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      Stephen Lawrence, Whose Music Enriched ‘Sesame Street,’ Dies at 82

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      He composed the title song of the landmark album “Free to Be … You and Me.” He then moved on to Big Bird and friends.Stephen Lawrence, who provided a soundtrack of sorts for countless childhoods as the music director for the landmark “Free to Be … You and Me” album and television special and as a longtime composer for “Sesame Street,” died on Dec. 30 at a medical center in Belleville, N.J. He was 82.His wife, Cathy (Merritt) Lawrence, said the cause was multiple organ failure.Mr. Lawrence had a gift for catchy tunes and song constructions that would appeal to young minds.“One of the most effective devices, and for children one of the most important, is repetition,” he wrote in “How to Compose Music for Children,” an essay on his blog. “Did you write a first line you like? Why not repeat it?”The essay went on to show how composers from Beethoven to John Lennon had done just that, and Mr. Lawrence employed the device often on “Sesame Street” classics like “Fuzzy and Blue (and Orange),” a jaunty 1981 number with lyrics by David Axelrod.One of Mr. Lawrence’s most captivating tunes was also one of his first for the children’s market: the title track of “Free to Be … You and Me,” the star-studded 1972 album and book conceived by Marlo Thomas. The record, full of songs and stories celebrating tolerance and busting gender stereotypes, became an enduring hit and was recently selected for inclusion in the Library of Congress’s National Recording Registry of culturally significant works.Mr. Lawrence, working with the lyricist Bruce Hart, was given the task of coming up with the opening number. A memorable folk melody recorded by the New Seekers, it begins with a banjo, an instrument not often heard in the pop and rock music of that time.“Banjo was perfect for the introduction of this song,” Mr. Lawrence said on the radio program “Soundcheck” in an interview marking the 40th anniversary of the album. “It is sort of timeless. It says joy. It says non-sophistication — although some of the album is quite sophisticated. It says: ‘Listen up. This is an unusual instrument you don’t hear every day. It’s going to set up a song you’re going to like.’”Ms. Thomas had recruited a formidable roster of stars to perform on the record. In addition to writing the music for several of the songs, Mr. Lawrence, as the project’s music director, had the task of overseeing recording sessions. That meant working with a quirky array of performers, some of them professional singers and some of them, like Mel Brooks and the football player Rosey Grier, not.Mr. Lawrence was a relative unknown at the time. Recording Diana Ross singing “When We Grow Up” (another “Free to Be” song for which he wrote the music) at Motown’s studios in Los Angeles provided him with a pinch-myself moment.“I arrived at Motown Studios and thought about the many famous recording artists who had recorded there, none more famous than Diana Ross,” he wrote on his blog. “I realized that the entire ‘Free to Be’ project was lifting my career to new heights.”The album was a runaway best seller, and Mr. Lawrence went on to compose more than 300 songs for “Sesame Street.” Beginning in 1989, he was nominated repeatedly, along with the show’s other composers and lyricists, for Daytime Emmy Awards for music direction and composition. He won three times.Mr. Lawrence didn’t work only on children’s material. He composed the music for the 1973 baseball drama “Bang the Drum Slowly,” the 1976 horror movie “Alice, Sweet Alice” and other films, and collaborated on several stage musicals.Ms. Thomas, though, said he was the perfect choice to reach young audiences.“‘Free to Be … You and Me’ was first and always a children’s project,” she said by email, “so it required a composer and musical director who could create songs that sparked the imaginations and touched the hearts of girls and boys everywhere. Stephen was that person. I loved him and I loved working with him.”Stephen James Lawrence was born on Sept. 5, 1939, in Manhattan. His father, Allan, was head of a manufacturing company, and his mother, Helen (Kupfer) Lawrence, was a homemaker.He grew up in Great Neck, on Long Island. He started taking piano lessons at 5, and at 17 he won a New York radio station’s jazz piano contest; the prize was lessons with the pianist Mary Lou Williams.While majoring in music at Hofstra College (now Hofstra University), where he graduated in 1961, he composed music for student shows and other entertainments. One was a musical, “The Delicate Touch”; the book and lyrics were by a fellow student, Francis Ford Coppola.Mr. Lawrence came to the “Free to Be” project through Mr. Hart, with whom he had written some songs and whose wife, Carole Hart, was producing the project with Ms. Thomas. The two women asked Mr. Hart and Mr. Lawrence to come up with a song that would introduce the album and convey what it was about. It was Mr. Hart who came up with the phrase “Free to be you and me” and built that idea into a full song lyric, which he presented to Mr. Lawrence.Marlo Thomas and friends in a scene from the 1974 television special “Free to Be … You and Me,” based on the record album of the same name. Mr. Lawrence was the music director for both.