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    Myke Towers Is Seizing His Moment

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    In just a few years, the rapper has become one of the most sought-after collaborators in Latin music. His new album, “La Vida Es Una,” surveys his many aesthetics.Myke Towers could tell you that he never knew he would make it big, but that wouldn’t be true. Because back in 2014, six years before the rapper would put out his debut, he was preparing for a make-or-break show in his hometown, San Juan, Puerto Rico, and breaking wasn’t an option.“Puerto Rico is the most difficult crowd to please,” he said this month, video-chatting from a Miami hotel room a few weeks before the release of his new album, “La Vida Es Una” (“Life Is One,” a reminder that we only live once). “They don’t just give out approval, you have to show that you are good enough. If you make it in P.R., you’re going to make it anywhere.”Over the course of two back-to-back albums, he did just that. “Easy Money Baby” from 2020 went triple platinum, building off the success of his 2016 mixtape, “El Final del Principio” (“The End of the Beginning”), while incorporating reggaeton, Brazilian funk and Colombian melodies. “Lyke Mike,” released in 2021, was a firm statement of purpose that strung together harder trap bangers. It peaked at No. 3 on Billboard’s Top Latin Albums chart and cracked the Top 50 on the all-genre Top 200. With his new album, out Thursday, Towers aimed to marry the two approaches, striking a balance that illustrates his creative flexibility.“In this album, I want to make music to perform live,” he said, speaking animatedly in a casual white tee and a gold chain. “I want to give energy to people so they can go out and forget about their problems, forget about what’s stressing them.”Almost a decade ago, Towers, now 29, was still waiting for his shot. Raised in the barrio of Caimito in south San Juan, he grew up surrounded by music, mainly his grandmother’s: salsa, merengue, old school boleros — if it was classic Latin music, she was playing it. But Towers wanted to cut his own path in rap, and by the time he graduated from high school, he’d started releasing music on SoundCloud, initially fairly anonymously. “At the beginning, I didn’t even want to show my face,” he said with a laugh. “I just wanted to show my skills. I knew that I had to put in a lot of work to be in the mix.”“Wherever I go, I make music from Puerto Rico,” Towers said. “When I’m making music, I’m listening to the people who came before me.”Ysa Pérez for The New York TimesHe didn’t just practice music, he analyzed it, dissecting every move idols like Daddy Yankee and Jay-Z made, and seeing how he could apply them to his own life. “I studied the game,” he explained. “I have my own identity, but I started with them, and the respect that I had for them.”As his SoundCloud releases gained more traction, he began putting his name on the tracks — styling “Mike” as “Myke” — and performing around the city. He viewed his first shows as tests, and by 2014 he was ready for graduation: that important hometown performance, in La Perla.For artists who grew up in the area, performing in La Perla, the island’s famous slum — located on a stretch of rocky coastline in Old San Juan — is a rite of passage. In video of Towers’s set posted to YouTube, the rapper is dressed in all black, standing under a white beach canopy as he confidently delivers the verses of the aspirational “Dinero En Mano.” (He later released the track, filled with ominous strings, on “El Final del Principio.”) By the end of the song, the crowd is singing along with him.“It was one of my most important shows,” he recalled. He shook his head and grinned, almost as if he was still in disbelief that he had pulled it off. “A lot of people, they didn’t even know my songs, but they were like, ‘Who’s that? Why is he confident performing like that?’”Even before he released his first full-length album, Towers had already teamed up with Bad Bunny and Becky G, laying the groundwork that would make him one of Latin music’s most in-demand collaborators. Since then, the rapper’s features with Rauw Alejandro, Luis Fonsi and Farruko have all been certified platinum.With “La Vida Es Una,” Towers agonized over the track list, sifting between more than 50 songs to select the set that could demonstrate his transition from a vanguard of Puerto Rico’s grass-roots trap scene to a self-assured hitmaker. His versatility is what first grabbed the attention of Orlando Cepeda, known as Jova, one of Towers’s frequent co-writers and the co-founder of the Puerto Rican label that first signed him in 2018. After hearing his rap music, Cepeda asked if Towers had anything more commercial. He was impressed.“He’s an artist without limits,” Cepeda said in a phone interview. “He’s a writer, he’s a composer, he’s a lyricist. I think that hearing someone who comes from the hood like he does, when you listen to his music, it inspires, it excites, it makes people want to work with him.”By the time Towers graduated from high school, he’d started releasing music on SoundCloud.Ysa Pérez for The New York TimesIn addition to tapping some of his past collaborators, including Ozuna and J Balvin, for “La Vida Es Una,” Towers also enlisted producers from across the Latin music diaspora, including Sky Rompiendo (from Colombia) and Tainy (Puerto Rico). “I want to show my fans the difference between ‘Mike’ and ‘Myke,’” he said, explaining his efforts to blend his grittier rap roots with his mainstream ambitions. “In the beginning, my fans would say things like, ‘Oh, you went commercial. What are you doing?’ Those comments would get in my head, and I felt like I was losing who I am, but I like to challenge myself. I took a lot of risks on this album, but I feel confident that when people listen to it, they’ll hear something they needed from me before.”The new album includes songs for his more pop-minded fans: “Sábado” and the Daddy Yankee collaboration “Ulala (Ooh La La),” two dance-floor-ready tracks produced by the Texas duo Play-N-Skillz. Towers heats things up on “El Calentón,” a sparse track that begins as a reggaeton jam before building to a display of his lyrical dexterity. And as its title might suggest, “Flow Jamaican,” produced by Di Genius, dives into reggae rhythms, with Towers switching up his flow in the lead-up to the song’s earworm of a hook.The album was primarily recorded in Puerto Rico, a place with such a long, diverse musical history, Towers said, that anyone who taps into it comes away overflowing with ideas, influences and potential: “Wherever I go, I make music from Puerto Rico. When I’m making music, I’m listening to the people who came before me.” He lit up, a wide smile spreading across his face as he described his usual routine of returning home from tour to his wife and son, and then heading to the studio.“My family is my home base,” Towers said. “Going back to them is spiritual to me. Before I had my son, I would be in the studio until 7 a.m., every day. I’ll always have that hustler spirit, but when I found out I was going to have a kid, it was about working smarter, not harder.”Towers ends the album with a triumphant celebration, “Lo Logré” (“I Made It”). “It’s an anthem that a lot of people are going to relate to,” he said.“People think I made it and it was easy, they forget the process, everything that it took to make it happen. I value every moment in my career because years ago I was even crying trying to make it come true. There are trials you go through, but when you come out on the other side, people just see that you made it. And I have, but I haven’t. I have more dreams to achieve.” More

