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    For Billy Joel Fans, a New York Night to Remember

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    Thousands of people piled into Madison Square Garden on Thursday to hear Billy Joel’s catalog of hits in the final show of his long residency at the arena.Lori Umbrino saw her first Billy Joel concert at Shea Stadium in Queens in 1990. More than three decades later, she stood with her two children outside Madison Square Garden on Thursday evening, each wearing a T-shirt from the singer’s concerts across the years.“We’ve been there with him along the journey,” said Ms. Umbrino, 51, whose shirt was from Mr. Joel’s 100th concert at Madison Square Garden on July 18, 2018, designated Billy Joel Day in New York State.That journey has led them back to Madison Square Garden, where Mr. Joel was performing the 150th and final show of his 10-year residency there.The milestone — and, for some, the devastating misunderstanding that Mr. Joel was retiring — drew veterans of his shows, first-timers, families and singles from around the city and the country. Thousands of people piled into the Garden to hear Mr. Joel glide from hit to hit.Stuart Stephenson sat outside the arena at 34th Street and Eighth Avenue, blowing into his melodica, fingering the keys to play “New York State of Mind” and “Uptown Girl.” Fans and commuters streamed by, hawkers sold T-concert shirts, and drivers planted their hands on their horns.Mr. Stephenson saw a news segment on Thursday morning about Mr. Joel’s concert, and thinking the Piano Man was closing his Steinway for good, he rushed into Midtown.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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      Toumani Diabaté, Malian Master of the Kora, Is Dead at 58

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      He believed that music could transcend national borders set by colonialism and restore ancient ties, even as it embraced the changes of a globalizing society.Toumani Diabaté, a virtuoso of the kora, a 21-stringed West African instrument, which he often put into dialogue with other musical traditions from around the globe, died on Friday in Bamako, Mali. He was 58.His death, in a hospital, was caused by kidney failure, said his manager, Saul Presa.Born in Mali to a line of griots, or traditional West African musician-historians, that he traced back more than 70 generations, Mr. Diabaté was devoted to celebrating the heritage of Mandé-speaking peoples throughout West Africa, and to sharing that history with the world.“If you think of West Africa as a body, then the griot is the blood,” he told The New York Times in 2006. “We are the guardians of West Africa’s society. We are communicators.”He believed that music could transcend national borders set by colonialism and restore ancient ties, even as it embraced the changes of a globalizing society. That mission inspired him to create his flagship ensemble, the Symmetric Orchestra.“I started building this band to rebuild Manden empire in a cultural way,” he said in a 2011 interview with Uncut magazine, referring to the Mali Empire that once covered the Upper Niger River basin from present-day Mali to Senegal. “The musicians are all from West African, Manden countries. I took the best from Senegal, Ghana, Guinea, Burkina Faso, Mauretania, and I put them all together.”Mr. Diabaté recorded two duet albums with the Malian guitarist Ali Farka Touré. They both won the Grammy Award for best traditional world music album.World CircuitWe 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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      Molly Nilsson’s Synth-Pop Puts Politics Front and Center

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      She is her own manager, books her own tours and has never had a publicist. And her latest album features a song about communism in the style of Madonna’s “Vogue.”Nothing in this world is certain except death and taxes, and Molly Nilsson writes songs about both.The Swedish-born singer began her career making hazy synth-pop tracks, with titles like “More Certain Than Death” and “I Hope You Die,” that suggested love and mortality were always intertwined. But, over the past decade, politics has increasingly shaded her work: A Nilsson record might be the only place where references to late capitalism and the trickle-down economy feel perfectly at home in a pop song. Her latest album “Un-American Activities” features a song about communism that’s also a hommage to Madonna’s “Vogue.”“I’m writing the kind of music that I want to listen to myself,” Nilsson said recently in a video interview from Berlin, where she lives.Over her 16-year career, Nilsson, 39, has established a cult following while working outside the music industry’s norms. She is her own manager, books her own tours and has never hired a publicist. For years, she pressed her own records and hawked them around record stores herself.“The industry needs you a lot more than you need it,” she said. “I’m kind of bulletproof,” she added, “because even if I fail at what I’m doing, at least I did it.”In Berlin, Nilsson said she felt “liberated by the fact that you didn’t have to be a musician to make music, you didn’t have to be living off your paintings to call yourself an artist.”Gordon Welters for The New York Times“Un-American Activities,” released this month, is Nilsson’s most nakedly political record yet: an album-length exploration of McCarthyist blacklisting that draws lines between what Nilsson called “the persecution of leftists and socialists” in the ’40s and ’50s and the rise of the far-right today.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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      Bernice Johnson Reagon, a Musical Voice for Civil Rights, Is Dead at 81