“As sometimes happens,” Mr. Lawrence recalled in his blog, “I got an idea right away and completed the song in one day.”The label, Bell Records, told the group to expect to sell about 15,000 copies. Instead sales soared past the million mark. A 1974 television version, with Mr. Lawrence as music director, added to the phenomenon.The Harts (he died in 2006, she in 2018) and Mr. Lawrence worked together on other projects, including the 1979 television movie “Sooner or Later,” which yielded the Rex Smith hit “You Take My Breath Away,” written by Mr. Hart and Mr. Lawrence.Mr. Lawrence began writing for “Sesame Street” in the early 1980s and continued to do so for years. The job gave him a chance to indulge in a wide assortment of musical styles. One of his earliest compositions for the show was “Kermit’s Minstrel Song” (1981, lyrics by Mr. Axelrod), which called to mind Renaissance-era tunes. Ms. Lawrence said one of her favorites was “Gina’s Dream” (lyrics by Jon Stone), in which Mr. Lawrence did a pretty good job of imitating Puccini.Mr. Lawrence lived in Bloomfield, N.J. His marriage to Christine Jones ended in divorce in 2000. In addition to his wife, he is survived by a daughter from his first marriage, Hannah Jones Anderson; Ms. Lawrence’s sons, Sam and Nicholas Kline; and a grandson. More

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      A Record Store Obsession That's Adventurous and Soothing

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      ‘The trick to crate digging is to simply go at it: Dive into the sections, flip through the jackets and trust your gut.’I was stuck trying to write in my Brooklyn apartment, overthinking a sentence as usual.In these moments I turn to my records.For inspiration, I tend to need music from some faraway place and time. Perhaps an underground spiritual jazz reissue from 1974 or an Afro-disco record from ’80. Something with noticeable ringwear and audible crackles. Maybe even a pop or two. I’ve learned that this is the music that people come back to decades later. These are the songs you hear in a bar or a film and try to Shazam before the final note fades.On this day I also needed some air, so that meant walking 15 minutes to Head Sounds Records in Fort Greene to plow through the stacks. I went right for the jazz section, and that’s when I saw it: Pharoah Sanders, “Live at the East,” released on Impulse! Records in 1972 — nine years before I was born. I had to snatch it before some other crate digger scooped it up.Pharoah did the trick. The hypnotic swing of the opening track, “Healing Song,” was the meditative balm I needed to quell my writer’s block.But it’s not just the music that heals; the practice of discovering it to begin with, especially when it’s on vinyl, works wonders, too. Whenever life gets heavy, I go to the record store.The fact that shops like Head Sounds and Academy Records Annex in Greenpoint have survived the pandemic and, in some cases, are even thriving, speaks to the heart of New York City, a place that accepted me with no strings attached.“A turntable is there for you to sample the work,” Mr. Moore writes. “But the trick to crate digging is to simply go at it.”Laila Stevens for The New York TimesI’m from Landover, Md., a small town outside Washington, which also counts the comedian Martin Lawrence, the boxing legend “Sugar” Ray Leonard and the basketball great Len Bias as natives. I grew up in a musical family with a mother who played all kinds of pop, funk and soul around the house; a grandmother who loved traditional gospel; and aunts, siblings and cousins who embraced everything: a homegrown strain of funk called go-go, rap groups that were new at the time like De La Soul and N.W.A., R&B luminaries like Al Green and Marvin Gaye, and pop superstars like Madonna and David Bowie.My cousin Eric, a D.J., had an ear for buzzing underground musicians. In the late 1980s, fresh off a trip to California, he told us about a guy named MC Hammer who was making noise in the Bay Area. Around 1994, he popped in a cassette of this rapper from Chicago named Common Sense. By the time he had shortened his name to Common, his star was rising in underground hip-hop.Indirectly, Eric and the rest of my family were teaching me the concept of crate digging. While it was fine to like what I heard on the radio, there was less-heralded talent that deserved the same attention. I walked that perspective through high school and into my career as a music journalist, author, editor and curator.Long before I moved here in 2016, I’d hop buses to New York City to dig for records. It seemed there weren’t that many shops to choose from. It was the mid-2000s, music streaming was starting its domination of the industry, and many mom-and-pops were being forced to close.