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      Strange Cellmates in a Brooklyn Jail: Sean Combs and Sam Bankman-Fried

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      Mr. Combs is sleeping in the same dormitory-style room as Mr. Bankman-Fried, the crypto mogul who was convicted of fraud.Sean Combs is living in the same unit of a Brooklyn jail as Sam Bankman-Fried, the crypto mogul convicted of fraud, sleeping in a dormitory-style room with a group of other defendants assigned to the same section, according to a person familiar with the living arrangements.Mr. Combs has been held in the jail, the Metropolitan Detention Center, for nearly a week, since federal prosecutors unsealed an indictment charging him with racketeering conspiracy and sex trafficking in what the government has called a “decades-long pattern of physical and sexual violence.”He has pleaded not guilty to all charges, and his lawyers argued strenuously for him to be released on bail, proposing to a judge that he put up a $50 million bond and hire a security team to monitor him at all hours. The judge rejected the proposal, saying that he had concerns about Mr. Combs attempting to witness tamper, landing him in a special housing unit that often holds high-profile inmates.A spokeswoman for the Bureau of Prisons said the agency “does not provide information about conditions of confinement, including housing assignments or internal security practices for any particular incarcerated individual.”Mr. Bankman-Fried has been housed in the jail, known as M.D.C., since last year, when his bail was revoked after a judge ruled that he had violated conditions of his release. In the lead-up to his trial, his lawyers complained that he had only intermittent internet access and could not adequately prepare for his case. They said that Mr. Bankman-Fried, a vegan, was subsisting on a diet of water, bread and peanut butter.Mr. Bankman-Fried, who founded the FTX cryptocurrency exchange, was convicted of masterminding a sweeping fraud in which he siphoned billions of dollars of his customers’ money into venture capital investments, political contributions and other lavish spending. He was sentenced to 25 years in prison.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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      Sean Combs’s Arrest Has the Music World Asking: Is Our #MeToo Here?

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      Activists and survivors are hopeful for change after the industry, which has a pervasive party culture, largely avoided the accountability that swept Hollywood and politics.The arrest of Sean Combs last week, on charges including sex trafficking and racketeering conspiracy, represents a stunning reversal of fortune for the hip-hop impresario, who as recently as a year ago was feted as an industry visionary before a sudden series of sexual assault accusations.The indictment against Mr. Combs accuses him of running a criminal enterprise centered on abusing women, and of using bribery, arson, kidnapping and threats of violence to intimidate and silence victims. He has denied the allegations and pleaded not guilty to the charges.But Mr. Combs’s arrest has also stirred the hopes of activists and survivors of sexual violence that his case may finally lead to lasting change in the music industry. Though long seen as inhospitable to women, the business has largely avoided the scrutiny and accountability that swept Hollywood, politics and much of the media world at the peak of the #MeToo movement in the late 2010s.There is no single explanation for why music dodged a similar reckoning. Some point to the industry’s decentralized power structure, its pervasive party culture and a history of deference to artists and top executives.“Sex, drugs and rock ’n’ roll, the looseness with sexuality — that is baked into the culture of the music industry,” said Caroline Heldman, a professor at Occidental College and a longtime activist. “Unfortunately, that means that rape culture is baked into it, because there aren’t mechanisms of accountability.”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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      A Note From Irving Berlin, the ‘Nation’s Songwriter’