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      A singer, composer, curator and founder of the vocal group Sweet Honey in the Rock, she provided a gospel soundtrack for the civil rights movement.Bernice Johnson Reagon, whose stirring gospel voice helped provide the soundtrack of the civil rights movement, then went on to become a cultural historian, a curator at the Smithsonian Institution and the founder of the women’s a cappella group Sweet Honey in the Rock, died on Tuesday in Washington. She was 81.Her death, in a hospital, was confirmed by her daughter, Toshi Reagon, who did not give a cause.Bernice Reagon, the daughter of a Baptist preacher in Albany, Ga., grew up in a church without a piano, and the first music she absorbed, rooted in spirituals and hymns, was performed by human voices to the accompaniment of clapping and foot stomping.She was an original member in 1962 of the Freedom Singers, a vocal quartet that provided anthems of defiance for civil rights protesters preparing to confront the police or as they were hauled away to jail. The Freedom Singers were associated with the Student Nonviolent Coordinating Committee, which sent them across the South as well as to the Newport Folk Festival in Rhode Island in 1963.Ms. Reagon once wrote, “I sang and heard the freedom songs and saw them pull together sections of the Black community at times when other means of communication were ineffective.”She went on to earn a doctorate in American history from Howard University in 1975 and to direct the Black American Culture Program at the Smithsonian. There, she amassed a collection of blues, gospel and spiritual music and presented that heritage to the public.During one gospel music presentation, in the 1980s, Ms. Reagon encouraged the audience to hum and sing along with the performers. “And if you can’t do that, grunt or sigh a little,” she instructed.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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      Carol Bongiovi, Jon Bon Jovi’s Mother, Dies at 83

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      Nicknamed Mom Jovi, she founded the Jon Bon Jovi fan club, and earlier was a Marine and a Playboy bunny.Carol Bongiovi, the mother of the pop star Jon Bon Jovi, died at a hospital in Long Branch, N.J., on July 9. She was 83.Her family confirmed the death in a statement on Wednesday.Ms. Bongiovi, a former Playboy bunny and U.S. Marine, according to her family, was also the founder of her son’s fan club, which she ran from a flower shop in suburban New Jersey, and came to be known to some fans as Mom Jovi.“Our mother was a force to be reckoned with,” Bon Jovi said in the statement. “Her spirit and can-do attitude shaped this family.”Carol A. Sharkey was born on July 12, 1940, in Erie, Pa. In 1959, she joined the U.S. Marine Corps, where she met her future husband, John Bongiovi Sr.After they were discharged from the military, the couple married and raised three sons in Sayreville, N.J., starting with Jon, born in 1962.Ms. Bongiovi worked as a bunny at the Playboy Club in New York City when Jon was growing up, the singer told Larry King in 2006.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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      Music Catalog Giant Hipgnosis Is Sold, and Merck Mercuriadis Exits

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      The company, whose pricey acquisitions kicked off a rush on catalog sales, sold its assets to Blackstone for $1.6 billion, and its outspoken leader will step down.Six years ago, an outspoken music executive named Merck Mercuriadis kicked off a new wave of dealmaking in the industry when his company, Hipgnosis, began buying up the song catalogs of artists like Neil Young, Shakira, Justin Bieber and the Red Hot Chili Peppers.Now, Mercuriadis, who once managed Beyoncé and Elton John, is stepping down from the company after its assets have been sold to the private equity giant Blackstone, following a tumultuous year that has involved a shareholder revolt, an accounting scandal and a bidding war.In the company’s complex structure, Hipgnosis Songs Fund is an “investment trust,” which is listed on the London Stock Exchange and owns the rights to tens of thousands of songs. A separate company, Hipgnosis Song Management — which has been run by Mercuriadis — is its “investment adviser,” doing much of the dealmaking and administration work for those songs. In 2021, Blackstone invested $1 billion to take majority control over the adviser firm.The board of Hipgnosis Songs Fund voted on Monday to accept Blackstone’s offer of $1.6 billion for the company’s assets, the company announced early Tuesday.After going public in 2018, Hipgnosis got off to a bright start, beginning a spending spree for artists’ song rights that ultimately exceeded $2 billion, and making an attention-getting pitch to investors that the royalties from pop songs could be “more valuable than gold or oil.”Mercuriadis also regularly attacked the corporate conglomerates that dominate the music industry, portraying them as owning too much content to properly manage it. Privately, others in the industry complained that Hipgnosis was overpaying for catalogs, driving up prices all around. In 2021 alone, the music industry had $5.3 billion in catalog transactions, many from deals with individual artists, according to an estimate by Midia, which studies digital media and the music industry.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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      Rob Stone, Master Marketer of Hip-Hop, Is Dead at 55

