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    My Working Relationship With Diddy in the Music Industry

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    A thing happened between Sean Combs and me. Unlike what he has been accused of over the last eight months, what occurred between us was not sexual. It was professional — demonstrative of the way dynamic and domineering men moved in our heyday. Combs and I worked together a lot. Competed, in our way. So often I thought I came out on top. I was mistaken. I had reason to fear for my life. What happened was insidious. It broke my brain. I forgot the worst of it for 27 years.It was July 1997. In the fading smoke of the murders of Tupac Shakur and the Notorious B.I.G., I was named editor in chief of a music magazine called Vibe. Started by Quincy Jones and Time Inc. in 1992, the magazine chronicled Black music and culture with rigor and beauty, 10 issues a year, for an audience that was relentlessly underserved. When I took over, we thought hip-hop might have died with our heroes, and we were determined not only to keep it alive but also to give it the cultural credit it was due.Hip-hop was both in mourning and in marketing meetings. Combs, Biggie’s creative partner and label boss, was the personification of this dichotomy. His Bad Boy Records was having a $100 million year — much due to the work of Biggie and Mase, as well as Combs’s own debut album, “No Way Out,” which was anchored by the blockbuster Biggie tribute “I’ll Be Missing You” featuring Faith Evans. Other singles, “It’s All About the Benjamins” and “Been Around the World,” functioned as a score for hip-hop’s megawatt moment — its commercial evolution and international expansion. (“No Way Out” would go on to sell over seven million copies.) So I wanted Combs on the cover of Vibe’s December 1997/January 1998 double issue. And I wanted him to wear white feathered wings.Faith Evans and Sean Combs filming the 1997 video for “I’ll Be Missing You,” in memory of the Notorious B.I.G., Evans’s husband. Mychal Watts/Associated PressMy point of reference was the poster for “Heaven Can Wait,” a 1978 film starring Warren Beatty. The movie is about a quarterback who dies before his time and is reincarnated as an idiosyncratic and callous billionaire. Vibe’s working cover line for Sacha Jenkins’s article was “The Good, the Bad and the Puffy.” Not so elegant, but it would work if the fashion director Emil Wilbekin and I got Combs (then known as Puffy, or Puff Daddy) to put on the angel wings. And if we also got a shot that looked even slightly mischievous, we could do a split run of the cover — one with heavenly signifiers and another with hellish ones. Possible cover line: “Bad Boy, Bad Boy, Whatcha Gonna Do?”The photo shoot took place in Manhattan in September 1997. I had probably said hello to Combs at an event, but the shoot was the first time I was around him for an extended period. Either it was a crowded set or I just felt claustrophobic. I wore yoga pants and an oversize T-shirt. I remember wanting to minimize my bust more than my bra was already doing. I remember cajoling. And I remember knowing that as a Black woman, I was in a no-win situation: to fail was to live up to my male bosses’ low expectations, and to succeed was to invite their resentment. That day, Combs was begrudgingly compliant. We finally got him to shrug on the white feathered wings.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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      R. Kelly Stands Trial in Chicago: What to Know

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      The musician faces charges of sex crimes and of working to obstruct an earlier investigation that resulted in his acquittal in a 2008 criminal trial.R. Kelly, who was sentenced to 30 years in prison for racketeering and sex trafficking earlier this year, will stand trial again starting this week, beginning the next chapter of prosecutors’ efforts to hold him criminally responsible for allegations of sexual abuse dating back more than three decades.The trial is in Chicago, the city Mr. Kelly long called home, and where he faced his first criminal trial in 2008.This time, federal prosecutors are seeking to hold Mr. Kelly and his associates accountable for working to stymie the earlier trial, in which a jury acquitted Mr. Kelly of producing child sexual abuse imagery. They are accusing Mr. Kelly and a former employee who is also on trial, Derrel McDavid, of arranging hush money payments and seeking to conceal evidence that would have aided prosecutors when they were investigating the singer in the early 2000s.Mr. Kelly, 55, will face charges that he coerced five minors into sex acts, and several charges related to producing child sexual abuse imagery. He and Mr. McDavid also face charges of receiving child sexual abuse imagery, during what prosecutors have described as a scheme to recover missing tapes of Mr. Kelly having sex with minors.A third man — another former employee of Mr. Kelly’s, Milton Brown — is facing a related charge. All three men have pleaded not guilty.The trial will be an emotional moment for many in Chicago who have witnessed Mr. Kelly’s rise from a child of the city to a pop and R&B star, then his fall after he was accused of luring underage girls into his orbit.