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      The Inevitability of Ice Spice

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      Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicIt was only last August — seven months ago! — that Ice Spice became seemingly ubiquitous with “Munch (Feelin’ U),” a casually devastating burn of a would-be suitor. Then an emerging rapper from, or more accurately adjacent to, the Bronx drill scene, she’s had a rapid ascent to a contemporary version of pop stardom. She’s now in the Top 5 of the Billboard Hot 100 with “Boy’s a Liar Pt. 2,” a collaboration with the equally TikTok-friendly PinkPantheress. And she recently released her debut EP, “Like..?”It seems like Ice Spice demand is outstripping supply — thanks to the omnipresence of her music on TikTok in recent weeks, she’s become eminently consumed even as she has released just a limited amount of music. But modern celebrity is built on this kind of shareability, and her ease in these spaces is a primary driver of her success, in addition to a writing style that’s highly conversational and accessible.On this week’s Popcast, a conversation about the rise of Ice Spice, how her music-making moves in lock step with the TikTok and Instagram meme universe, and the bottom-up approach to stardom that’s likely to define the future of pop.Guest:Jeff Ihaza, a senior editor at Rolling StoneConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Three Convicted in 2018 Murder of Rapper XXXTentacion

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      After more than 27 hours of deliberation, a Florida jury found three men guilty of killing the rising rapper during a robbery in the parking lot of a motorcycle shop.Nearly five years after the killing of the rising rap star XXXTentacion, who was fatally shot in broad daylight during a 2018 robbery just as his polarizing career was exploding, a jury in Florida on Monday ended more than a week of deliberations when it found three men guilty of first-degree murder in the case.Prosecutors said that Michael Boatwright, 28, and Trayvon Newsome, 24, were the gunmen that June afternoon, with Boatwright firing the fatal shot during a struggle over money. The third man convicted, Dedrick Williams, 26, was said to be the getaway driver and mastermind behind the robbery.All three face mandatory life sentences; prosecutors did not seek the death penalty in the case, which was tried at the Broward County Courthouse in Fort Lauderdale, Fla.Surveillance video played in court showed the rapper’s BMW being blocked by an S.U.V. as he tried to leave a motor sports store in Deerfield Beach, Fla., leading to a confrontation with two masked assailants, who escaped with $50,000 in cash.The trial turned largely on the jury’s interpretation of testimony from a fourth man present that day, Robert Allen, who pleaded guilty to second-degree murder last year and testified against his alleged co-conspirators. The Broward County prosecutors also relied on surveillance video from the store that showed two of the men inside, seemingly observing XXXTentacion (born Jahseh Onfroy), as well as cellphone and Bluetooth data tying the men to the location and the S.U.V.XXXTentacion onstage in 2017. The rising rapper was shot and killed during a robbery in 2018.Matias J. Ocner/Miami Herald, via Tribune News Service and Getty ImagesThe evidence also included videos that prosecutors said showed the defendants dancing and posing with cash hours after the killing.During more than 27 hours of deliberations across eight days, jurors had asked to review more than 1,000 text messages, along with photos and videos, seized from the cellphones of two of the defendants, including a picture of a news story about the shooting.Defense lawyers for Boatwright, Newsome and Williams, who were tried together, argued that DNA evidence failed to link them to the shooting. (The jury was asked to decide separately on each man’s guilt or innocence, and could have convicted just one or two of those accused.)The defense pointed vaguely to other theories of the crime — including behind-the-scenes wrangling that attempted to include information about XXXTentacion’s online beef with the megastar Drake, who fought successfully to avoid being deposed in the case. They also said that Allen, who had previous felony convictions, was an unreliable witness.“Plans hatched in hell do not have angels for witnesses,” Pascale Achille, the lead prosecutor, said in her rebuttal after closing arguments.The foursome had been planning to commit robberies that day, prosecutors argued, when they happened upon XXXTentacion at the motorcycle shop, where they had hoped to buy a mask. After confirming the musician’s identity inside, the men then waited for him in the parking lot and pulled in front of his car, allowing the two gunmen to attack, their faces covered. A passenger riding with XXXTentacion fled, and a scuffle over the rapper’s Louis Vuitton bag containing the $50,000 ended when Boatwright shot the rapper, prosecutors said.XXXTentacion, 20, a singer, songwriter and rapper who blended genres and first took off on the streaming platform SoundCloud, was high up on the roller coaster of viral fame when he was killed.In the 18 months before the shooting, he had gone from a little-known, troubled teenager making music in his bedroom to the top of the Billboard chart thanks to the success of his anarchic breakout single, “Look at Me!,” and a follow-up album, “?,” which debuted at No. 1.At the same time, he was awaiting trial on charges of battery, false imprisonment and witness tampering stemming from the alleged violent assault of a former girlfriend.“If I’m going to die or ever be a sacrifice, I want to make sure that my life made at least five million kids happy, or they found some sort of answers or resolve in my life, regardless of the negative around my name, regardless of the bad things people say to me,” the rapper said in a video posted to social media before his death.Since his killing, XXXTentacion — whose striking visage has been absorbed into modern hip-hop’s iconography — has been the subject of a documentary, “Look at Me,” and been featured on albums by Kanye West and Lil Wayne, in addition to the posthumous music released in his name. More

