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      Young Thug Released After Guilty Plea in Lengthy YSL Case

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      The star Atlanta rapper admitted to six counts, including participating in criminal street gang activity, ending his role in the longest trial in Georgia history.The star Atlanta rapper Young Thug pleaded guilty to participating in criminal street gang activity in a dramatic courtroom scene on Thursday, bringing his starring role in the longest trial in Georgia history to an unexpected conclusion after bumpy witness testimony complicated the state’s prosecution.After hearing sentencing recommendations from both sides, the judge in the case, Paige Reese Whitaker, sentenced Young Thug, born Jeffery Williams, to time served, plus 15 years of probation. He was released Thursday night, according to Fulton County jail records.Mr. Williams, 33, was matter-of-fact as he admitted to six counts, including possession of drugs and firearms, before turning contrite as he addressed the courtroom. Prosecutors had described him in opening statements 11 months ago as “King Slime,” the fearsome leader of a pack that terrorized the streets of Atlanta via gang warfare, robbery and drug dealing for nearly a decade as his music career took off.His guilty plea on Thursday followed a tense courtroom moment in which the judge asked Mr. Williams if he was ready to accept a non-negotiated plea, instead of a negotiated deal with prosecutors, because of an impasse over sentencing. Mr. Williams, looking stricken, conferred with his lawyers briefly before the judge called a recess to allow him to decide.In a non-negotiated plea, the judge is responsible for deciding the sentence based on recommendations from both sides.Upon returning, Mr. Williams said he would accept the blind plea; he also pleaded no contest to two additional counts, leading a criminal street gang and conspiracy to violate the RICO act, the state’s racketeering law.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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      Their Songs Blew Up on TikTok, So These Musicians Tweaked Their Sets

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      Social media platforms and streaming services are leading younger listeners to new (and old) music. Artists are making sure they feel at home at live shows.DJ Paul, a founder of the Oscar-winning Memphis hip-hop group Three 6 Mafia, was enjoying some tequila at a pool party in the Hollywood Hills two years ago when a friend shoved a cellphone in front of him. The rapper was surprised to see TikTok videos uploaded by “young white girls” dancing and rhyming along to one of the coarser moments from “Half on a Sack,” a slightly menacing song the group released 17 years earlier. The lyrics described sex and drug use on a tour bus.“I’m like, ‘Whoa,’” he remembered in an interview, laughing. “And when I do my concerts, you see the same kind of girls out there singing that line. They go crazy.”Paul said that “Half on a Sack” had long been a staple of the group’s live set lists, but the crowd response has been more uproarious in the wake of its viral moment.The rapper Project Pat, who has been touring with Three 6 Mafia this year, said he regularly performed “Life We Live,” his 23-year-old song that’s been used in almost three million TikTok videos. It’s seen a 130 percent increase in Spotify streams, as well.Project Pat has seen “Life We Live,” a song he released in 2001, gain a new life on TikTok.Aaron J. Thornton/FilmMagic, via Getty Images“I always looked at the rap game as a business,” Pat said. “I didn’t never look at it like I’m putting my pain and all that” into the art. “If you gon’ pay for this, I’m gonna tell you what you want to hear,” he added in his distinctive Memphis accent.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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      Shawn Mendes Walked Away From Stardom. He’s Ready to Talk About It.

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      On a rainy summer night, on a club stage in Woodstock, N.Y., Shawn Mendes was ready for tears. Happy tears, overwhelmed tears. Just some processing-everything-as-it-happens mistiness. “There’s probably a high chance I cry a lot,” he told the small crowd, pressing the backs of his hands to his eyes, and emerging with a grin.It was the first time in over two years that Mendes, the 26-year-old Canadian pop star, had performed in front of an audience, after he abruptly pulled the plug on his career at its pinnacle. In 2022, amid what he called a mental health “breaking point,” he canceled a multimillion-dollar, two-year international tour — over 80 scheduled arena dates — acknowledging that, in that moment, he couldn’t handle it. It was a startling admission, especially for a multiplatinum male artist with a hugely devoted young fan base. If their attention was fickle, he would be gone.In the time since, Mendes — a social media phenom with model looks and a penchant for bare-chestedness, who found immediate chart-topping success as a teenager — stepped almost completely away from music, seeking stability and a life away from the road. Then he slowly winched his way back to songwriting, through the wilds of adulthood. Over rootsy guitar and strings, his struggles are laid bare on his fifth album, “Shawn,” due Nov. 15. “I don’t understand who I am right now,” he whispers on the anguished opening track.“I felt super, super lost,” Shawn Mendes said of the moment two years ago when he called off his tour. “Healing takes time.”Mark Sommerfeld for The New York TimesHe’s not the type to mask anything. And it took him a long while to feel strong enough to make the record. “I felt super, super lost,” he told me. In Woodstock, he talked of spiraling anxiety, the walls closing in.But in the few months since that gig, Mendes’s stages have been growing exponentially: He blasted through “Nobody Knows,” a new, lovelorn ballad, at the MTV Video Music Awards, ending it in ecstatic guitar peals; and then sang to 100,000 people — in Portuguese — at a festival in Rio de Janeiro. When we met for an interview, at his favorite recording studio in bucolic Rhinebeck, N.Y., where he worked on the new album, he seemed as if he had regained the muscle memory of what it means to be a star. But he wore it lightly.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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      6 Performances Our Classical Critics Can’t Stop Thinking About