“Chicago has always struggled with this because he is local and we tend to go up for our locals,” said Mikki Kendall, a writer who grew up in the city and recalled, in the Lifetime documentary series “Surviving R. Kelly,” seeing the adult singer approaching teenage girls at a local McDonald’s. “There are people who are going to be very upset and will again try to insist that the girls are at fault, and there are going to be people — and I am one of them — who are going to say 59,000 times: He is a grown man preying on very young women and children.”The first public disclosure of abuse allegations came in a 1996 lawsuit, and a steady drip of legal claims and articles followed over the next two decades. The renewed effort to prosecute Mr. Kelly came in 2019, after the Lifetime documentary broadcast accounts of women who described being abused and controlled by him, oftentimes when they were teenagers.One year ago, Mr. Kelly stood trial in New York, where a jury found him guilty of leading a decades-long scheme to recruit women and underage girls for sex. He started serving his 30-year prison term in Brooklyn before he was transferred to a federal prison in Chicago for the current trial.What happened in the 2008 trial?The 2008 trial was a result of a 2002 grand jury indictment of Mr. Kelly on 21 counts of child pornography, which were later reduced to 14. The case took years to go to a jury. During that time, the singer debuted some of the biggest hits of his career, including “Ignition” and “Step in the Name of Love.”The trial revolved around a 27-minute tape that prosecutors said showed Mr. Kelly having a sex with a teenage girl and urinating on her. The case hinged on whether the jury was convinced that the people in the tape were who the prosecutors said they were. Mr. Kelly and the young woman denied they were the ones on the tape, and neither testified in the trial.A jury found Mr. Kelly not guilty on all charges, and after the verdict was released, jurors said the young woman’s refusal to testify was a significant barrier to convicting him.How is that relevant to the current trial?A portion of the trial will focus on charges that Mr. Kelly and his associate, Mr. McDavid, conspired to obstruct the previous federal investigation by paying off people with knowledge of Mr. Kelly’s abuse and seeking to suppress evidence.Prosecutors accuse Mr. Kelly of persuading the minor in the tape to deny to a grand jury in the early 2000s that she had a sexual relationship with Mr. Kelly and that it was her in the 27-minute video. According to the federal indictment, Mr. Kelly and Mr. McDavid arranged payments and bought gifts for the minor and her parents over a roughly 15-year period to prevent them from speaking to law enforcement about the abuse.These hush money payments were part of a broader effort, prosecutors say, to hide evidence of Mr. Kelly’s sexual abuse from investigators.In 2001, after state officials started investigating whether Mr. Kelly had been abusing the child at the center of the 2008 trial, Mr. Kelly and his associates realized that several videotapes of the singer sexually abusing minors had gone missing, according to the indictment in the case. After that realization, Mr. Kelly and Mr. McDavid started a multiyear effort to have those videos returned, paying an unnamed person hundreds of thousands of dollars to recover them, the indictment said.Around the time of the first trial in Chicago, prosecutors say, the person that Mr. Kelly and Mr. McDavid hired to find the missing videos planned a news conference about the existence of footage of Mr. Kelly having sex with minors. According to the indictment, Mr. Kelly, Mr. McDavid and others paid the person $170,000 to cancel it.The charges of receiving child sexual abuse imagery relate to the effort to recover several missing videos of Mr. Kelly engaging in sex acts with the person at the center of the 2008 trial.Who is expected to testify?Prosecutors have not revealed exactly who they will call to testify, but court papers suggest that they now have the cooperation of the woman whose testimony in 2008 was a missing piece of evidence in their case, as well as her mother.The indictment also suggests that prosecutors have the cooperation of four other people who say that Mr. Kelly coerced them into sex when they were underage, between 1996 and 2001.