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      Miley Cyrus and Brandi Carlile’s Raw Duet, and 9 More New Songs

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      Hear tracks by Bartees Strange, Nicki Nicole, Caroline Rose and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Miley Cyrus featuring Brandi Carlile, ‘Thousand Miles’From Miley Cyrus’s new album, “Endless Summer Vacation,” comes this rugged, low-to-the-ground duet with the polished roots-rock yowler Brandi Carlile. Both are capable of broad vocal theatrics, but it should be said, Carlile is holding back here, in order to allow Cyrus the space to ruminate in this song about failure: “I’m not always right/but still I ain’t got time for what went wrong.” In her post-Disney career, Cyrus has flirted with various forms of adulthood in terms of performance — sexual defiance, hippie experimentalism and so on. But she’s perhaps at her most appealing when applying restraint. JON CARAMANICANicki Nicole, ‘No Voy a Llorar’Latin R&B enjoys a whiff of hyperpop helium in “No Voy a Llorar” (“I’m Not Going to Cry”), a preemptively defensive breakup song. The 22-year-old Argentine songwriter Nicki Nicole insists she’s fully prepared if things go wrong. “When you leave, I’m not going to suffer,” she predicts. The song’s chord progression could have come from the 1950s, but its production is as contemporary as its brittle attitude. Her pop soprano gets pitched further upward as the track begins; elusive background vocals and synthesizers puff their syncopations around the beat. Even the exposed voice-and-piano coda, the sincere payoff, gets computer-tweaked. JON PARELESBaaba Maal featuring the Very Best, ‘Freak Out’The Senegalese songwriter Baaba Maal, with an extensive catalog behind him, has lately been heard worldwide with vocals on the soundtracks of the Black Panther films. He collaborated with the African-tinged English group the Very Best on “Freak Out,” from his coming album, “Being.” Ignore the song’s psychedelic title. The lyrics draw on an old proverb from Maal’s culture, the Fulani, instructing that someone who has deep knowledge should say neither too little nor too much. Its music merges programmed and hand percussion with a desert drone, an electric-guitar lick and the backup vocals of the Very Best’s Malawian singer, Esau Mwamwaya. It’s both up-to-the-minute and resolutely grounded in traditional wisdom. PARELESEladio Carrión featuring Future, ‘Mbappe’ (Remix)Last year, the Puerto Rican rapper Eladio Carrión had a hit with “Mbappe” a drowsy and delirious Migos-esque boast. Future appears on this remix with a pair of verses that are somehow both utterly rote and also grossly charming, rapping about the place where carnality and expensive jewelry intersect, and the elation of toxic love. CARAMANICANF, ‘Motto’NF has always rapped as if full of anxiety, and on a core level, that hasn’t changed on “Motto,” a clever narrative about unshackling oneself from the stressors of pop music success. But over classicist boom-bap production amplified with a whimsical swing and some of the howling dynamics of rock groups like Imagine Dragons, “Motto” feels somehow lighter. In his early career, NF sounded as if he was internalizing all the pressures of the world, but now he sounds free and calm, dismissing those same pressures with a shrug. CARAMANICABartees Strange, ‘Daily News’“Daily News” was tucked away on the vinyl version of the album Bartees Strange released in 2022, “Farm to Table.” Now it’s streaming, and it sums up and expands the album’s moods and dynamics. Strange sings about alienation, numbness and anxiety — “I can feel the weight/Crashing over me again” — as electric-guitar lines coil and intertwine around him. A bridge finds him even more alone — reduced to nervous, isolated vocals — but someone rescues him. Perhaps it’s a partner; perhaps it’s an audience. “I’ve found you,” he exults, in a full-band onrush of drums, saxophone and tremolo-strummed guitars, and the connection sounds rapturous. PARELESCaroline Rose, ‘Tell Me What You Want’A breakup could hardly be messier or more noisy than the one Caroline Rose depicts in “Tell Me What You Want.” “I am just pretending not to lose my mind,” she explains, in a track that swerves between acoustic-guitar strumming and full grunge blare. She blurts both “I can’t bear to lose you” and “Boy you’re going to hate this song!” She wonders if she should hold on; she wants to smash everything and move along. The video clip, a drunken trek through Austin, Texas, spells out all of her conflicting impulses. PARELESAngel Olsen, ‘Nothing’s Free’The steadfastness of vintage soul carries Angel Olsen through “Nothing’s Free,” as she sings about an unspecific but primal revelation. Slow gospel organ and piano chords, bluesy saxophone and patiently hand-played drumming sustain her amid — and in a long closing instrumental, beyond — something that sounds both life-changing and inevitable, as she sings, “Nothin’s free like breaking free/out of the past.” PARELESNoia, ‘Verano Adentro’Noia is Gisela Fullà-Silvestre, a songwriter from Barcelona who’s now based in Brooklyn. In “Verano Adentro” (“Summer Inside”), she wafts her voice over an amorphous, ever-shifting electronic backdrop. At first it’s tentative — chords and pauses, the clatter of a rainstick — but other, more ominous sounds crowd in: distorted guitar, insistent drums, rumbly low arpeggios. Nothing ruffles her as she basks in bliss: “All I need is an ocean, all I need is time,” she coos. PARELESSarah Pagé, ‘Premiers Pas Au Marécage’“Premiers Pas Au Marécage” translates as “First Steps in the Swamp,” and it’s a meditation on evolution — formlessness into forms — by Sarah Page, a harpist and composer from Montreal. She mingles electronics and plucked strings in this piece, which opens with yawning, amorphous sounds and recordings of Hungarian frogs, then deploys a quintet of Japanese kotos to join her in a measured, echoey waltz and march, a tentative climb toward order. PARELES More

