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      in Movies

      Sacha Jenkins, Filmmaker Who Mined the Black Experience, Dies at 53

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      Shaped by early hip-hop culture, his documentaries put race in the foreground, whether the topic was hip-hop fashion, the Capitol riots or Louis Armstrong.Sacha Jenkins, a fiery journalist and documentary filmmaker who strove to tell the story of Black American culture from within, whether in incisive prose explorations of rap and graffiti art or in screen meditations on Louis Armstrong, the Wu-Tang Clan or Rick James, died on May 23 at his home in the Inwood section of Manhattan. He was 53.The death was confirmed by his wife, the journalist and filmmaker Raquel Cepeda-Jenkins, who said the cause was complications of multiple system atrophy, a neurodegenerative disorder.Whatever the medium — zines, documentaries, satirical television shows — Mr. Jenkins was unflinching on the topic of race as he sought to reflect the depths and nuances of the Black experience as only Black Americans understood it.He was “an embodiment of ‘for us, by us,’” the journalist Stereo Williams wrote in a recent appreciation on Okayplayer, a music and culture site. “He was one of hip-hop’s greatest journalistic voices because he didn’t just write about the art: He lived it.”And he lived it from early on. Mr. Jenkins, raised primarily in the Astoria section of Queens, was a graffiti artist as a youth, and sought to bring an insider’s perspective to the culture surrounding it with his zine Graphic Scenes X-Plicit Language, which he started at 16. He later co-founded Beat-Down newspaper, which covered hip-hop; and the feisty and irreverent magazine Ego Trip, which billed itself as “the arrogant voice of musical truth.”Nas on the cover of the first issue of Ego Trip magazine, which billed itself as “the arrogant voice of musical truth.”Ego TripWe 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

    • 75 Shares109 Views

      in Theater

      ‘A Freeky Introduction’ Review: Pleasure Principles

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      NSangou Njikam’s latest offering is an ode to the erotic and the divine, set to winking R&B and hip-hop songs, in a new production by Atlantic Theater Company.In “A Freeky Introduction,” the writer-creator, NSangou Njikam plays a quasi-deity, M.C., holy hedonist named Freeky Dee. He is a poet delivering sybaritic couplets above the thrum of R&B tunes. He is a missionary preaching the gospel of freakdom: “All of us are aftershocks of the Divine orgasm.” (The Big Bang, Freeky argues, was an explosive one.) The result is a sort of hip-hop hallelujah — a work of interactive theater that’s funny and familiar in its embrace of Black culture, yet flattened at times by a lack of specificity.Freeky Dee is also a storyteller. He opens the show, now at Atlantic Stage 2 in Manhattan, with the tale of an eagle destined to fly, but born into a nest of bullying buzzards — a not-so-subtle allegory about one species that must resist the self-appointed superiority of another. Accompanied by DJ Monday Blue onstage, Freeky Dee is the sole performer who acts out these scenes, including his pursuit of a fine lady named Liberty (“French, with a splash of Africa” and wearing “a crown that looked like sun rays coming out her forehead” — you get it).Njikam, who wrote and starred in the lively and semi-autobiographical “Syncing Ink,” is a fan of salacious reinterpretations. Under Dennis A. Allen II’s well-paced direction for this Atlantic Theater Company production, he delivers them with the charisma of a folkloric trickster. DJ Monday Blue’s sounds and samples lend a rock-steady groove — a feast of R&B and hip-hop staples. Whenever Freeky Dee sets up for a spoken-word set, the standing bass and sax lines of “Brother to the Night,” from the movie “Love Jones,” ring out. It’s a knowing wink — sonic choices that affirm Black cultural memory as its own special canon.Audience participation also becomes a form of communion for Njikam and Blue. At times, we’re ordered to recite an affirmation-laden “Mirror Song” or do kegel exercises in our seats. The show is always edging the sacred up against the sexual, which set designer Jason Ardizzone-West reinforces, adorning square columns with divine contradiction: half evoke West and North African etchings of figures kneeling in spiritual offering; while the other lean into smut — peach and eggplant emojis, thirst drops, figures on their knees for a different purpose.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