​​Judge Harry D. Leinenweber, who will preside over the case, recently ruled that any accusers called to testify will be able to do so using pseudonyms.A lawyer representing Mr. Kelly, Jennifer Bonjean, did not respond to requests for comment on the case. Mr. Kelly did not testify in the trial in Brooklyn.In a tweet last week, Ms. Bonjean wrote that it would be difficult to find 12 jurors who would be fair “given the media war on my client.”“The government starts with an incredible advantage but we are going to fight like hell to get a jury that will follow the law,” she wrote.How does the trial in Chicago differ from the one in Brooklyn?The trials are likely to be similar in that the centerpiece of the prosecutors’ case is testimony from people who say Mr. Kelly recruited them for sex, but the legal approaches are different.In Brooklyn, Mr. Kelly was convicted of one count of racketeering based on allegations that he was the ringleader of a criminal enterprise that had carried out acts of bribery, kidnapping and forced labor. He was also convicted of eight counts of violating the Mann Act, a sex trafficking statute.In the trial starting this week, which is in the U.S. District Court for the Northern District of Illinois, the charges are just as complex. Mr. Kelly faces five counts of coercing a minor into criminal sexual activity; four counts of doing so for the purpose of producing a video of the conduct; two counts of receiving child pornography; one count of conspiring to receive child pornography; and one count of conspiring to obstruct a federal investigation.One part of Mr. Kelly’s history that is not likely to be addressed is his illegal marriage to the singer Aaliyah when she was 15 and Mr. Kelly was 27. The marriage was central to the case against Mr. Kelly in Brooklyn, where a witness testified that Mr. Kelly sexually abused Aaliyah when she was only 13 or 14 years old. (Aaliyah died in a 2001 plane crash.)Mr. Kelly’s legal team asked the judge in the Chicago trial to exclude evidence related to the marriage, and prosecutors responded that they did not intend to introduce evidence on the subject.Is R. Kelly facing any other criminal charges?Yes. Mr. Kelly still faces sex crime charges in Illinois and Minnesota. After the federal trial in Chicago, those charges will be dealt with next. More

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      Bringing Aaliyah Into the Streaming Era

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherMusic streaming services have become inadvertent and imperfect proxies for the infinite jukebox. But as younger listeners increasingly come to rely on them, missing artist catalogs leave historical holes that are difficult to fill.For many years, the most important albums in Aaliyah’s catalog were unavailable on streaming, but that has just recently changed. Blackground Records — the imprint to which Aaliyah, who died in 2001, was signed — has been releasing its full archive online. It is a long-needed remedy, and promises a path to understanding the work of an artist who, in her time, was already aiming far into the future.On this week’s Popcast, a conversation about the tug of war over Aaliyah’s musical legacy, how family tension shaped the business of the Aaliyah estate and the role her music — even though it was largely unavailable digitally — played in the evolution of contemporary R&B.Guests:Naima Cochrane, a music journalist and consultantGail Mitchell, executive director of R&B/hip-hop at BillboardDan Rys, senior writer at BillboardConnect 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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      Aaliyah’s ‘One in a Million’ Finally Cracks the Billboard Top 10