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      Nicki Minaj Returns Ready to Rumble, and 8 More New Songs

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      Hear tracks by Kali Uchis and Summer Walker, Arlo Parks, 6lack and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Nicki Minaj, ‘Red Ruby Da Sleeze’Calm arrogance is Nicki Minaj’s gift. There’s no need to decipher all her allusions because her delivery and production say it all. The track of “Red Ruby Da Sleeze,” based on Lumidee’s “Never Leave You (Uh Oooh, Uh Oooh),” juggles near-flamenco handclaps, trap drums and choral vocals going “Uh-oh.” Her percussive rhymes are competitive in every realm — linguistic, sexual, financial, culinary (“guacamole with the taco”) — and their utter confidence is still convincing. JON PARELESKali Uchis and Summer Walker, ‘Deserve Me’“Red Moon in Venus,” the third studio album by the cheerfully bilingual Colombian American songwriter Kali Uchis, moves between sensual romance and fierce recriminations. “Deserve Me” is blunt: “I like it better when you’re gone/I feel a little less alone.” Uchis and Summer Walker take turns bad-mouthing the thoughtless lover who’s getting dumped, and harmonize sweetly to remind him, “You don’t deserve me.” The track starts out light and tinkly but keeps adding bassy layers, literally showing the depth of their contempt. PARELESboygenius, ‘Not Strong Enough’The indie-rock trio boygenius — Phoebe Bridgers, Lucy Dacus and Julien Baker — formed in 2018, under a cheeky moniker that, Dacus said in an interview, was meant to harness some macho overconfidence: “We were just talking about boys and men we know who’ve been told that they are geniuses since they could hear, basically, and what type of creative work comes out of that upbringing.” The group’s stirring, acoustic-guitar-driven new single “Not Strong Enough” once again finds the women in provocative but poetic drag, as they harmonize on a chorus that answers Sheryl Crow: “I don’t know why I am the way I am, not strong enough to be your man.” On a steadily galloping bridge, Dacus leads the trio in a chant that expresses frustration at being “always an angel, never a god.” But by the end of the candid “Not Strong Enough,” boygenius has generated its own kind of strength in vulnerability — and in numbers. LINDSAY ZOLADZArlo Parks, ‘Impurities’The English songwriter Arlo Parks has absorbed Joni Mitchell, hip-hop and much more; it’s no wonder she is willing to enjoy her “Impurities.” Her new track revolves around echoey loops and samples, but she has a paradoxical lesson to impart: “When you embrace all my impurities, then I feel clean again.” PARELESMandy, Indiana, ‘Pinking Shears’On the echoey, percussion-forward “Pinking Shears,” the Manchester art-rockers Mandy, Indiana forcefully and exhaustedly reject an increasingly mechanized world: “J’suis fatiguée” (“I’m tired”) becomes a kind of mantra when chanted by the band’s vocalist Valentine Caulfield. But there’s catharsis and resistance in the industrial abrasion of the sound they create, like a rogue machine created from cobbled-together parts suddenly learning how to talk back. ZOLADZWater From Your Eyes, ‘Barley’The hypnotic “Barley,” from the Brooklyn duo Water From Your Eyes, sounds a bit like a playground chant reimagined by Sonic Youth: “One, two, three, counter, you’re a cool thing, count mountains,” Rachel Brown drones in a charismatic deadpan. The song — and first single from the forthcoming album “Everyone’s Crushed,” which comes out on May 26 — is full of loopy left-turns and unexpected riffs that jut out at odd angles, but Brown and bandmate Nate Amos are, at all times, utterly in command of their strange and alluring sonic universe. ZOLADZ6lack, ‘Since I Have a Lover’6lack positions himself between singer and rapper on “Since I Have a Lover,” which has a looped feeling. He barely projects his voice, but he rides the rhythm of a loping, two-chord guitar track as he promises more than a passing attraction. Will it last? The song suggests a woozy maybe. PARELESPrincess Nokia, ‘Lo Siento’Steady, wistful piano chords carry Princess Nokia through “Lo Siento” (“I’m Sorry”) from her EP due March 14, “I Love You But This Is Goodbye.” It’s not really an apology; as the production blooms into lush, pillowy harmonies, she switches from singing in English to calmly rapping in Spanish, cursing her lover for betrayal and noting, “Thanks for the pain, the pain in my song.” PARELESyMusic, ‘Zebras’A seven-beat rhythm percolates through “Zebras,” a minimalistic but eventful romp by the chamber sextet yMusic. The rhythm hops from key clicks on a bass clarinet to pizzicato strings; it’s juxtaposed with sighing melody lines and hints of a circus band, making the most of its three-and-a-half minutes. PARELES More

