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    Sean Combs Arrested in Manhattan After Grand Jury Indictment

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    The music mogul has been under mounting scrutiny since a 2023 lawsuit by his former girlfriend, Cassie, accused him of sex trafficking and years of abuse.Sean Combs, the music mogul whose career has been upended by sexual assault lawsuits and a federal investigation, was arrested at a Manhattan hotel on Monday evening after a grand jury indicted him.The indictment is sealed and the charges were not announced but Marc Agnifilo, a lawyer for Mr. Combs, said he believed he was being charged with racketeering and sex trafficking.A statement from Mr. Combs’s legal team said they were disappointed with the decision to prosecute him and noted that he had been cooperative with the investigation and had “voluntarily relocated to New York last week in anticipation of these charges.”“Sean ‘Diddy’ Combs is a music icon, self-made entrepreneur, loving family man, and proven philanthropist who has spent the last 30 years building an empire, adoring his children, and working to uplift the Black community,” the statement said. “He is an imperfect person but he is not a criminal.”Damian Williams, the U.S. attorney for the Southern District of New York, said in a statement posted on social media late Monday that “we expect to move to unseal the indictment in the morning and will have more to say at that time.”Mr. Agnifilo said Mr. Combs had been arrested by officers with Homeland Security Investigations at about 8:30 p.m. at the hotel where he was staying, the Park Hyatt New York on 57th Street. It is expected he will be held overnight and then arraigned on Tuesday.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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      Frankie Beverly, Soul Singer and Maze Frontman, Is Dead at 77

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      He had announced a short farewell tour earlier this year and said he would retire after more than 50 years in the music business.Frankie Beverly, the lead singer and songwriter of the soul and funk band Maze, who wrote and performed songs including “Golden Time of Day,” “Joy and Pain,” “Happy Feelin’s” and others that provided the soundtrack to countless summer cookouts and family reunions for more than five decades, died on Tuesday. He was 77.His death was announced in a statement by his family posted to his Instagram account. A cause of death was not given.“He lived his life with pure soul as one would say, and for us, no one did it better,” the statement said. “He lived for his music, family and friends.”Earlier this year, Mr. Beverly announced a farewell tour with a handful of dates. He said he would go on the road one last time and then retire.Frankie Beverley in 1987. David Corio/Michael Ochs Archive/Getty Images“Thank you so much for the support given to me for over 50 years as I pass on the lead vocalist torch to Tony Lindsay,” Mr. Beverly said in a statement to Billboard at the time. “The band will continue on as Maze Honoring Frankie Beverly. It’s been a great ride through the decades. Let the music of my legacy continue.”It would be difficult to count the number of artists who have cited Mr. Beverly’s music as inspiration or sampled from his ever-expanding playbook of infectious melodies and harmonies, but many have lovingly covered his work — some with more fanfare than others.Mr. Beverly’s 1981 song “Before I Let Go,” which The New York Times described in 2021 as having a unique ability to gather and galvanize, was covered by Beyoncé on her live album “Homecoming” in 2019.In 1970 in Philadelphia, Mr. Beverly formed the group “Raw Soul” and soon moved to San Francisco. Marvin Gaye eventually took the group under his wing, according to Mr. Beverly’s official website. Mr. Gaye also suggested the group change its name to Frankie Beverly and Maze.Earlier this year, Mr. Beverly had announced a farewell tour with a handful of dates. Getty ImagesThe group released a debut album in 1977 under Capitol Records and released at least eight more albums, not including live recordings, over the next few decades, including “Silky Soul” in 1989 and “Back to Basics” in 1993.A full obituary will follow. More

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      Maurice Williams, Whose ‘Stay’ Was a Hit for Him and Others, Dies at 86