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      The lyricist and composer wrote thousands of compositions — and one stern letter to The New York Times.Few songwriters and composers were as prolific as Irving Berlin, whose vast musical catalog includes well-known songs such as “Puttin’ on the Ritz,” “Cheek to Cheek” and “Anything You Can Do (I Can Do Better).” By some accounts, he wrote well over 1,200 songs during his career, including the scores for 18 films and 19 Broadway shows.His 1942 song “White Christmas,” most famously performed by Bing Crosby, remains a holiday classic, and his patriotic hit “God Bless America,” released in 1938, is considered an unofficial national anthem.Berlin’s legacy survives not only in tunes, but in organizations he created that influenced the musical world. In 1914, he helped found the American Society of Composers, Authors and Publishers, or ASCAP, a music licensing agency that today, per its website, secures the royalties and legal rights for over one million songwriters, composers and music publishers. In 1919, he broke away from Ted Snyder and Henry Waterson, with whom he had built the successful music publishing company Waterson, Berlin & Snyder Co., and established his own. He was also behind the Music Box Theater in Manhattan.In the Morgue, The New York Times’s physical clippings library, there’s a thick file on Berlin. One of the items inside is a letter, dated April 14, 1924, that Berlin sent to The Times. In the letter he made clear that he had no existing ties to Waterson, Berlin & Snyder Co., which had recently filed a lawsuit against ASCAP. The lawsuit, in part, “sought to compel the defendants to account for all of the licenses issued permitting the broadcasting of the songs and musical compositions belonging to the plaintiff,” as The Times had reported days earlier.Berlin explained that he had “severed” his connection to the firm years earlier. He implored The Times to make this distinction in forthcoming articles: “I would consider it a special favor if you make it perfectly clear that I, Irving Berlin, have no connection whatsoever with the firm of Waterson, Berlin & Snyder.” (The firm filed for bankruptcy in 1929.)Berlin lived to be 101; when he died in 1989, The Times called him the “nation’s songwriter” in his obituary. More

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      A Concert Celebrates Jimmy Carter’s 100th Birthday, With Music and Thanks

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      The night included gospel hymns and “America the Beautiful” and the B-52s lighting up the Fox Theater, one of the oldest auditoriums in Atlanta, with a performance of “Love Shack.” In one moment, the crowd was on its feet as Angélique Kidjo, the acclaimed Beninese musician, sang and danced. In another, they shimmied and sang along to a cover of “Ramblin’ Man.”The collection of artists and performances transcended generations, genres and geography. But one thread bound them together on Tuesday night: affection for former President Jimmy Carter, which they were eager to express in celebration of his coming 100th birthday.“You can see he had a relationship to music — look at how we gathered here together tonight,” said the country singer Carlene Carter, who is not related to the former president but said he still feels like kin. “He used it as a powerful tool to bring people together.”The civil rights leader Andrew Young, seated, and his wife, Carolyn, standing, share a laugh with, from left, Thomas and Henry Carter, great-grandchildren of Jimmy Carter and Jason Carter, his grandson.Dustin Chambers for The New York TimesCarter’s actual birthday was still almost a couple of weeks away, and Carter himself was 160 miles away, at home in Plains, Ga., where he has been in hospice care for the past 19 months. But the concert was intended as a gift, one that will be broadcast as a special on Georgia Public Television on Oct. 1. The family said he plans to watch as part of his birthday festivities.The concert in many ways mirrored the scope and ambitions of the man it was celebrating: Global and idealistic in its reach, but firmly planted in Georgia, molded by religious and cultural traditions as well as the rich but complicated history of the rural South.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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      Natasha Rothwell and Samara Joy on Finding Their Voices