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      Pharrell and Luxury Fashion’s Hip-Hop Obsession

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      Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicThe appointment of the storied hip-hop and pop producer Pharrell Williams to the creative director of men’s wear at Louis Vuitton marks a new phase of the union of hip-hop style and luxury clothing, two worlds that have been hurtling toward each other for more than two decades, but have lately become close kin.Williams steps into a role that had been fundamentally remade by Virgil Abloh, a protégé of Kanye West, who made Louis Vuitton a must-see and, for many, a must-wear during the years he was in charge (until his death in 2020). Williams comes to the role with a long history of pushing the boundaries of hip-hop style, a series of big brand collaborations and the mystique of global celebrity.On this week’s Popcast, a conversation about how hip-hop style has become a key part of men’s wear, how Williams has been central to connecting the dots between streetwear and luxury, and the potential directions Louis Vuitton might take under his direction.Guest:Aria Hughes, editorial creative director of ComplexConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Nipsey Hussle’s Killer Sentenced to 60 Years to Life in Prison

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      Eric R. Holder Jr. was found guilty of first-degree murder last year in the 2019 killing of Hussle outside a clothing store he had founded in Los Angeles.The man who was found guilty of fatally shooting the rapper Nipsey Hussle in 2019 was sentenced on Wednesday to 60 years to life in prison in a Los Angeles courtroom.Eric R. Holder Jr., 33, was convicted last year of first-degree murder for shooting Hussle outside The Marathon Clothing store the rapper had opened in the South Los Angeles neighborhood, where both men grew up.Mr. Holder was sentenced to 25 years to life on the murder count, to another 25 years to life because a gun was used and to another 10 years for shooting two other people that same day, according to the Los Angeles County district attorney’s office.Aaron Jansen, the public defender who represented Mr. Holder, did not immediately respond to a request for comment on Wednesday.There was no dispute that Mr. Holder pulled the trigger. Multiple witnesses and even Mr. Jansen identified Mr. Holder as the assailant who fired toward Hussle with two handguns, hitting the rapper at least 10 times, then kicking him in the head.But Mr. Holder’s legal team said during the trial that the case was overcharged. Mr. Jansen said that the fatal shooting was not premeditated and that it took place in the “heat of passion” after an exchange in which Hussle, 33, invoked neighborhood rumors that Mr. Holder had cooperated with law enforcement.After meeting for less than an hour on a second day of deliberations, the jury members appeared to agree with Los Angeles County prosecutors that Mr. Holder had made the decision to kill Hussle after the two spoke as he returned to a car, loaded a gun, took a few bites of French fries, then marched back through the parking lot to confront the rapper.In addition to his conviction on the murder charge, Mr. Holder was also found guilty of possessing a firearm as a felon, two counts of assault with a deadly weapon and two counts of attempted voluntary manslaughter, stemming from the wounding of two bystanders.Fans mourned Hussle, whose given name was Ermias Joseph Asghedom, as an artist and entrepreneur who had moved past his early years as a member of the local Rollin’ 60s Crips gang. His public memorial in April 2019 in Los Angeles drew about 20,000 people, including Stevie Wonder and Snoop Dogg.Not a commercial hitmaker, Hussle was hailed as a local hero and celebrity, producing music on his own terms for 15 years before releasing his major label debut, “Victory Lap,” in 2018. More