    • 150 Shares199 Views

      in Music

      Sean Combs, Defendant: Gestures to His Family, Sticky Notes to His Lawyers

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      With no cameras in the courtroom, few have glimpsed the music mogul as he helps direct his defense, facing charges that could put him in prison for the rest of his life.He shakes his head and fidgets in his seat during testimony, passes notes to his lawyers and blows kisses to his mother in the courtroom gallery. Sometimes Sean Combs pulls out chairs for the women on his legal team.His federal trial has drawn worldwide attention, with minute-by-minute coverage from the press and social media influencers who broadcast live updates from the street outside U.S. District Court in Lower Manhattan.But since federal courts bar cameras, Mr. Combs’s demeanor during the most critical eight weeks of his life — Does he smile? Does he seem mad, nervous, sad? — has been largely outside public view, captured only by the sketches of courtroom artists.For weeks now, Mr. Combs, who is facing sex-trafficking and racketeering conspiracy charges that could put him in prison for the rest of his life, has been an attentive and largely easygoing presence in the courtroom. His expressions of disagreement with witnesses have been subdued, showing no inkling of the volcanic, violent temper often described in testimony.When George Kaplan, a former assistant, described the pace of working for Mr. Combs as “almost like drinking from a fire hose,” the mogul nodded in approval. When another assistant, using the pseudonym Mia, said she would be punished if she did not do “everything that he told me to do,” he just scoffed and shook his head.It is an understated posture for a man whose profile as a chart-topping producer, rapper, reality-TV star and gossip-page fixture was larger than life, giving rise to the multitude of nicknames — Puff Daddy, Diddy and Love — by which he has been known.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

    • 163 Shares129 Views

      in Music

      Sean ‘Diddy’ Combs’s Trial Will Focus on Footage of Hotel Assault on Cassie

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      The music mogul has been accused of using a brown bag filled with $100,000 cash to buy hotel security video of him beating up Casandra Ventura.It has been a year since 2016 footage of Sean Combs brutally assaulting his longtime girlfriend, Casandra Ventura, in a Los Angeles hotel was broadcast on CNN. Now those images, which became a potent demonstration of the music mogul’s violence, are a centerpiece of his federal trial.The video of Mr. Combs striking and kicking Ms. Ventura has already been shown to jurors multiple times. On Tuesday, prosecutors are expected to delve into the events that followed the assault, which they have said involved Mr. Combs delivering $100,000 in a brown paper bag to purchase hotel security footage of the beating.Mr. Combs is facing charges of sex trafficking and racketeering conspiracy, which involves accusations that the mogul engaged an inner circle of bodyguards and high-ranking employees to help him commit a series of crimes over two decades.At least two of those criminal allegations — bribery and obstruction of justice — relate to the aftermath of the assault at an InterContinental hotel in Los Angeles.Mr. Combs has pleaded not guilty to the charges. His lawyers have said that he and his employees were involved in legitimate business operations, not a criminal conspiracy, and that the sex at issue in the government’s case was entirely consensual.On Tuesday morning, Eddy Garcia, a hotel security supervisor who was on duty shortly after the 2016 assault, is expected to take the stand. He will be testifying under an immunity order after telling the government that he intended to assert his Fifth Amendment right to not incriminate himself.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

    • 150 Shares159 Views

      in Music

      ‘Mia’ to Continue Her Testimony as Sean ‘Diddy’ Combs’s Trial Nears Midpoint

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      The former assistant will be questioned by Mr. Combs’s lawyers, who say her account of sex abuse and violence is at odds with the warmth she showed him on social media.The federal trial of Sean Combs is entering its fourth week, the midpoint of what is expected to be an eight-week trial, with prosecutors still filling out the particulars of a case that charges the music mogul with sex trafficking and racketeering conspiracy.Jurors have heard from 21 witnesses in support of the government’s case that Mr. Combs was a violent and abusive man who controlled, intimidated and sexually violated women, and that he directed employees to commit arson, bribery, forced labor, obstruction of justice and other crimes on his behalf as part of a “criminal enterprise.”Mr. Combs has pleaded not guilty to all charges against him, and his lawyers have strongly denied that any of his sexual arrangements were nonconsensual, arguing that the women who are part of the government’s case willingly consented to sex with Mr. Combs. If convicted of all charges, Mr. Combs, 55, could face life in prison.The witnesses in the case so far have included Casandra Ventura, the singer known as Cassie, who said she had been coerced intro drug-fueled sex marathons, and a former assistant, testifying under the pseudonym “Mia,” who said that her boss sexually assaulted her and subjected her to sleep deprivation and violence.Another witness, Deonte Nash, a stylist, described witnessing Mr. Combs’s violent attacks on Ms. Ventura, and said she told him that Mr. Combs had threatened to release explicit videos of her with other men in “freak-offs,” the sexual encounters that are at the heart of the government’s case. Ms. Ventura had called those videos “blackmail materials.”At a news conference at the White House on Friday, President Trump said that, if asked, he was open to reviewing a possible pardon for Mr. Combs — whom he crossed paths with decades ago on the celebrity scene in New York — if he was convicted.“I would certainly look at the facts,” Mr. Trump said.Mia, who testified on Thursday and Friday last week, will return to the stand on Monday for what should be the conclusion of her testimony. Under cross-examination on Friday, Brian Steel, a lawyer for Mr. Combs, showed Mia dozens of social media posts in which she repeatedly expressed affection and admiration for the music mogul. Mr. Steel asked how she could write such things if he had also abused her in the way she said.“I was young and manipulated and just eager to survive,” Mia said.The next witnesses suggest the government will further examine the circumstances of freak-offs. One witness, Eddy Garcia, was a supervisor at an InterContinential Hotel in Los Angeles, where a security camera recorded Mr. Combs attacking Ms. Ventura in 2016. Another expected witness, Frank Piazza, is a forensic video expert who examined that hotel footage. Other expected witnesses include Sylvia Okun, a hotel custodian, and a man named Enrique Santos. More