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      A chart topper in 1960 for him and his doo-wop group the Zodiacs, it inspired several notable cover versions and was heard in the 1987 film “Dirty Dancing.”Maurice Williams, the singer and songwriter whose 1960 single “Stay,” recorded with his doo-wop group the Zodiacs, shot to No. 1 and became a cover-song staple for a long line of musical acts, including the Four Seasons, the Hollies and Jackson Browne, died on Aug. 6 in Charlotte, N.C. He was 86.His death, in a hospital, was confirmed by Ron Henderson, a former member of the Zodiacs.Mr. Williams owed a considerable career debt to a girl he dated when he was 15. She provided the inspiration for his two biggest hits: “Little Darlin’,” recorded when his group was called the Gladiolas, which hit No. 41 on the Billboard pop chart in 1957; and “Stay,” which briefly topped the chart in 1960.Mr. Williams recalled the origins of “Stay,” his only chart-topping single, in a 2018 video interview. “This young lady I was going with, she was over to my house, and this particular night, her brother was supposed to pick her up at 10,” he said. “So he came, and I said, ‘Well, you can stay a little longer.’ And she said, ‘No, I gotta go.’”The next morning he woke up and wove that and other snippets from their conversation — “Now, your daddy don’t mind/And your mommy don’t mind” — into song form, building to its indelible signature line, which, seven years later, the Zodiacs’ Henry Gaston would render in a celestial falsetto: “Oh, won’t you stay, just a little bit longer.”Maurice Williams and the Zodiacs’ recording of the song stood out not only for its infectious hooks but also for its eye-blink length — slightly over 90 seconds.“We wanted to make it short so it would get more airplay,” Mr. Williams said. And, he added, “It worked.”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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      Why Donald Glover Is Saying Goodbye to Childish Gambino

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      “Bando Stone & the New World,” his new album due Friday, tells a story about the potential end of the world — and the conclusion of his pseudonymous musical project.Donald Glover had been walking a New York City street only a moment when a young man, perhaps in his early 20s, called out to him from several yards away.“Yo, Donald Glover, bro, I love you, man!”Glover nodded and said thank you.“I listen to Childish Gambino like every day,” he continued.“I appreciate it,” Glover replied.“You’re seriously my favorite, bro,” the man shouted, seemingly struggling for something else to say. Finally, he added, “Since I was a little kid!”Glover chuckled to himself. “A ‘little kid’?” he said, after a beat. “That doesn’t make me feel old, I just know that I am old.”Time comes for everyone. It has mostly been kind to Glover, the multiple Emmy- and Grammy-winning actor, musician, writer and director, who turned 40 last September. He has been in the public eye for nearly 20 years, since his college sketch comedy troupe, Derrick, found an audience on early YouTube in 2006. And he has been famous for 15, since starring in the hit NBC comedy series “Community.”Childish Gambino, his rap alter ego, caught the attention of the hip-hop blogosphere in 2010, making it old enough to be sent off to high school. And now, after the release of his sixth album, “Bando Stone & the New World,” on Friday, he’s officially retiring the moniker.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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      Omar Apollo’s ‘God Said No’ Is an Exquisite Recap of Heartache

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      His second album, “God Said No,” delves into a breakup with all its complications, transformed into pensive alt-R&B.A failing romance can spark enduring breakup songs. Consider Taylor Swift, Shakira, Bob Dylan, Beck, Joni Mitchell, Björk, Fleetwood Mac and, now, Omar Apollo, with his second full-length album, “God Said No.”Apollo, 27, was born and grew up in Indiana, the son of immigrant parents — his given last name is Velasco — who shared their Mexican traditions with him. He emerged on SoundCloud in the late 2010s as an alt-R&B songwriter with echoes of Prince, hip-hop and indie-rock, singing largely in English and occasionally in Spanish. Apollo’s full-length debut album in 2022, “Ivory,” gave him a TikTok-powered, platinum-certified hit: “Evergreen (You Didn’t Deserve Me at All),” a self-questioning ballad with echoes of the 1950s and electronic overtones.“God Said No” plunges more deeply into the raw, unsettled, often contradictory emotions of a crumbling relationship. Apollo sings about sorrow, regret, doubt and disbelief, along with bitterness, anger and lingering desire. It’s not a clean break with one side to blame; it’s far more complicated.Teo Halm, one of Apollo’s co-producers on “Evergreen,” is an executive producer (with Apollo) on “God Said No,” which retains and expands that song’s pensive mood. Most of the new album sounds deliberately modest, verging on low-fi. Its tone suggests troubled thoughts and uncomfortable conversations, small-scale and introspective — seemingly private, not overtly theatrical.One model for “God Said No” is probably Frank Ocean’s 2016 “Blonde,” another heartbreak album awash in vulnerability; Apollo’s reedy tenor often resembles Ocean’s voice. On “God Said No,” the guitars and keyboards are tamped down and reticent; drumbeats are present but not pushy. Even when the production deploys strings, horns or Apollo’s own backup vocal harmonies, they’re subdued and distant, more like apparitions than reinforcements.The partial exception is “Less of You,” a metronomic synth-pop track that harks back to Giorgio Moroder (along with some Daft Punk-style filtered and harmonized vocals), with Apollo wondering, “Was last night the end of me and you?” Even with a blippy hook and a chorus that shifts into a major key, Apollo sounds increasingly alone and forlorn.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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      Angela Bofill, R&B Hitmaker With a Silky Voice, Dies at 70