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      De La Soul’s Dave Jolicoeur, a.k.a. Trugoy the Dove, Dies at 54

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      The trio expanded the stylistic vocabulary of hip-hop in the 1980s and ’90s, but its early experiments with sampling led to legal troubles, and the group’s longtime exclusion from streaming.David Jolicoeur of De La Soul, the rap trio that expanded the stylistic vocabulary of hip-hop in the late 1980s and early ’90s with eclectic samples and offbeat humor, becoming MTV staples and cult heroes of the genre, died on Sunday. He was 54.His death was confirmed by the group’s publicist, Tony Ferguson, who did not specify a cause or say where Mr. Jolicoeur was when he died. In recent years, Mr. Jolicoeur has openly discussed a struggle with congestive heart failure, including in a music video for the group’s song “Royalty Capes.”De La Soul arrived with the album “3 Feet High and Rising” in 1989, a time when hip-hop was still relatively new to the mainstream. The genre’s public face was often confrontational, with groups like Public Enemy and N.W.A speaking out about the racism, police violence and neglect faced by Black communities in America.By contrast, De La Soul — three middle-class young men from Long Island — presented themselves with hippie floral designs and a music video set in a high school for their song “Me Myself and I.” The group wore baggy, brightly colored clothes, to the sneers and side-eyeing of their classmates in gold chains, black shades and matching B-boy outfits.Mr. Jolicoeur — whose original stage name in the group was Trugoy the Dove, though he was also known as Plug Two, Dove and later, just Dave — had the first lines of the track, riffing on a fairy tale. “Mirror mirror on the wall/Tell me mirror, what is wrong?” he rapped. “Can it be my De La clothes/Or is it just my De La song?”That album, with singles also including “Say No Go” and “Eye Know,” reached only as high as No. 24 on the Billboard 200 chart, but it was an instant classic that pointed to new directions in hip-hop. Later albums included “De La Soul Is Dead” (1991), “Buhloone Mindstate” (1993) and “Stakes Is High” (1996).With its producer, Prince Paul, the group developed an idiosyncratic and freewheeling style of sampling that brought new textures to hip-hop. “3 Feet High” contained pieces of more than 60 other recordings, including not only Funkadelic and Ohio Players grooves — de rigueur in 1980s rap — but also oddities like sounds from old TV shows and recordings of French language lessons.But legal problems related to its samples became the bane of the group. One sample, of the Turtles’ organ-driven psychedelic pop track “You Showed Me” (1968), had not been cleared properly, and the Turtles sued; the case was settled out of court.Ongoing legal problems with sample clearances prevented the group from releasing its music in digital form, which effectively blocked the trio from music’s most important marketplace in the 21st century. Recently, the group finally cleared those samples and was gearing up to release its music in digital form in March.The group’s lighthearted style — whimsical in-jokes, and lyrics that could be irreverent or earnest — delighted fans and captivated critics. It was one of the first in hip-hop to cross over to the collegiate crowd, and took on the reputation of “thinking-person’s hip-hoppers,” as the critic Greg Tate put it in a review of “Buhloone Mindstate” in The New York Times.“With irreverence and imagination,” Mr. Tate wrote, “De La Soul has dared to go where few hip-hop acts would follow, rejecting Five Percenter polemics and gangster rap for reflections on an array of topics: ecology, crack-addicted infants, Black suburbia, roller-skating, harassment by fans, male sexual anxiety and even gardening as a hip-hop metaphor.”Mr. Jolicoeur distilled the group’s worldview into a few lines in “Me Myself and I”: Write is wrong when hype is writtenOn the Soul, De La that isStyle is surely our own thingNot the false disguise of showbizDavid Jolicoeur was born on Sept. 21, 1968, in Brooklyn and moved to Long Island with his family as a child.In Amityville, N.Y., Mr. Jolicoeur joined with high school friends Kelvin Mercer, known as Posdnuos, and Vincent Mason, or Maseo, to form De La Soul. The group’s demo for “Plug Tunin’,” which later appeared remixed on “3 Feet High and Rising,” caught the attention of Prince Paul, the D.J. of the group Stetsasonic, who was then quickly establishing himself as one of the most gifted producers in rap. Their collaboration introduced the abstract, alternative hip-hop it would become known for.“Every last poem is recited at noon,” Mr. Jolicoeur rapped as Trugoy — yogurt backward, for a preferred food. “Focus is set, let your Polaroids click/As they capture the essence of a naughty noise called/Plug Tunin’.”The trio honed its sound and comedic stage presence at school concerts and parties at a space it called “the dugout,” on Dixon Avenue in Amityville. Proudly repping “Strong Island,” De La Soul noted that its proximity to New York City allowed it to keep an eye on the hip-hop stronghold, while the suburbs gave it space to grow and learn.“The island has given us the opportunity to see more things,” Mr. Jolicoeur told The New York Times in 2000. “It broadened our horizons.” He added, “We had the opportunity to soak in a lot more. And that’s why we are who we are today.”De La Soul went on to lead what was known as the Native Tongues, a loose collective of outsider hip-hop groups like A Tribe Called Quest and the Jungle Brothers, which influenced artists like Mos Def and Common.In addition to sampling, De La Soul was formative in the incorporation of skits — spoken dialogue between tracks — on its albums. In a live review from 1989, the Times critic Peter Watrous wrote that the group “seemed on the verge of inventing a new type of performance — part talk show, part rap concert — where their funny conversations and routines were as important as their raps, even if the funniest lines were accusations about Trugoy’s status as a virgin.”The group’s absence from digital services kept it from reaching new audiences for years.“We’re in the Library of Congress, but we’re not on iTunes,” Mr. Mercer told The Times in 2016. Two years earlier, in frustration, the group gave away virtually all of its work, releasing it online to fans at no charge. Its 2016 album, “And the Anonymous Nobody,” was financed by a Kickstarter campaign that raised over $600,000. The album was largely sample-free.Still, the group retained a strong following among fans and fellow artists. In 2005, De La Soul was featured on “Feel Good Inc.,” a hit by Gorillaz, the multimedia project created by the British singer-songwriter Damon Albarn and the visual artist Jamie Hewlett. Mr. Jolicoeur co-wrote the song with Mr. Albarn. The song went to No. 2 in Britain and No. 14 in the United States.In the group’s interview with The Times in 2016, Mr. Jolicoeur spoke about the urgency the trio felt about getting its older work back before the public.“This music has to be addressed and released,” he said. “It has to. When? We’ll see. But somewhere it’s going to happen.”Joe Coscarelli contributed reporting. More