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      Watch and listen to symphonies by Mahler, a new opera by Missy Mazzoli, Ray Chen’s take on video game music and more.The New York Times’s classical music and opera critics attend far more performances than they review. Here are some that hooked them during the past month.Mahler FirstsThe Boston Symphony Orchestra performing ‘Veni, Creator Spiritus’ at Symphony Hall.JOSHUA BARONE Despite years of hearing live music, we both had Mahler firsts this month; for me, the Eighth Symphony and for you the Third. Maybe it says something, that a composer so often performed still has his rarities.ZACHARY WOOLFE Certainly these pieces are difficult to mount; they’re as large in scale as symphonic music gets.Mahler’s Third SymphonyFrom the Philadelphia Orchestra’s performance at Marian Anderson HallBARONE True. I saw the Eighth at the Boston Symphony Orchestra, and it was mind-boggling to witness how much money it must have cost. This piece calls for eight vocal soloists, all of which were luxuriously (though imperfectly) cast, two standard choirs and a children’s choir. Mahler described it as having a Barnum & Bailey quality, which I don’t see as an advantage. At Symphony Hall, the opening felt as though it couldn’t have been anything other than an impenetrable wall of sound.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 Piano Trio: (Still) a Powerful Force in Jazz

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      New releases from Tyshawn Sorey, Kim Cass, Bill Charlap, Tarbaby, Matthew Shipp, Kris Davis and others are showcasing how a classic format can still feel fresh.Two of the most engrossing jazz tracks in recent months, the Tyshawn Sorey Trio’s “Your Good Lies” and Kim Cass’s “Slag,” share a classic trio instrumentation and the presence of Sorey behind the kit.Sorey’s “Your Good Lies,” a cover of a track by the pop-soul group Vividry that features the pianist Aaron Diehl and the bassist Harish Raghavan, is a vortex of downtempo groove, sprawling across 26 zoned-in minutes. “Slag,” in which Sorey performs alongside the bassist-bandleader Cass and the pianist Matt Mitchell, is a meticulous yet marvelously frantic scramble that exhausts itself just shy of the three-minute mark.Taken together, these ultimately very different pieces — drawn from Sorey and Cass’s new albums, “The Susceptible Now” and “Levs” — point to a major theme in jazz in 2024: Piano trios are everywhere, and their potential still feels limitless.The piano-bass-drums combo has been a staple since the late ’50s and early ’60s, when trios led by Ahmad Jamal and Bill Evans modeled the crisp elegance and conversational charge that the format could offer. In subsequent years, as new approaches have come and gone, the music has always made room for great piano trios: Keith Jarrett’s Standards Trio, Brad Mehldau’s three-piece, Jason Moran’s Bandwagon, the Bad Plus.This year’s crop is striking for its robust growth: Many major pianists are involved — Vijay Iyer, Bill Charlap, Kris Davis, Matthew Shipp, Ethan Iverson, Nduduzo Makhathini and Mitchell, at the helm of his own group — plus notable up-and-comers such as Marta Sanchez and Luther S. Allison, and other instrumentalists and composers like Sorey, Cass and John Zorn, and the collective group Tarbaby. And it’s notable for the sheer variety of work these artists have produced. Orthodox approaches to the idiom are easy to find, but so are a wealth of other tacks, ranging from the earthy to the outré.New releases from (clockwise from top left) Matthew Shipp, Kim Cass, Sorey and Kris Davis are part of the year’s surge in trio albums.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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      One Defendant Accepts a Plea Deal Amid Young Thug’s RICO Trial