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      Starting in the late 1970s, she scored multiple hit singles, including “This Time I’ll Be Sweeter” and “I Try,” but multiple strokes in the 2000s ended her career.Angela Bofill, a New York-bred singer whose sultry alto propelled a string of R&B hits in the late 1970s and early ’80s before strokes derailed her career in the 2000s, died on Thursday in Vallejo, Calif. She was 70.Her death, at the home of her daughter, Shauna Bofill Vincent, was announced in a social media post by her manager, Rich Engel. He did not specify a cause.With a silky blend of Latin, jazz, adult-contemporary and soul, Ms. Bofill is best remembered for jazzy love songs like “This Time I’ll Be Sweeter” and funk-inflected pop numbers like “Something About You.” Armed with a three-and-a-half-octave range, her voice was “as cool as sherbet, creamy, delicately colored, mildly flavored,” as Ariel Swartley wrote in Rolling Stone magazine in 1979.Starting in 1978, Ms. Bofill logged six albums in the Top 40 of the Billboard R&B charts, with five of them crossing over to the Top 100 of the pop charts. She also scored seven Top 40 R&B singles, including “Angel of the Night,” (1979) and “Too Tough” (1983).Angela Tomasa Bofill was born on May 2, 1954, in New York City to a Puerto Rican mother and a Cuban father and grew up in the Williamsburg neighborhood of Brooklyn, in Manhattan and in the West Bronx. She started writing songs as a child.By her teens, she was already showing off her vocal chops in a duo with her sister Sandra and a group called the Puerto Rican Supremes, and also as a member of the prestigious All-City Chorus, a group composed of top high-school singers in the city’s five boroughs.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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      David Sanborn, Saxophonist Who Defied Pigeonholing, Dies at 78

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      He was best known as a jazz musician, but his shimmering sound was also heard on classic albums by David Bowie, Stevie Wonder and Bruce Springsteen.David Sanborn, whose fiery alto saxophone flourishes earned him six Grammy Awards, eight gold albums and a platinum one, and who established himself as a celebrity sideman, lending indelible solos to enduring rock classics like David Bowie’s “Young Americans,” died on Sunday. He was 78.He died after a long battle with prostate cancer, according to a statement on his social media channels. He had received the diagnosis in 2018 but had maintained his regular schedule of concerts until recently, with more planned for next year.The statement did not say where Mr. Sanborn died.Drawing from jazz, pop and R&B, Mr. Sanborn was highly prolific, releasing 25 albums over a six-decade career. “Hideaway” (1980), his fifth studio album, featured two instrumentals written with the singer Michael McDonald as well as “The Seduction,” written by Giorgio Moroder, which was the love theme from “American Gigolo,” the ice-cool Paul Schrader film starring Richard Gere.“Many releases by studio musicians suffer from weak compositions and overproduction, including some albums by Sanborn himself,” Tim Griggs wrote in a review of that album on the website Allmusic. In contrast, he continued, “Hideaway” had a “stripped-down, funky” quality that showed off his “passionate and distinctive saxophone sound.”Mr. Sanborn’s albums “Hearsay” (1994), “Pearls” (1995) and “Time Again” (2003) all reached No. 2 on the Billboard jazz chart.Mr. Sanborn joined Miles Davis onstage at the Montreux Jazz Festival in Switzerland in 1986. He worked with a long list of musicians, both in and out of jazz.Keystone/ReduxWe 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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      Universal Music Artists Will Return to TikTok