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      Trugoy the Dove of De La Soul’s 10 Essential Songs

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      The Long Island rapper David Jolicoeur, known for his freewheeling rhyme style, has died at 54, just weeks before his trio’s catalog arrives on streaming services.David Jolicoeur, best known as the rapper Trugoy the Dove of the climate-shifting rap group De La Soul, weathered decades of industry shifts with acerbic wit, oblique rhyme styles and intense bouts of self-reflection that flew in the face of hip-hop’s boast-centric bottom line.Jolicoeur, also known as “Plug Two” in the Long Island trio he helped found in 1988 with Kelvin Mercer (Posdnuos) and Vincent Mason (P.A. Pasemaster Mase) died on Sunday at 54, just weeks before the group’s songs, long absent from streaming services, will finally arrive on digital platforms.De La Soul’s debut album, “3 Feet High and Rising,” from 1989, was nothing short of a sea change moment in the genre’s sound, fashion, attitude and aesthetic. As leading lights of the Native Tongues collective — a loose crew of fellow travelers that included Jungle Brothers, A Tribe Called Quest, Queen Latifah and Monie Love — De La’s baggy bohemian look would replace rap’s thick gold chains and sweatsuits with Afrocentric leather medallions and vintage patterns. It was Jolicoeur’s innovation to raid their dads’ closets for bell bottoms and straighten the legs, not to mention stylizing their asymmetrical haircuts.De La Soul broke the Top 40 that year with the pop splash “Me, Myself and I” — for years the trio would reliably add “We hate this song!” when performing it live — but went on to become hip-hop royalty thanks to the emotional depth plumbed in tunes like “Tread Water” and “I Am I Be.”Quirky production, introspective lyrics and its unorthodox look had De La Soul dubbed “alternative hip-hop,” a feel that would rapidly spawn similar-minded artists like the Pharcyde, Digable Planets, P.M. Dawn, Arrested Development and Dream Warriors. But over time, its legacy became less a recognizable “sound” and more a model for any rap act open to aesthetics and ideas that cut against the hardcore grain, like the Roots, the Fugees, Common, Black Star and eventually world-conquering artists like Kanye West and the Black Eyed Peas.Here are 10 essential verses from an artist whose “Delacratic” attitude toward self-expression helped rewire hip-hop’s DNA.De La Soul, “Plug Tunin’” (1988)On its debut single, De La Soul introduced an abstract “new style of speak” that landed in the middle of the hard-edge Def Jam era like a prismatic fracturing of hip-hop, beat poetry and alien transmissions. On the first song the trio did as a group, Jolicoeur coolly raps like a Slinky tumbling down stairs, “Dazed at the sight of a method/Dive beneath the depth of a never-ending verse/Gasping and swallowing every last letter/Vocalized liquid holds the quench of your thirst.” As he told the author Brian Coleman of their lyrics at that time, “Maybe it was our warped character, but we didn’t really want people to understand it at all. Sometimes we were trying to make it difficult, because it would make people always want to know more.”De La Soul, “Me, Myself and I” (1989)De La Soul’s biggest hit was also De La Soul’s biggest albatross: The Day-Glo visuals around its single and video promptly burdened the group with the label “hip-hop hippies.” In a sad irony, Jolicoeur’s verses on “Me, Myself and I” were specifically about not being judged by his unconventional fashion choices. Borrowing the rhyme flow from “Black Is Black” by the Jungle Brothers, another Native Tongues crew, Jolicoeur opens the trio’s first and only Top 40 pop hit with a radical mix of exhaustion and self-questioning: “Mirror mirror on the wall/Tell me mirror, what is wrong?