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      Music from the R&B singer, who died in 2001, started to arrive on streaming services, helping her 1996 album, “One in a Million,” reach No. 10 for the first time.Vinyl helped Olivia Rodrigo reclaim the No. 1 spot on the Billboard album chart this week, while a long-delayed arrival on streaming brought a 25-year-old album by Aaliyah to the Top 10 for the first time.Rodrigo’s “Sour” notches a fifth week at No. 1 with the equivalent of 133,000 sales in the United States, according to MRC Data, Billboard’s tracking service. It had 70 million streams, very good for a three-month-old album. But it was the album’s release on vinyl that sent “Sour” back to the top. It sold 76,000 copies on LP, the second-best weekly number for a vinyl album in at least 30 years, after Taylor Swift sold 102,000 copies of “Evermore” in June. Just a few weeks ago, Billie Eilish sold 73,000 of her latest, “Happier Than Ever.”The success of these albums reflects the rising popularity of vinyl records, which last year in the United States generated greater retail revenue than CDs for the first time since 1986. But the releases have also benefited from a Billboard chart rule that went into effect last October. Before then, many vinyl sales were counted when fans first placed their order; even if the record wasn’t ready yet, fans often received a downloadable copy while they waited. Now, those sales count once the record is shipped to a customer — allowing many artists to rack up weeks’ or months’ worth of advance sales.Also this week, the rapper Trippie Redd opens at No. 2 with “Trip at Knight,” and Lorde’s new “Solar Power” makes its debut at No. 5. Rod Wave’s five-month-old “SoulFly” lands at No. 3 after a deluxe reissue, and Doja Cat’s recent “Planet Her” is No. 4.“One in a Million,” the second album by the R&B singer Aaliyah, who died in 2001 at age 22, has long been absent from the market. But a recent deal made by the company that controls her catalog — run by a man who happens to be her uncle — brought it back in print and finally began releasing Aaliyah’s music on streaming services.This week, “One in a Million,” which had stalled at No. 18 when released in 1996, lands at No. 10. It was not Aaliyah’s first time ever in the Top 10, however. Her third album, “Aaliyah” (2001), went to No. 1, and a posthumous collection, “I Care 4 U” (2002), reached No. 3. More

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      Aaliyah’s Music Will Finally Be Streaming. What Took So Long?

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      Twenty years after one of the most celebrated stars of ’90s R&B died in a plane crash, her songs — like “Try Again” and “If Your Girl Only Knew” — will be widely available.For years, it has been one of music’s most conspicuous, and puzzling, absences: The majority of the catalog of Aaliyah, the groundbreaking R&B singer of the 1990s and early 2000s, has been absent from digital services — rendering the work of one of the most influential pop stars in recent decades largely invisible, and depriving her of a proper legacy. The singer, whose full name was Aaliyah Haughton, died in a plane crash in 2001 at age 22.But on Thursday came a surprise announcement that her music will soon arrive on streaming platforms, starting with her second album, “One in a Million” (1996), on Aug. 20.Fans, including Cardi B, celebrated online. But the return of Aaliyah’s music remains fraught, with a battle still playing out between her estate and the music impresario who signed her as a teenager and retains control of the bulk of her catalog. Here’s an overview of her long unavailability on the services that dominate music consumption today.What music is coming out now?Blackground Records, founded by the producer Barry Hankerson — Aaliyah’s uncle — said it would be rereleasing 17 albums from its catalog over the next two months, on streaming services as well as on CD and vinyl. They include the bulk of Aaliyah’s output — her studio albums “One in a Million” and “Aaliyah,” along with the “Romeo Must Die” soundtrack and two posthumous collections — plus albums by Timbaland, Toni Braxton, JoJo and Tank.The releases, being made through a distribution deal with the independent music company Empire, will introduce a new generation to Aaliyah’s work. In the 1990s, she stood out as a powerful voice in the emerging sound of hip-hop: a forthright young woman — she was just 15 when she released her first album, “Age Ain’t Nothing but a Number” (1994) — who sang like a street-smart angel over some of the most innovative backing tracks of the time.