“Record stores as we know them are dying,” Josh Madell, co-owner of Other Music in Downtown Manhattan, told The New York Times in 2008. “On the other hand, there is still a space in the culture for what a record store does, being a hub of the music community and a place to find out about new music.”Mr. Madell, whose store eventually closed in 2016, was onto something. Just as record stores were failing, vinyl also started to make a curious comeback. The Recording Industry Association of America found that the shipment of LPs jumped more than 36 percent between 2006 and 2007. There was no clear-cut answer for the resurgence. Fellow heads will tell you there’s nothing like analog sound. While digital music sounds cleaner, vinyl sounds warmer and fills the room. There’s also nothing like poring over the album jacket and diving into the liner notes. It’s a time capsule.When New York City became the epicenter of the coronavirus outbreak in 2020, local record store owners found themselves in familiar territory: Even though vinyl sales had surpassed CD sales last year for the first time since the ’80s, would the record shops, along with many of the city’s other indie storefronts, survive? Turntable Lab, a niche record shop in Manhattan’s East Village, closed its doors that year to focus on online sales. Other stores like Academy and Limited to One, also in the East Village, managed to keep their leases, but pivoted to online sales to make ends meet.Nowadays, crate digging is done as much online as it is off. A stroll through the virtual music emporium Bandcamp can unearth everything from South African boogie to forgotten ambient. But clicking around doesn’t replace the act of visiting your favorite record store and discovering a rare find that either you’d been looking for, or didn’t know you needed until you saw the cover. Every place is different: Where Head Sounds is in the back of a barber shop, Academy is a vast spot with a bit more dust on the album jackets.A new shop, Legacy Records, just opened on Water Street in Dumbo. I visited a few weeks back and landed an original copy of the Fugees’ 1996 album “The Score.”Store employees tend to let you do your thing. A turntable is there for you to sample the work, and of course they’re around to answer whatever questions arise. But the trick to crate digging is to simply go at it: Dive into the sections, flip through the jackets and trust your gut. More often than not, you can judge the music by its cover (if a band from the ’70s had the word “Ensemble” in its name, the album is probably great).In a time where we’re all trying to navigate space and distance (or just being in public again), the idea is to foster community around music, even if the spirit of competition is still there. I wanted to get the Pharoah album before anyone else got it. That I could be the one talking about it was an incentive.For me, crate digging is preservation. It takes me back to my childhood in Landover, to playing my cousin’s EPMD albums when he wasn’t looking, and dropping the needle on De La’s “3 Feet High and Rising” at my aunt’s house when heads were still trying to fathom the group’s psychedelic blend of hip-hop (they’re also the subject of my next book). Buying records to share with the world is what I’m supposed to do. I’m just paying it forward like my family taught me.Marcus J. Moore is the author of “The Butterfly Effect: How Kendrick Lamar Ignited the Soul of Black America.” More

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      It’s Time to Give Enya Another Listen