/Can it be my De La clothes/Or is it just my De La song?” “If some think that we have a hippie style and a hippie sound, that’s just fine,” Jolicoeur told Melody Maker in 1989. “But we’d be offended if it was said that we wanted to be hippies. We don’t. We just want to be ourselves.”De La Soul, “Pass the Plugs” (1991)The second De La album — sardonically titled “De La Soul Is Dead” — pushed back on the daisies and fluorescents with a sound that was a little more disillusioned and dark but still breezy. Taking the second verse of “Pass the Plugs,” Jolicoeur bemoans the industry panopticon of radio programmers, promoters and a record label that wanted more hit singles.De La Soul, “Millie Pulled a Pistol on Santa” (1991)The most lyrically and thematically intense song of De La Soul’s career, “Millie Pulled a Pistol on Santa” tells the story of a Brooklyn girl abused by her father — by the song’s end, she takes her revenge with the titular weapon as he works as a department store Kris Kringle. The story is narrated mainly by Mercer, who was channeling real-life emotions after finding out a friend was a survivor. However, in a masterful storytelling technique, Jolicoeur takes two verses as the doubting acquaintance who doesn’t believe the girl’s accusations.Teenage Fanclub and De La Soul, “Fallin’” (1993)Treating an entire song like one of its famous skits, De La play washed-up, once-successful rappers on this collaboration with the Scottish jangle-rock band Teenage Fanclub for the “Judgment Night” soundtrack — a weirdly prescient rock-meets-rap experiment. “We wouldn’t play ourselves to do something that was wack, but the way the concept plays itself out, it’s supposed to be wack,” Jolicoeur told Vibe in 1993. “The track is supposed to sound wack.” Instead, the group’s look at the other side of fame produced some of the most poignant verses of its career. Raps Jolicoeur, “I knew I blew the whole fandango/When the drum programmer wore a Kangol.”De La Soul, “Ego Trippin’ (Part Two)” (1993)On this single from De La Soul’s jazz-flecked third album, “Buhloone Mindstate,” Jolicoeur draws a sarcastic line between his group and contemporary hip-hop machismo and bragadoccio. “I change my pitch up, smack my bitch up, I never did it,” he raps, flipping a classic line from New York’s Ultramagnetic MC’s. “The flavor’s bein’ bought, but brothers ain’t gettin’ it.”De La Soul, “Stakes Is High” (1996)“Stakes Is High” was not just the evocative title to De La Soul’s fourth album. As Mason told Okayplayer, “I mean the whole energy around developing that record, it was a crucial place of not knowing if we was going to continue or we going to be forced to go get regular jobs and become common folk.” For the lead single and title track — produced by the emerging beatmaker Jay Dee, later known as J Dilla — Jolicoeur unleashes a torrential downpour of criticism deriding the state of mainstream hip-hop: “Sick of swole-head rappers with their sickenin’ raps/Clappers of gats, makin’ the whole sick world collapse.”De La Soul, “Itzsoweezee (Hot)” (1996)The last track recorded for “Stakes Is High,” though it ultimately became the album’s second single, was a rare solo turn for Jolicoeur. As Mafioso imagery began taking over hardcore New York rap, Jolicoeur popped the bubble with lines like “Why you acting all spicy and shiesty?/The only Italians you knew was Icees.”Prince Paul featuring De La Soul, “More Than U Know” (1999)Another prime example of Jolicoeur and Mercer’s storytelling abilities is this song from the producer Prince Paul’s wildly ambitious concept opera “A Prince Among Thieves.” Playing the role of a crack addict, Jolicoeur pulls the extended metaphor trick, rhyming about the drug as if it were a love interest: “I can’t refuse her, my denial’s a wish/Fell into her arm when I gave her a kiss.”Gorillaz featuring De La Soul, “Feel Good Inc.” (2005)This alterna-pop gem from Damon Albarn’s virtual cartoon crew ultimately became the biggest success story of De La Soul’s career, garnering the group its first and only Grammy. Known for a usually mellower delivery, Jolicoeur instead unleashes a barrage of high-octane bars: “Laughing gas these hazmats, fast cats/Lining ’em up like ass cracks/Play these ponies at the track.” More