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      Prosecutors have accused the star Atlanta rapper of leading a gang in the longest trial in Georgia history. The case has been further delayed by plea negotiations.A defendant in the racketeering and gang conspiracy case against the Atlanta rapper Young Thug and members of his YSL crew agreed to a plea deal in court on Tuesday.Five defendants including Young Thug — born Jeffery Williams — remain, as the case sits in limbo following a motion for a mistrial and a multiday pause stemming from an evidence mishap during witness testimony last week.Mr. Williams, 33, stands charged with conspiracy to violate the Racketeer Influenced and Corrupt Organizations Act, or RICO, and participation in criminal street gang activity, along with six counts related to the possession of weapons and controlled substances. He has pleaded not guilty. The sprawling trial, in which 28 men were initially charged, had already become the longest in Georgia’s history after extended logistical complications, recurring courtroom dramas, the removal of one judge, the appointment of another, and a jail stabbing. Jury selection for the case, which was first charged in May 2022, began in January 2023 and lasted some 10 months, with opening arguments having taken place last November.On Tuesday, after more than three days of trial delays as potential mid-trial deals were considered, the YSL defendant Quamarvious Nichols agreed to a negotiated guilty plea to one count, conspiracy to violate RICO. As a result, prosecutors said they would recommend a 20-year prison sentence, with seven served in person and the balance on probation.The judge overseeing the case, Paige Reese Whitaker, accepted the plea without the jury present, adjourning court for the remainder of the day. A lawyer for Mr. Williams did not respond to a request for comment regarding any ongoing plea negotiations.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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      13 Scary Good Halloween Songs

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      Fill up your holiday playlist with spooky and satisfying tracks from Yeah Yeah Yeahs, the Sonics, Geto Boys and more.Karen O and Brian Chase of the Yeah Yeah Yeahs (being watched … closely).Chad Batka for The New York TimesDear listeners,Hello from your guest playlister for the day — I’m Dave Renard, an editor on the Culture desk who writes about music occasionally and tries to keep his record collection from outgrowing its allotted shelf space (currently failing).Let’s just get this out of the way first: Halloween has the best music of any holiday and it’s not even close. Christmas may be the sales leader, but its canon is too tied to a tight list of classics and standards, and if you have the bad fortune to encounter a repetitive earworm like “The Little Drummer Boy” or (shudder) “The 12 Days of Christmas,” there goes your whole day. Thanksgiving is a great opportunity to throw on some soul music while you mash potatoes, but like most other holidays, it doesn’t have much of a musical tradition of its own. Fourth of July, we’ve got Galaxie 500 and what, Katy Perry? (My editor offers a star-spangled dissent, but I think the point stands.)Halloween, on the other hand, has a huge range of spooky sounds to draw from. (If you know the old joke about hell having all the good bands, it’s kind of like that.) My playlist strategy is to surround the typical novelty favorites like “Monster Mash” or “Ghostbusters” with a critical mass of songs that are, you know, actually good. I can only listen to DJ Jazzy Jeff & the Fresh Prince do “A Nightmare on My Street” so many times before I start to lose it. If you think “Saw” is terrifying, try revealing to your teen daughter which songs drive you nuts and then — jump scare! — remembering she can control the sound system from her phone.A bigger pool of shared Halloween favorites makes that prospect less hair-raising. I lean heavily on black-clad ’80s punks, goths and post-punks, like the Cure and Siouxsie and the Banshees, along with ’60s garage rockers and their descendants. But really any song with a creepy edge to it, or lyrics name-checking a wide range of October signifiers, will do the trick. Here are an unholy 13 selections to soundtrack All Hallows’ Eve.I’m a human fly and I don’t know why,DaveListen along while you read.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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      Maurizio Pollini’s Final Recording, Made With His Son

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      Maurizio Pollini didn’t think his farewell on disc would be an album of music by Schubert with his son, Daniele. Now, it serves as an emotional coda.The pianist Maurizio Pollini was still exploring, right to the end.Throughout his long partnership with Deutsche Grammophon, Pollini, who died in March at the age of 82, offered invariably accomplished, intellectually alert recordings of repertoire including Bach and Chopin, Schoenberg and Boulez. In his twilight, he rethought music that he had recorded before, not least the last five sonatas of Beethoven — works with which he had previously confirmed his stature in the 1970s, in versions that still sound strikingly modern today.Pollini’s last recording, which was recently released, bids a somewhat surprising farewell. Dedicated to Schubert, it marks a welcome return to a composer whose music Pollini had not taped since the 1980s. But what makes the program so remarkably poignant is that Pollini is joined by his son, Daniele. Each musician first plays a solo work: Maurizio, a taut rendition of the Piano Sonata in G; Daniele, a shapely set of the “Moments Musicaux.” Then, father and son share a single instrument in a concluding, breathtakingly direct interpretation of the Fantasie in F minor, for four hands.And so Maurizio Pollini’s discography ends with one of the bleaker cadences in music, confronting tragedy without flinching. The recording was not intended to be valedictory, though. Made in Munich in June 2022, the Schubert was one of several studio projects that Pollini still had in mind, among them the second book of Bach’s “The Well-Tempered Clavier.”Instead, the sessions were an opportunity for father and son to work together. It was only their third time doing so. In 2016, they recorded a two-piano piece, “En Blanc et Noir,” as a coda to Pollini’s recording of the second book of Debussy’s “Préludes.” Before that, Daniele Pollini had conducted his father in Beethoven’s “Emperor” Concerto, in a filmed performance that made the elder Pollini particularly proud.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