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      Even at her peak, she was hugely famous but never especially cool. But maybe we’re finally ready to heed her whispered call to awaken.On the long drives through Ireland that peppered my childhood like bouts of flu, my father played songs from a small a pool of classic albums. Many of these would be familiar to any Irishman from that time. The cheerful ribaldry of the Dubliners, Christy Moore’s “Live at the Point” and the earnest, heart-tugging confessionals of Eleanor McEvoy and Mary Black all soundtracked our winding trips through the unending swatches of green that formed the Irish countryside. But none of those artists struck me like my father’s personal favorite, Enya.My father’s fascination with Enya was mysterious. Her music wasn’t like anything else he listened to, but then, it’s not much like the music anyone else makes either. Enya’s music is suffused with an aura of mysticism so nebulous it borders on the occult; nevertheless it enraptured a man so Catholic he would interrupt family holidays with cheerful visits to Marian shrines. The global success of this mélange of Irish traditional music and new-age electronica was unlikely given that the bulwark of her fandom, in Ireland at least, appeared to be people like my father: rank traditionalists entering middle age, few of whom would have countenanced synthesizers, arpeggiated strings or heavy reverb in any other aural context.I, a youthful devotee of ambient music, loved Enya for her place in that genre’s canon. I was mesmerized by the folding synthscapes of “Caribbean Blue” or “Sumiregusa (Wild Violet),” which hit my childhood ears like probes from a far-flung planet. Her melodies recursed and interwound; her vocals shimmered and shone, at once new and old, alien and familiar. It just confused me to see my father similarly moved. After all, even Aphex Twin’s most soothing ambient works often made him unplug my CD player, as if their nontraditional musical forms might damage our wiring. How, then, could Enya reduce this same man to tears?It helped that she was local. As a child, Eithne Brennan grew up not far from Mullennan, my home, in one of the most prestigious families in the history of Irish traditional music. She departed from the Brennans’ band, Clannad, at a young age, boned up on Japanese synths and crafted a strange musical form that was all her own. By the time I was an adolescent, the shy little sister of Clannad had become one of the biggest-selling recording artists on Earth. Within the spiraling melody of ‘Aldebaran’ there is euphoria and gravitas, as well as something approaching dread.When I was a teenager, Enya was hugely famous but never especially cool, at least not among people my age. I adored Enya for the sonic worlds she charted for her listeners: filled with pomp and grandiosity, yes, but also rivers of deep and intense wonder. I found in her music that same pinch of the infinite I felt listening to “An Ending (Ascent),” by Brian Eno, or “Polynomial-C,” by Aphex Twin. Yet when I tried to posit her as a peer of those artists, the stares I received were blank and pitying. The images blaring out from Enya’s album covers and videos were unerringly earnest, simultaneously too camp to be serious and too serious to be camp. For all her peculiar complexity, my classmates wrote Enya off as easy listening, on par with panpipe Muzak.This skepticism was probably because of the mythological visual style that Enya built around herself: She lived in a castle, rarely gave interviews or performed live. Her videos present her as an ethereal being, surrounded at all times by 400 lit candles, wearing a wardrobe bequeathed to her by a faerie queen who had too many velvet capes lying around and hated to see them go to waste. This imagery made Enya a world unto herself. Nothing typifies this more than my favorite Enya track, the beguiling “Aldebaran.” It first found fame as part of the soundtrack she composed for the BBC documentary “The Celts,” a 10-episode series that told the story of the Celtic people from prehistory to 1987. Featuring Irish-language vocals delivered at Enya’s most breathy, “Aldebaran” marries the Irish past to the future through a bonkers tale of intergalactic travel. The production is beatless and ever-winding, girded by a coruscating, arpeggiated riff that tumbles through major and minor chords in a cycle of atmospheric tumult. Within its spiraling melody there is euphoria and gravitas, as well as something approaching dread (she dedicated the song to Ridley Scott). Beneath the song’s soaring chords and breathy vocals, an alien undercurrent has smuggled itself aboard — a reminder that, in space, no one can hear you sing. Enya’s music has other unique attractions. If you visit her Twitter page, you might be recommended not just Phil Collins and Tina Turner but also Bob Ross: Even the algorithm seems to know her work is contemplative and therapeutic. Enya’s hallmarks — the angelic wash of reverb, ASMR-ready vocals; her deeply textured and layered synths — were soothing for me on long journeys as a child. They still provide a portal to long-dead worlds and distant stars, but also a town a few parishes over from my own.Nowadays, when I recommend Enya, and “Aldebaran” in particular, ears aren’t quite as deaf as they once were. The cosmos may now be heeding her whispered call to awaken, whether she knows it or not. I hope she does, and that somewhere, dressed in velvet, Enya sometimes plays “Aldebaran” still. Bringing another candle to another window, might she look out from the stone walls of her castle, and once more point her face toward the stars? More