“Where most divas insist on being the center of the song,” Kelefa Sanneh of The New York Times wrote in an appreciation in 2001, “she knew how to disappear into the music, how to match her voice to the bass line — it was sometimes difficult to tell one from the other.”Who is Barry Hankerson?Hankerson is an elusive, powerful and divisive figure in the music business. He was once married to Gladys Knight, and later discovered and managed R. Kelly. He built Blackground into one of the most successful Black music companies of its time, but clashed with artists. Braxton, JoJo and others have sued the label, with Braxton accusing Hankerson of “fraud, deception, and double-dealing,” according to a 2016 article on the music site Complex titled “The Inexplicable Online Absence of Aaliyah’s Best Music.”In 1991, Hankerson introduced his 12-year-old niece to Kelly, who was twice her age. Kelly, then an emerging singer, songwriter and producer, would become the primary force shaping Aaliyah’s early career, writing and producing much of her material and making Aaliyah part of his entourage.It later emerged that Kelly had secretly married Aaliyah in 1994, when she was 15 and he was 27. In the criminal case Kelly now faces in Brooklyn — which is set to begin jury selection next week — prosecutors have alleged that Kelly bribed an Illinois government employee at the time to obtain a fake ID for Aaliyah that gave her age as 18. Their marriage was annulled.After Hankerson moved the distribution of Blackground releases from the Jive label to Atlantic in the mid-90s, Aaliyah began working with two young songwriter-producers from Virginia: Timbaland and Missy Elliott. Their first collaboration, “One in a Million” (1996), went double platinum and spawned the hit singles “If Your Girl Only Knew” and “The One I Gave My Heart To.”Clockwise from top left: “Aaliyah,” “One in a Million,” “Ultimate Aaliyah” and “I Care 4 U,” albums that will be available in physical and digital versions.What happened to Aaliyah’s music?By the time Aaliyah died, she seemed well on her way to a major career. But as the music business evolved in the digital age, and Blackground’s output slowed down, her music largely disappeared.Aside from the album “Age Ain’t Nothing but a Number,” which remained part of the Jive catalog through Sony Music, and a handful of other tracks, most of Aaliyah’s songs have been unavailable for streaming. Used CDs and LPs of her work trade for eye-popping prices.Her influence has persisted, although sometimes it is more imagined than real. Last month, the singer Normani released a song, “Wild Side,” with Cardi B, that contained what many fans thought was a sample of an Aaliyah drum break. (Billboard said it is not, although Hankerson has said it would have his blessing anyway.) And interest in her story was spurred by the 2019 documentary “Surviving R. Kelly,” which delved deeply into their relationship.Although the streaming catalog has nearly reached the “celestial jukebox” level of completion that has long been predicted, there are still some other notable absences. De La Soul’s early work, including its classic 1989 debut “3 Feet High and Rising,” is not online, apparently because of problems in clearing samples. (The new owners of that music have pledged to make it available, although no concrete plans have been revealed.)Why is the music becoming available now?Exactly what led to the current release of Aaliyah’s music is unclear.According to a new article in Billboard, Hankerson began seeking a new deal for her music about a year ago, after Aaliyah’s estate made a cryptic announcement that “communication has commenced” between the estate and “various record labels” about finally getting her music online. “More updates to come,” it said.But the estate does not control Aaliyah’s recordings; Hankerson does, through his ownership of the Blackground label. For months, fans have followed more mysterious statements from the estate, including one in January, around what would have been Aaliyah’s 42nd birthday, that “these matters are not within our control.”When Blackground announced its rerelease plans, the estate responded with yet another confusing statement, saying that for 20 years it has been “enduring shadowy tactics of deception in connection with unauthorized projects targeted to tarnish,” yet expressing “forgiveness” and a desire to move on.A more direct explanation of what has been going on behind the scenes came from a lawyer for the estate, Paul V. LiCalsi, who said: “For almost 20 years, Blackground has failed to account to the estate with any regularity in accordance with her recording contracts. In addition, the estate was not made aware of the impending release of the catalog until after the deal was complete and plans were in place.”Billboard quoted a representative for Blackground in response, saying that the estate “will receive everything that it is entitled to” and that a royalty payment had been made earlier this year.For fans, the behind-the-scenes battling may matter less than the music finally becoming available online.“Baby Girl is coming to Spotify,” the service announced on Twitter, with a picture of Aaliyah. “We’ve been waiting a long time for this.” More