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      The two companies reached a new licensing deal, ending a three-month stalemate that kept some of pop’s biggest stars off the platform.TikTok and Universal Music Group have reached a new licensing deal, ending a three-month stalemate that had blocked songs from some of pop’s biggest stars from the influential social media platform.In a joint announcement early Thursday, the two companies said that they had agreed to a “multi-dimensional” new deal that included “improved remuneration” for Universal’s roster of artists and songwriters, and would address the label’s concerns over the growth of A.I.-generated content on the app.In statements that accompanied the announcement, Shou Chew, the chief executive of TikTok, called music “an integral part of the TikTok ecosystem.” Lucian Grainge, the chief executive of Universal — the world’s biggest music company, with a roster of artists including Taylor Swift, Ariana Grande, Billie Eilish, Drake and U2 — called the deal a “new chapter in our relationship with TikTok” that “focuses on the value of music, the primacy of human artistry and the welfare of the creative community.”The agreement ends the music industry’s biggest and most contentious dispute with a tech platform in years. Both companies hurled public accusations at each other, and artists from across the spectrum worried about whether their careers would be hurt by the absence of their music from TikTok, which has become a vital promotional platform and boasts more than 170 million users in the United States alone.But the deal also comes amid wider uncertainty for TikTok as the app faces a possible ban or sale in the United States because of national security concerns over the app’s Chinese owner, ByteDance. Last month, President Biden signed a bill that would allow TikTok to continue to operate in the United States if it was sold in nine months, though the company is expected to challenge the law in court.Universal began to withdraw permission for its music from TikTok on Feb. 1, after an impasse in negotiations to renew its previous licensing agreement. At the time, Universal said that TikTok “attempted to bully us into accepting a deal worth less than the previous deal, far less than fair market value and not reflective of their exponential growth.”Millions of videos that included Universal music — including many artists’ own official music videos — were muted on the platform. TikTok said that by withdrawing its songs, Universal had “put their own greed above the interests of their artists and songwriters.”TikTok and Universal have not commented on their negotiations since then. But the dispute seemed to shift three weeks ago, when Swift — the biggest and most influential artist on Universal’s roster — broke ranks with the label and returned her music to TikTok, ahead of the release of her most recent album.Her move may have weakened Universal’s leverage. But since the ban took effect, fans noticed that songs from many other Universal artists, including Grande and Camila Cabello, had returned, often in sped-up or slowed-down versions that may have been uploaded to the platform by fans.In their announcement, TikTok and Universal did not offer any specifics about the financial terms of their deal. The companies’ statement says they will work together to “realize new monetization opportunities” through e-commerce, and that TikTok will “invest significant resources” in building tools like data analytics and ticketing.The companies added that they were “working expeditiously” to return Universal’s music to the platform. That could take a matter of days or weeks. More

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      Cher, Dave Matthews Band and A Tribe Called Quest Join Rock Hall of Fame

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      Mary J. Blige and Ozzy Osbourne were also voted in, but Sinead O’Connor, who died last year at 56, did not make the cut.Cher, Ozzy Osbourne, Peter Frampton and Mary J. Blige are part of the Rock & Roll Hall of Fame’s class of 2024, along with Dave Matthews Band, Kool & the Gang, Foreigner and A Tribe Called Quest, the hall announced on Sunday.The latest crop of stars will officially join the pantheon in a ceremony on Oct. 19 at Rocket Mortgage Fieldhouse in Cleveland, where the hall’s affiliated museum is also located.The 39th annual group of inductees matches the hall’s genre and demographic spread of recent years, with a pop diva (Cher), a metal idol (Osbourne), a top funk band of 1970s and ’80s vintage (Kool & the Gang), a couple of ’90s hip-hop and R&B heroes (Blige, Tribe) and rock mainstays from the boomer (Frampton, Foreigner) and Gen X (Matthews) eras.Of those artists, four were elevated to the hall on their first nomination: Cher, Foreigner, Frampton and Kool & the Gang. Osbourne was nominated for the first time as a solo act, though he had joined the hall as part of Black Sabbath in 2006. The Rock Hall has come under increasing pressure in recent years to diversify its ranks with more women and artists of color, and has made progress in that regard, though some critics say it is not enough.“Rock ’n’ roll is an ever-evolving amalgam of sounds that impacts culture and moves generations,” John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, said in a statement. “This diverse group of inductees each broke down musical barriers and influenced countless artists that followed in their footsteps.”Seven acts that were nominated in February did not make the cut: Mariah Carey, Jane’s Addiction, Oasis, Sade, Eric B. & Rakim, Lenny Kravitz and, perhaps most surprisingly, Sinead O’Connor, whose death last year, at age 56, elicited a global outpouring of grief and a reconsideration of her place in rock history.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