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      Peter Rehberg, a Force in Underground Music, Dies at 53

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      He released his own experiments with sound under the name Pita, and also ran the influential label Editions Mego.It was 1997, and Peter Rehberg and two collaborators had booked a tour of jazz and rock clubs, places that had probably seen their share of experimentation. The people who came to the shows, though, weren’t prepared for what the trio unveiled.“There were some very interesting, sort of disturbed looks on their faces, because we set up with just three laptops in a row and just jammed out,” Mr. Rehberg recalled on a 2019 episode of the podcast “Noisextra.” “And everyone is going: ‘You can’t do that. That’s not music.’ And we’re going: ‘Yeah, fair enough; that’s not music. Did we say it was music?’”Synthesizers and other bedrocks of electronic music had been around forever, but at the time not many people viewed the laptop as a performance instrument.“We never thought of it as being a radical statement,” Mr. Rehberg said. “It was just like, ‘Oh, yeah; let’s do it this way.’”That was just one moment in Mr. Rehberg’s decades-long exploration of sound, both as an artist who often recorded under the name Pita and as head of Editions Mego, a label he founded after being a central part of an earlier label, Mego. He was an important figure in the world of experimental music, though his work — some early recordings were made from sounds emitted by a refrigerator — often defied even that label.Mr. Rehberg died on July 22 in Berlin. He was 53.His former partner, Isabelle Piechaczyk, said the cause was a heart attack.In addition to his solo work, Mr. Rehberg collaborated constantly, both with other sound experimentalists and with choreographers and makers of theater. And his label provided a platform for a wide range of artists who in the digital age have been pushing sound composition in all sorts of directions.“I followed Pita’s work as a musician and label owner for more than three decades, and he always defied expectations,” Peter Margasak, a music journalist and programmer, said by email. “He was the first person who made the laptop seem like a genuine tool for musical improvisation for me, manipulating a computer in real time with precision and voluminous possibility. His stewardship of Editions Mego revealed his eternal curiosity and openness, evolving aesthetically and geographically without surrendering an identity rooted in experimentation and innovation.”Mr. Rehberg was born on June 29, 1968, in London to Alexander and Barbara (Allen) Rehberg. As a youth he accumulated a vast record collection and was interested in new sounds of all sorts. In a tribute on the music and cultural website The Quietus, John Eden, who was a year behind him at Verulam, a secondary school for boys, and became a friend, recalled a moment when they both worked at a Tesco grocery.He drew a scolding, Mr. Eden wrote, “when it emerged that he had spent about an hour dropping Marmite jars on the concrete floor of the storeroom.”“He liked how they sounded,” Mr. Eden explained.Mr. Rehberg performing as part of the duo KTL, with Stephen O’Malley, at the Knockdown Center in Queens in 2013.Brian Harkin for The New York TimesBy his early 20s he was living in Vienna, working as a D.J. and immersed in the experimental scene there. Ramon Bauer, Andreas Pieper and Peter Meininger had created the Mego label, and its first release, in 1995, was “Fridge Trax,” a Bauer/Pieper/Rehberg collaboration built on refrigerator noise. In 1996 Mego issued Pita’s first release, “Seven Tons for Free.”Mego’s founders made him part of the label’s management team at a vibrant time for the label, and for experimentalism.“Electronic music is being flocked to by young composers who are doing to it something like what punk bands did to rock ’n’ roll in the mid-70s,” Ben Ratliff wrote in The New York Times in 2000, when Mr. Rehberg performed at the Beer and Sausage Festival in Brooklyn, “and Mego is the equivalent of an aesthetic-structuring punk label like Stiff,” the label that released early recordings by Elvis Costello, Devo and others.Mr. Rehberg continued to make solo recordings as Pita, releasing three more albums in the late 1990s and early 2000s, “Get Out,” “Get Down” and “Get Off.” Writing in The Chicago Reader in 2003, Mr. Margasak, who now lives in Berlin, described “Get Down” this way:“Sound files collide, flow and overlap, as disfigured melodic shapes, tangled-up beats and penetrating tones explode in a furious barrage. The music is often amorphous, but both the changes the synthetic patterns undergo and the order in which the sounds follow one another create some carefully considered surprises.”Mego went out of business in 2005, but Mr. Rehberg revived it soon after as Editions Mego. He went on to release work by scores of artists, sometimes forming sublabels devoted to particular strains or interests.