe trial of Sean Combs, the rap mogul best known as Puff Daddy or Diddy, has entered its third week, as federal prosecutors attempt to prove charges of sex trafficking and racketeering conspiracy in a Manhattan courtroom.Centering so far on the testimony of Casandra Ventura, a former girlfriend who performs as Cassie, the trial has also included time on the witness stand by Ms. Ventura’s family and friends; a former boyfriend, the rapper Kid Cudi; male escorts who were involved in her sexual relationship with Mr. Combs; and multiple employees of Mr. Combs, who witnessed his behavior over the years. (Mr. Combs has pleaded not guilty to all charges, with his lawyers arguing that any sex was consensual.)Yet while many headline-grabbing cases tend to be broadcast online these days, the rules at the Daniel Patrick Moynihan United States Courthouse prohibit video or audio recording, meaning only those present can experience the proceedings directly.Present each day for The New York Times has been a team of reporters, led by Julia Jacobs and Ben Sisario, who have covered the story since even before Mr. Combs was under criminal investigation. (Ms. Ventura filed a lawsuit against Mr. Combs in November 2023, which was settled a day later for $20 million; that account helped put into motion a series of events that led to Mr. Combs’s indictment last year.)This week on Popcast, the host Joe Coscarelli, who has also been covering the trial, was joined by Ms. Jacobs and Mr. Sisario to discuss the intricate charges against Mr. Combs; how the testimony so far has played in court versus how it is consumed online later; the effect of the trial on the reputations of Mr. Combs and Ms. Ventura; and what is still to come in the weeks that remain.Connect 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.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More

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      What I Learned From the Great Singer Dietrich Fischer-Dieskau

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      The baritone Benjamin Appl remembers his teacher at 100, as one of the 20th century’s greatest singers and a complicated, conflicted man.One September morning in 2009, I glanced at my watch over and over, nerves fluttering in my chest. I was sitting in the front row of a packed concert hall in Schwarzenberg, Austria, surrounded by other vocal students. At precisely 10:30 a.m., the baritone Dietrich Fischer-Dieskau stepped onto the stage. It was the first day of his master class at the Schubertiade, and it was the moment I would meet the artist who had shaped my musical life.I was just 12, growing up in Bavaria, Germany, when I first heard Fischer-Dieskau. Leonard Bernstein had called him “the greatest singer of the 20th century,” and few would disagree. When my music teacher played us a recording of his interpretation of Schubert’s “Winterreise,” something stirred within me. This voice was different. Immediate. Truthful. Over the years, I listened to dozens of Fischer-Dieskau’s recordings, studied them, grew with them, and was continually astonished by them.Now I stood before him. The old video footage of that master class still shows how nervous I was: my vibrato wavering, my breath shallow, my stance unsure. What I did not realize at the time was how open and attentive he was with me. At the end of the course, he offered to work with me privately. For the next three years, I had the privilege of studying with him regularly at his homes in Berlin and Bavaria. Those hours remain among the greatest gifts of my life.In the months leading up to his centennial on Wednesday, I was granted access to his personal archive: letters, diaries, programs, photo albums. It was a journey to find out more about the man behind the name, affectionately known to his friends as FiDi. And it was an immersive experience that helped me to shape my new album “For Dieter: The Past and the Future.”This recording features songs that defined his artistic path; songs that shaped the singer who would became one of the most revered vocalists of his time, including works from his family circle; songs by Brahms, Schubert and Wolf; as well as compositions written especially for him by Britten and Barber. Through my access to his archive, I was also able to accompany the album with a book that offers a deeply personal portrait of a multifaceted, fascinating man.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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      Rick Derringer, 77, Who Sang ‘Hang On Sloopy’ and ‘Rock and Roll, Hoochie Koo,’ Dies

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      A Zelig-like rocker, the guitarist, singer and songwriter collaborated with the likes of Barbra Streisand and Peter Frampton and composed Hulk Hogan’s “Real American” theme.Rick Derringer, the ubiquitous rocker who sang the hit songs “Hang On Sloopy” and “Rock and Roll, Hoochie Koo” in a music career that spanned several decades and also included collaborations with Hulk Hogan and Weird Al Yankovic, died on Monday in Ormond Beach, Fla. He was 77.His longtime caretaker and friend, Tony Wilson, announced his death in statement on Tuesday. No cause was given.From his early garage rock success to his many contributions to albums or tours by music royalty — Barbra Streisand, Cyndi Lauper and Peter Frampton all enlisted him — Mr. Derringer introduced himself to audiences across several generations.One of his better-known and enduring collaborations was with the Edgar Winter Group, for which he produced the instrumental chart-topper “Frankenstein,” which the band released in 1972.Early on, Mr. Derringer was the shaggy-haired guitar impresario who was the frontman for the band the McCoys, who rose to the top of the Billboard singles chart in October 1965 with their catchy rendition of “Hang On Sloopy.”The song, about a girl known as Sloopy from a rough part of town, has become synonymous with Ohio State University, where the marching band first played it during a Buckeyes’ football game in 1965. In 1985, the Ohio Legislature adopted it as the official state rock song.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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      Looking Back at Lollapalooza 1995