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      in Music

      Trump Says He’d ‘Look at the Facts’ of Sean ‘Diddy’ Combs Case: Latest Trial Takeaways

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      President Trump discussed if he would consider a pardon for Sean Combs, while in court, an ex-assistant testified about sexual abuse. Mr. Combs denies sexually assaulting anyone.As the third week of Sean Combs’s racketeering conspiracy and sex-trafficking trial came to a close on Friday, the second woman to testify that she was sexually abused by him came under close questioning by the music mogul’s lawyers. The woman, who took the stand under the pseudonym Mia, spoke about eight grueling years working for Mr. Combs in an environment characterized by sleep deprivation and violent outbursts.In the afternoon, President Trump commented on the trial, saying that although no one had asked about a potential pardon, he would be open to looking “at the facts” of the case.The music mogul has pleaded not guilty to all of the charges. His lawyers have acknowledged their client has a history of violence and a “bad temper,” but assert he is not a racketeer or sex trafficker.Here are some takeaways from the day in court.Mia faced her former boss’s lawyers.Mia testified that Mr. Combs threatened her, threw objects at her and sexually assaulted her during her years working for him. Prosecutors have accused him of subjecting her to forced labor — including sexual activity — through violence and threats of serious harm.During cross-examination, Brian Steel, a lawyer for Mr. Combs, sought to show the jury another side of Mia’s time working for the famous record producer. The defense displayed dozens of posts from her Instagram account, many of which showed her posing beside or celebrating Mr. Combs, whom she called a “mentor” and an “inspiration,” as well as marveling at her good fortune to be working for him — years after she says he first sexually assaulted her.“Why would you promote the person who has stolen your happiness in life?” Mr. Steel asked.“Those are the only people I was around, so that was my life,” Mia replied, describing her time working for Mr. Combs as a “confusing cycle of ups and downs.”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

    • 113 Shares119 Views

      in Music

      Lorde’s Anthem of Transformation, and 9 More New Songs

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      Hear tracks by Miley Cyrus featuring Brittany Howard, Thom Yorke, Kaitlyn Aurelia Smith and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Lorde, ‘Man of the Year’“I’ve become someone else, someone more like myself,” Lorde sings, somewhere between pride and astonishment, in “Man of the Year,” the second single from her album due in June, “Virgin.” It’s a crescendo of self-transformation, from quietly plucked cello to full-band stomp, as Lorde seizes the masculinity within herself. In the video clip, she flattens her breasts, taping them down with duct tape; she ponders, “Who’s gonna love me like this?” and then proclaims, “Now I’m broken open / Let’s hear it for the man of the year.”Miley Cyrus featuring Brittany Howard, ‘Walk of Fame’“Walk of Fame,” from “Something Beautiful,” the new Miley Cyrus album, turns the proverbial morning-after walk of shame into something prouder: “I walk the concrete like it’s a stage.” The song is mostly formulaic disco, thumping away. But the voice of Brittany Howard — adding little responses and wordless overlays, then promising “You’ll live forever”— gives it some gravity.Kaitlyn Aurelia Smith, ‘Urges’Kaitlyn Aurelia Smith, an dedicated electronic-pop experimenter, toys with and displaces dance-floor rhythms in “Urges,” from her coming album, “Gush.” She whisper-sings “I keep getting urges /What if I just let them move through me like this” while brittle programmed syncopations, disembodied voices and distant, tootling arpeggios materialize around her voice; even as the sounds disintegrate, the pulse is danceable.Santana and Grupo Frontera, ‘Me Retiro’Two generations of Mexican American musicians — the Texas band Grupo Frontera and the guitarist Carlos Santana — make a natural combination in “Me Retiro” (“I’m Leaving”), a song about trying to drink away a heartbreak. Santana sits in with the Grupo Frontera band and, rightly, takes over; his guitar slices through the clip-clop beat and accordion chords and compounds the sorrows that Adelaido “Payo” Solís III sings about.Obongjayar featuring Little Simz, ‘Talk Olympics’Obongjayar — Steven Umoh, a Nigerian musician based in London — has a new album, “Paradise Now,” that’s full of inventive, Pan-African electronic grooves like the zippy staccato propulsion of “Talk Olympics.” With an octave-bouncing bass line and the sounds of balafons, drums, synthesizers and sampled voices, Obongjayar and Little Simz take turns complaining about someone who’s far too chatty: “I let you speak, that was my mistake,” Little Simz notes; Obongjayar adds, in his sweetest falsetto, “Shut up! Shut up!”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

    • 175 Shares169 Views

      in Music

      At Sean ‘Diddy’ Combs Trial, ‘Victim-4,’ His Ex-Employee, Set to Talk of Sex Abuse

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