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      A founder of the influential music magazine The Fader, he also bridged the worlds of hip-hop and the Fortune 500 with his innovative marketing agency.Rob Stone, who as a founder of the music magazine The Fader and the brand-strategy firm Cornerstone Agency bridged the sounds of the streets and the corporate suites, giving early exposure to rappers like Kanye West and Drake while brokering lucrative endorsements at a time when corporate America was still resistant to hip-hop, died on June 24 in Mount Kisco, N.Y. He was 55.His longtime professional partner, Jon Cohen, said the cause of his death, in a hospital, was lung cancer.Early in his music business career, first at SBK Records and later at Arista, Mr. Stone was charged with finding exposure and radio airplay for new artists. He began to establish himself as a hip-hop insider, working with performers like the Notorious B.I.G. and Craig Mack, as well as with Sean Combs, whose label, Bad Boy Records, had entered into a joint venture with Arista.Before long Mr. Stone decided to set out on his own, and in 1996 he started Cornerstone with Steve Rifkind, the founder of the hip-hop label Loud Records. Mr. Rifkind left the agency after a year and a half and was replaced by Mr. Cohen, who had also worked at SBK and had been Mr. Stone’s best friend since middle school on Long Island.Mr. Stone and Mr. Cohen went on to create eye-opening campaigns for brands like Sprite, Converse and Johnnie Walker that leveraged their relationships with labels and with new artists, who in the early days were all too sensitive to charges of selling out.Mr. Stone, left, in an undated photo with the musician and producer Pharrell Williams and Jon Cohen, who founded The Fader with Mr. Stone.via Jon CohenWe 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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      Shania Twain Is a Glastonbury ‘Legend’

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      The Glastonbury Festival’s coveted “Legend’s Slot,” at 3:45 p.m. Sunday, was hers and she said she was ready for the “most extraordinary party of my career.”On a recent Friday, Shania Twain rode a horse through rural terrain in Alberta, Canada, helping a neighbor relocate a herd of Angus cattle. As cows mooed loudly around her, the country-pop star multitasked, chatting on the phone about prepping for an appearance on a famous field an ocean away.Twain recalled how she started to perform at age 8 in smoky bars where drunk men would sometimes heckle her. As a result, she developed stage fright and hated being in the spotlight until she was about 50, she said, so the idea of performing for more than 200,000 revelers at Britain’s biggest music festival would have been anxiety inducing.Shania Twain answers questions for an interview with The Times on horseback while herding cattle.Courtesy of Shania TwainBut on Sunday afternoon, Twain, now 58, walked onstage at the Glastonbury Festival and did just that. Accompanied by a herd of equines (giant hobby horses, this time), Twain kicked off with “That Don’t Impress Me Much,” her 1998 megahit about dismissing romantic suitors. Within seconds, the vast crowd was singing along, dozens of women climbing up onto friends’ shoulders, their hands outstretched in front of them.She was occupying the most coveted slot at Britain’s largest and longest-running music event, the so-called Legend’s Slot, at 3:45 p.m. on the festival’s final day, an appearance she said she expected to be the “most extraordinary party of my career.”The musician who earns this prized booking — past performers have included Dolly Parton, Diana Ross and Brian Wilson of the Beach Boys — not only gets to hear tens of thousands of fans singing their music back to them, but also secures a large live TV audience, which typically results in a boost in record sales and streams.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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      The Broad Appeal of the Elsa Dress from “Frozen”

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      Wearing a costume from “Frozen” in daily life has become a pastime for many children who identify with the character, regardless of gender.Dressing up as Elsa, the blond queen with magical powers from Disney’s animated film “Frozen,” wasn’t necessarily Jeff Hemmig’s idea of a good time.​​“It was well outside of my comfort zone,” Mr. Hemmig, 43, said.But he knew it would make his son, Jace, happy. So Mr. Hemmig, who lives in Killingly, Conn., squeezed his shoulders into a dress his mom made for him, which matched an Elsa costume she had made for her grandson. Mr. Hemmig then performed a rendition of “Let It Go,” choreography and all, as Jace watched.“He loved it,” Mr. Hemmig said. “He was filled with joy.”Mr. Hemmig wasn’t thrilled about wearing the dress: He said it was tight in the armpits and it made him feel vulnerable. But he loved how it delighted his son, then 3. “Seeing Dad do it, too, felt like a big moment,” Mr. Hemmig said.Like the Hemmigs, countless parents have gone to great lengths to satisfy their Elsa-obsessed children since “Frozen” was released in 2013 and became the cornerstone for one of Disney’s most successful franchises. And Mr. Hemmig is far from the only father to dress as Elsa with his son.Such instances have happened enough that the actor Jonathan Groff, the voice of the character Kristoff in “Frozen” and “Frozen 2,” thanked the films’ directors at a 2022 event for “creating space for young boys to dress up as Anna and Elsa,” the franchise’s sister protagonists.Jacqueline Ayala had been a preschool teacher for five years when “Frozen” came out, and it quickly infiltrated her classroom. For a time, Ms. Ayala recalled, there was only one Elsa dress in its dress-up chest. “That’s why the kids started wearing their own costumes to school,” she said. “So they wouldn’t have to share it.”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