“A Mego record will necessarily be adventurous,” Ben Beaumont-Thomas wrote in The Guardian in 2015, “whether it’s showcasing the glitch aesthetic of Fennesz, droning noise from Stephen O’Malley and others, or outsider guitar work from Bill Orcutt or Jim O’Rourke.”Mr. Rehberg, who for the past year had lived in both Berlin and Vienna, is survived by his father; a brother, Michael; his partner, Laura Siegmund; and a daughter from his relationship with Ms. Piechaczyk, Natasha Rehberg. More

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      Chucky Thompson, Hitmaking Producer, Is Dead at 53

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      He brought a range of musical influences to bear on the tracks he helped create for Mary J. Blige, the Notorious B.I.G. and many others.“My mind is always on ‘Record,’” the producer Chucky Thompson once told an interviewer, explaining how he was able to bring such a wide range of musical influences to the hits he helped create for Mary J. Blige, the Notorious B.I.G., Nas and other stars.For any particular track, he might draw on the soul records his parents used to play, or his time as a conga player in Chuck Brown’s go-go band, or some other style in his mental archive, as he sought to realize the vision the performer was after, or perhaps take him or her in a whole different direction.Mr. Thompson helped forge the hip-hop and R&B sound of the 1990s while in his mid-20s. He showed his versatility with his work on Ms. Blige’s second album, “My Life,” and the Notorious B.I.G.’s debut, “Ready to Die,” both released in 1994. The next year he was a producer on almost all the tracks on Faith Evans’s debut, “Faith,” another hit.In this period he was working for Bad Boy Entertainment, the influential label Sean “Diddy” Combs founded in 1993, as part of the producing team known as the Hitmen. But he continued to produce for a range of artists after the Hitmen dissolved later in the 1990s. If he — unlike some other producers in those years — defied categorization, that was deliberate.“In my brain, as a producer, I never wanted a sound,” he said in a 2013 video interview with Rahaman Kilpatrick. “That’s why you hear me on so many different records.”Mr. Thompson died on Aug. 9 in a hospital in the Los Angeles area. He was 53.His publicist, Tamar Juda, said the cause was Covid-19.Mr. Thompson was different from many of his contemporaries in that he was a multi-instrumentalist, often contributing guitar, piano, trombone or other flourishes to the tracks he produced. To get a particular effect for the 2002 Nas track “One Mic,” he flipped a guitar over and banged on the back of it.“He’s a true musician and doesn’t like to program heavily — just like me,” Mr. Combs told Billboard in 1995, when that publication included Mr. Thompson in an article on “the next crop of hotshot producers.” “Chucky has so many melodies in his head and produces from the heart.”Carl Edward Thompson Jr. was born on July 12, 1968, in Washington to Carl and Charlotte Thompson. In the 2013 interview, he said that his mother recognized his innate musical ability early.“She used to sit me in the kitchen and — you know how kids would just be banging and making noise? I was actually on beat with it,” he said. “She knew from there that something was different.”At 16 he was touring with Mr. Brown and his band, the Soul Searchers, playing the funk variant known as go-go, which was popular in and around Washington. It was a time when traditional live performances by bands were losing ground to D.J.s, who could keep the music constant rather than breaking between songs and thus keep people on the dance floor. Mr. Brown had his young conga player try to compensate.“He decided, ‘I’ll put a percussion break in between songs,’” Mr. Thompson told Rolling Stone in June. “So we would finish a song, then I’d do a percussion break, and I’d do a call and response — ask the crowd, ‘Y’all tired yet?’”The year 1994 was a big one for Mr. Thompson. Among the albums he worked on that year was the Notorious B.I.G.’s debut, “Ready to Die.”Bad Boy AristaThat same year, he co-produced much of Mary J. Blige’s “My Life,” the Grammy-nominated follow-up to her successful debut, “What’s the 4-1-1?,” with Ms. Blige and Sean Combs.Uptown RecordsBy the early 1990s he was in New York trying to market himself as a producer, and Mr. Combs and Ms. Blige were looking for material for the follow-up to her successful first album, “What’s the 4-1-1?” (1992).