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      The “How to Die Alone” creator and actress and the Grammy-winning jazz singer talk about genre, improvisation and romantic comedies.Admiration Society shows two creative people in two different fields in one wide-ranging conversation.The television actress and writer Natasha Rothwell grew up as an itinerant Air Force kid and started her career in improvisational comedy at places like New York’s Upright Citizens Brigade; she credits both experiences with nurturing her resilience and curiosity. After writing for “Saturday Night Live” in 2014 and then appearing in the 2016 Netflix series “The Characters,” she was hired to write on “Insecure” (2016-21), Issa Rae’s breakthrough Black rom-com HBO series. Rothwell, 43, became better known, however, for portraying Kelli, the show’s frank, sexually free sidekick. She then went on to play Belinda, a disillusioned masseuse at a Hawaiian resort, on the first season of Mike White’s “The White Lotus” in 2021. She’ll reappear on that show’s third season, which airs on Max early next year. And she just finished her showrunning debut as the creator and star of “How to Die Alone,” a New York-set comedy-drama series that premiered on Hulu earlier this month. She plays Mel, a single airport employee whose near-death experience shocks her into living a deeper life.Rothwell is also a jazz obsessive who’s put in many hours of karaoke. One of her favorite artists is Samara Joy, who at the age of 24 has already won three Grammys: Best New Artist and Best Jazz Vocal Album in 2023, followed by Best Jazz Performance this year. Descended from two generations of gospel singer royalty (her grandparents co-founded the Savettes; her vocalist-bassist father toured with Andraé Crouch), Joy excels at rebooting jazz standards with tight new arrangements and dreamy, conversational lyrics. In 2020, while still a student at the State University of New York’s Purchase College, she performed Duke Ellington’s “Take Love Easy,” inspired by Ella Fitzgerald’s 1974 version, in a video posted to Facebook that became a pandemic-era viral hit. She has since released two albums, both influenced by her love of contemporary romance narratives.Joy has been touring almost nonstop for the past three years but, by early summer, when she spoke with Rothwell for the first time one evening, she had completed her third album, “Portrait,” which comes out in October. Their conversation took place over video — Joy at her parents’ home in the Bronx and Rothwell calling in from Thailand, where she’d just filmed White’s show. “Both of us are closing some chapters,” said Rothwell — and each was eager to cheer the other on. By the end of a 90-minute conversation, they’d already made plans to meet soon in person.Natasha Rothwell: When I was watching the Grammys [earlier this year], you would’ve thought I’d caught the spirit in my hotel. I was screaming for you, girl. You so deserved [it]. Where are you in New York?Samara Joy: I’m in the Bronx right now, where I grew up. But I’m moving to Harlem.N.R.: I used to live in New York. I’m in L.A. now, but I set everything I write and produce in New York because I’m trying to get a studio to pay me to come back.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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      ‘You’re Basically on a Broadway Stage, With New Friends’

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      At the touring dance party Broadway Rave, the playlist is all show tunes. But don’t worry, no house remixes of “I Dreamed a Dream” here.Julia Cochrane drove for four hours, to New York from Boston, so she could spend last Saturday night immersed in all things Broadway. But not in Manhattan.Instead, she headed to Huntington, Long Island. There, over 100 people packed into Spotlight at the Paramount, a small bar attached to a concert hall, for a touring dance party called Broadway Rave, at which theater kids turned theater adults dance and sing onstage in between shots of tequila.“People who love this, they just want to come together,” said Cochrane, 22, who attended with her friend Hannah Opisso, 23, a Long Island resident who learned about the dance party via Instagram. “It’s like you’re basically on a Broadway stage, with new friends.”“You see these folks get onstage and have the courage to be up there,” said Ethan Maccoby, whose company presents Broadway Rave.Ye Fan for The New York TimesCochrane and Opisso met as students at the State University of New York, Plattsburgh, where Broadway cast albums were their pregame music of choice. Last weekend, Broadway musicals brought them together again, and at one point they took the stage to sing “Meet the Plastics” from the “Mean Girls” musical.Attendees don’t have microphones — this isn’t karaoke — but they are encouraged to rush the stage to sing and dance when their favorite songs come on. And the term “rave” is a misnomer: The playlist is mostly uncut cast album material — though last weekend those theater fans may have caught the remix flair at the beginning of “Jellicle Songs for Jellicle Cats.” Other songs that night included “Out Tonight” (“Rent”), “Popular” (“Wicked”), “Sincerely Me” (“Dear Evan Hansen”) and a few tracks from “Hamilton,” including “The Schuyler Sisters” and “Wait for 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

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      Nusrat Fateh Ali Khan’s Voice Stunned the World (and Will Again)