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      Revisit a peak music festival with songs by Hole, Beck, Elastica and more.Michael Robinson Chavez/The Boston Globe via Getty ImagesDear listeners,Hi, I’m David Malitz, an editor on the Culture desk who has been writing or assigning music coverage for almost 20 years now. As summer festival season kicks into high gear, I’m thinking about the best music festival I ever attended: Lollapalooza 1995. Unlike today, when there’s seemingly a different mega-festival each weekend, 30 years ago there was really only one major player. Lollapalooza was both a mainstream touring behemoth and the embodiment of alternative culture that ruled the ’90s.When people (like me, often, I’m sorry) speak of the glory days of the ’90s, Lollapalooza 1995 was both the peak and the end of the road. We still had it plenty good for a while, but this tour did feel like a last gasp. Looking at the lineup now, it seems like a great college radio playlist, but not exactly a shed-filling financial success. The festival pivoted away from underground rock the following year and went on hiatus after its journey into electronica in 1997.To celebrate 30 years of this inspired collection of bands, here’s a playlist of songs from the acts that performed on the tour’s main stage, with a couple of bonus tracks from the not-to-be-missed second stage.Time takes its crazy toll,DavidListen along while you read.1. Sonic Youth: “The Diamond Sea”If it seems weird now that a famously iconoclastic band without even a single gold record to its name headlined a festival playing to upward of 25,000 people at each stop, it was weird then, too. Chalk it up to something of a lifetime achievement award for the New York legends who influenced acts down the rest of the bill.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 Isn’t My Favorite Composer More Popular?

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      I love the operas of Leos Janacek. So do audiences — when they go to see them. But the works remain stubbornly on the outskirts of the repertory.When I was just getting started as an operagoer, I went to see “The Makropulos Case,” the Czech composer Leos Janacek’s tale of a woman desperate to elongate a life that has already lasted three centuries.It left me exhilarated, dazed and with only one thing on my mind: buying a ticket to return the next weekend.I’m not the only one to have this reaction. “People felt they had to come back,” Yuval Sharon said recently about the audiences when he directed “The Cunning Little Vixen,” another thrilling, heart-rending Janacek opera. “It was unlike any piece they’d experienced. It just seizes you.”That’s still my feeling about Janacek’s operas. On Sunday, when the Cleveland Orchestra finished an elegant but crushing concert version of “Jenufa,” which ends with a vision of forgiveness and reconciliation after extraordinary suffering, I would have happily sat through it again, right then and there.The end of ‘Jenufa’Elisabeth Söderström and Wieslaw Ochman; Vienna Philharmonic; Charles Mackerras, conductor (Decca)For this brutal account of small-town woe, Janacek wrote earthy, lush yet sharply angled music, with unsettled rhythms and roiling depths. There are obsessively repeated motifs, as anxious as the characters, as well as passages of folk-inspired sweetness.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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      At Sean ‘Diddy’ Combs Trial, Former Employee Expected to Describe Being Kidnapped

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      Prosecutors are set to present the testimony of a onetime assistant, who they say was twice held against her will. The defense denies she was kidnapped.A former employee of Sean Combs who, prosecutors say, was kidnapped twice by the music mogul or his bodyguards, is expected to testify on Tuesday at Mr. Combs’s racketeering and sex-trafficking trial.The woman, Capricorn Clark, has been a frequent character in testimony at the trial, figuring prominently in the much-discussed fallout over Mr. Combs’s discovery that Casandra Ventura, his longtime on-and-off girlfriend, and the rapper Scott Mescudi, known as Kid Cudi, were romantically involved.The government contends that after Mr. Combs discovered evidence of the budding relationship in late 2011, he went — armed and with a bodyguard — to wake up Ms. Clark in the middle of the night and force her to take them to Mr. Mescudi’s home. On Thursday, Mr. Mescudi gave his account of Mr. Combs’s jealous meltdown, which he said escalated to his Porsche being set on fire with a Molotov cocktail in early 2012.Lawyers for Mr. Combs, who has pleaded not guilty to all of the charges, have denied Mr. Combs’s involvement in any kidnapping or arson — and have said there was never any criminal conspiracy. They assert that Ms. Ventura and another woman that Mr. Combs is accused of sex trafficking are not victims, but rather former girlfriends who agreed to participate in sex that, while “kinky,” was entirely consensual and legal.Capricorn Clark, a former employee of Mr. Combs, is expected to testify this week.U.S. Attorney’s Office for the Southern District of New YorkThe kidnapping accusations are meant to buttress the racketeering conspiracy charge against Mr. Combs, which accuses him and members of his inner circle of a series of crimes dating back to 2004. The crimes cited in the indictment include sex trafficking, arson, drug violations, bribery, obstruction of justice and two acts of kidnapping — both of them involving Ms. Clark.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