“She picked my song out of a ton of tracks from new and previous producers,” Mr. Thompson said in an interview with the website StupidDope.com in June. “I was truly honored. That track was ‘Be With You,’ and at that time it was very different for her and her sound. I felt at that moment we were onto something that would be special.”He ended up co-producing much of the album with Ms. Blige and Mr. Combs. Ms. Blige had a tough hip-hop image that defied female-singer stereotypes, and some people didn’t care for it. Mr. Thompson took that reaction into account as he helped her create the songs for her second album.“I didn’t like people throwing stones at something they didn’t understand,” he told Rolling Stone. “So I was like, on this record, people are gonna know you’re a singer. You’re the real deal.”“My Life,” full of confessional songs exploring Ms. Blige’s personal struggles, received a Grammy nomination for best R&B album and helped establish her as a star. In June, Amazon Prime unveiled a documentary about her career and the record, “Mary J. Blige’s My Life.”Over the years Mr. Thompson also produced for Usher, Raheem DeVaughn, Total and many others. He produced some of the final tracks for his early mentor, Mr. Brown, who died in 2012 at 75.Mr. Thompson’s survivors include five children, Ashley, Emille, Myles, Quincey and Trey Thompson. More

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      The Music That Inspires the Watchmakers

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      Lots of artisans rely on music for inspiration, distraction and just a bit of fun.Music and watchmaking have a deep connection. Consider the “tick tock” of traditional timepieces, the minute repeater complication (a function besides the telling of time) that chimes the time on demand and the tunes played by many a pocket watch.Some watchmakers, though, say music also plays an important role in their ateliers — as inspiration, distraction and sometimes just for fun.Below, six industry professionals talk about what’s on their playlists.UrwerkFelix BaumgartnerWatchmaker at Urwerk, in GenevaThe Rolling Stones have played an important role at Urwerk since its founding in 1997, uniting Martin Frei, who designs the wildly futuristic watches, and Mr. Baumgartner, who makes them.For example, Mr. Baumgartner wrote in a email, in 2002, “we had finished the design of our new watch, the UR-103, but had barely enough money to put it into production.“We had to make a decision. Urwerk was clinically dead. It made no sense to continue,” the 46-year-old watchmaker added. “We took a break, turned on the music, the famous ‘Time Is On My Side,’ on maximum volume. We looked at each other and we knew. We found faith. We had to go to the end.”Ulysse CamusDenis FlageolletWatchmaker at De Bethune, in L’Auberson, SwitzerlandMr. Flageollet’s exposure to music began long before 2002, when he co-founded De Bethune, a brand dedicated to combining watchmaking’s heritage with new technologies.He was 7 in 1969, when Woodstock captured the world’s attention. “I couldn’t understand what was going on but I heard so much about it that I knew it was something big,” Mr. Flageollet, now 59, wrote in an email. “My elders introduced me to Jimi Hendrix, Janis Joplin, the Who and their music never left me.”Later, he added, “I discovered the Montreux Jazz Festival, which introduced me to many artists with very different styles such as Leonard Cohen, Miles Davis, Prince, David Bowie.”Kross StudioMarco TedeschiWatch designer at Kross Studio, in Gland, SwitzerlandNot all creative types in the watch world lean toward rock, though. Recently the founder and chief executive of Kross Studio has been listening to the music from the 1996 movie “Space Jam.”The reason: He is creating a tourbillon watch housed in a sculptural wood and aluminum basketball — a homage to LeBron James, star of the new movie “Space Jam: A New Legacy.”It is just one of the projects that Kross has undertaken since Mr. Tedeschi, formerly with Hublot, established the business a year ago and signed partnerships with Warner Bros. (which produced and released both “Space Jam” movies) and Lucasfilms (its visual effects division worked on “A New Legacy”) to create themed collector sets that retail for five to six figures.“I played the soundtrack through again and again,” he said, referring to the original movie.As for his own taste, Mr. Tedeschi, 36, has an iTunes library of more than 30,000 listings: “I like French music from the ’80s, George Clinton, Motown singers — that type of music is the base of my musical culture. My father played Otis Redding a lot as I was growing up.”via ZenithAlexandra MouginWatch analyst at Zenith, in Le Locle, SwitzerlandMs. Mougin, 44, repairs some of Zenith’s most complicated watches.