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      “Chain of Light,” an album of four qawwalis the Pakistani singer recorded in 1990, are arriving after being discovered in the vaults of Peter Gabriel’s label.On Oct. 27, 2022, the photojournalist Saiyna Bashir was interviewing the musician Michael Brook in his Los Angeles studio when she learned something that prompted an urgent text to Zakir Thaver, her filmmaker colleague in Pakistan:“New undiscovered album.”Bashir and Thaver were producing an upcoming documentary called “Ustad” about Nusrat Fateh Ali Khan — the celebrated Pakistani singer who died in 1997 at age 48 — and Brook, the silver-haired musician whose ambient work has crossed paths with Daniel Lanois, Brian Eno and Michael Mann, had just revealed that he was working on an unreleased Khan song.It was part of “Chain of Light,” an album Brook recorded with Khan at Peter Gabriel’s Real World Studios in England more than three decades ago. “Ya Gaus Ya Meeran,” the track in question, was an unreleased Khan qawwali, a song based on the devotional poetry of Sufism, a mystical branch of Islam.Khan, a polyglot whose musical family initially dissuaded him from singing in favor of another career, first appeared onstage as a teenager after the death of his father in 1964. Over the next two decades, his music became a balm and source of national pride for Pakistan. He began recording with Gabriel in 1988, and soon appeared on Trent Reznor’s “Natural Born Killers” soundtrack and with Eddie Vedder on the “Dead Man Walking” soundtrack. “Chain of Light” — with four traditional qawwalis written in Urdu, Punjabi and Persian that were recorded in April 1990 — will be released by Real World Records on Friday. (Khan’s daughter, Nida, along with Usha Rajan, the custodian of his estate and a family friend, have both been involved with this project.)Gabriel, who first encountered Khan when he saw him performing at the WOMAD festival, which he helped found, in 1985, recalled the moment specifically: “It was dusk and you could feel the whole arena becoming charged with the qawwali and that extraordinary, spellbinding voice,” he wrote in an email. Later working with Khan, “I was astonished at his ability to improvise wonderful melodies with all their emotional peaks and troughs,” he added. “He was not just a maestro of the voice but a master composer who could create these classic lines on the fly whilst maintaining a great sense of the whole composition, as it emerged out of the ether for the very first time.”Oran Mullan, whose job as project manager at Real World involves reintroducing the label’s material to an online audience, discovered the album’s 24-track, two-inch magnetic tapes during one of his daily scans of warehouse shelves in June 2021. Scribbled across the box was: “Trad Album,” artist: “Nusrat Fateh Ali Khan.”Mullan initially thought it was one of Khan’s previously released qawwali albums. “The idea that we would find something else seemed unlikely,” he said in a phone interview from England. Mullan and Amanda Jones, the label’s manager, fast-tracked its digitization and sent it to Brook, who had released “Mustt Mustt” (1990) and “Night Song” (1996), with Khan.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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      Jane’s Addiction to Cancel Tour After Dave Navarro and Perry Farrell Fight on Stage

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      In a social media post, the rock band said it was halting its reunion tour after the group’s singer, Perry Farrell, hit its guitarist at a Boston show.The rock band Jane’s Addiction announced on Monday that it would cancel the remainder of its reunion tour in the United States and Canada days after its singer, Perry Farrell, physically confronted its guitarist at a concert in Boston.A message posted to Instagram said the band had made “the difficult decision to take some time away as a group.”Jane’s Addiction, which rose to fame in the 1980s and 1990s, was about halfway through its North America tour when the episode took place on Friday.The tour was one of several reunions convened this year by rock bands that gained cult followings in earlier decades. It was the first tour by the original band members in 14 years, according to Rolling Stone.The episode took place at the Leader Bank Pavilion in Boston. Video captured by concertgoers and verified by Storyful showed the band’s singer Farrell confronting Dave Navarro, a guitarist, as the two performed.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