“When I’m setting the hammers of my minute repeater,” she wrote, referring to the watch complication that strikes the hours, quarters and minutes on request, “I have to listen to the ‘music’ played by the gongs of this watch. My mind is silent, and I’m totally concentrated, with only the music played by my watch piercing this silence.”And when she is starting a restoration, she wrote, “My mind has to be clear, not clogged up with worries or questions. That’s when I mentally conjure up ‘The Funeral’ by Ennio Morricone. Admittedly it’s quite sad, but so powerful. It helps me reconnect with essentials.”She also will imagine the New Orleans classic “Iko Iko”; “Elle est d’ailleurs,” sung by Pierre Bachelet; and “Ça va ça va,” performed by Claudio Capéo.via Kari VoutilainenKari VoutilainenWatchmaker at Voutilainen, in St.-Sulpice, SwitzerlandA variety of music entertains Mr. Voutilainen, 59, and his 10-member workshop team. They tune into local radio stations in Switzerland’s Val de Travers that might be playing “jazz, classical, popular music,” the independent watchmaker said. “It’s background music, creating a relaxing mood.”And when it’s not so relaxing? “It’s a common decision when it’s time to change the station,” Mr. Voutilainen said.Personally, “I listen to everything, to classical, to jazz, to Louis Armstrong. I’m not difficult,” he said, adding that he also likes “Italian pop music, like Zucchero. I do also like the Canadian singer Garou; you can hear the passion when he’s singing.”Johann SautyEric GiroudWatch designer at Through the Looking Glass, in Confignon, SwitzerlandDifferent music fits different projects, Mr. Giroud, 59, wrote in an email. “In the research of ideas or concept I will listen to soft and introspective music,” like Debussy’s piano concertos or Nils Frahm, he wrote. “When sketching I listen to music more rhythmic and almost disturbing in order to leave my zone of comfort (Nick Drake, Isaac Hayes, etc.)”And creating 2-D or 3-D drawings? “Titles arranged by Claus Ogerman, for example, or Kruder & Dorfmeister,” he said, referring to the German arranger and composer and the modern Austrian remix specialists.Music is so important to his creations that “every year I make a compilation of the music that had accompanied me during the year in the form of a CD that serves as a greeting card,” he wrote.Just this creative watchmaker’s way of spreading the inspiration of music. 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      Billie Eilish, 21st-Century Pop Paragon, Hits No. 1 With Big Vinyl Sales

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      “Happier Than Ever” debuted at the top of the Billboard 200 with 54 percent of its total from physical formats.Billie Eilish emerged a few years ago as the embodiment of the new-model pop star — flooding the internet with content, designing merch items herself and accumulating boatloads of fans through social media.But in some ways her mode of success is thoroughly traditional. “Happier Than Ever,” the seven-time Grammy winner’s second studio album, opens at No. 1 on the latest Billboard album chart with decent streaming traffic but extraordinary sales of vinyl, CDs and even cassettes. It had 114 million streams — far exceeded by other recent chart-toppers by J. Cole, Olivia Rodrigo and Morgan Wallen, among others — but sold 153,000 copies as a complete package.Altogether, “Happier Than Ever,” Eilish’s second No. 1 album, had the equivalent of 238,000 sales in the United States, according to MRC Data, Billboard’s tracking arm. It was the fifth-best opening for an album this year — beaten by Cole, Rodrigo, Wallen and Taylor Swift.Released in an array of boxed sets and retail-exclusive variants, “Happier Than Ever” made 54 percent of its total sales in the United States on physical formats, including 73,000 vinyl LPs, 46,000 CDs and nearly 10,000 on cassette. It had the second-highest weekly vinyl haul since at least 1991, when SoundScan, MRC Data’s predecessor, first began keeping accurate data on music sales. (Only Swift’s recent LP release of “Evermore,” which sold 102,000 copies after months of preorders, had more.)How unusual is that? Well, last year streaming made up 83 percent of recorded music revenues in the United States, and physical formats just 9 percent, according to the Recording Industry Association of America. But CD and LP sales are far more lucrative than streams, and offer a big chart boost. Indeed, “Happier Than Ever” would have taken No. 1 this week on vinyl sales alone.Also this week, “Welcome 2 America,” an unearthed Prince album recorded in 2010, opens at No. 4, with the equivalent of 54,000 sales. The Kid Laroi’s “____ Love,” last week’s top seller, falls to No. 2, Rodrigo’s “Sour” is No. 3 and Doja Cat’s “Planet Her” is in fifth place. 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