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    Young Thug Lyrics Will Be Allowed as Evidence in YSL RICO Trial

    A judge ruled on Thursday that at least 17 specific sets of lines from the Atlanta rapper and his collaborators could be used by prosecutors in their gang conspiracy case.A judge decided on Thursday that rap lyrics by the Atlanta artist Young Thug and his collaborators will be allowed as evidence in the racketeering trial of YSL, a chart-topping hip-hop label and collective that prosecutors say is also a criminal street gang responsible for violent crimes.Following months of dueling court filings and a day of arguments about the relevance and admissibility of the song lyrics, Fulton County Superior Court Judge Ural Glanville ruled that 17 specific sets of lines from the music of Young Thug and other YSL artists could be used by the state when the trial begins later this month to argue for the existence of the gang, the defendants’ membership in the alleged criminal conspiracy and their mind state regarding specific crimes they are accused of committing.“The lyrics are being used to prove the nature of YSL as a racketeering enterprise — the expectations of YSL as a criminal street gang,” Mike Carlson, a Fulton County executive district attorney, said in court.Defense lawyers in the case had argued that including the lyrics was a constitutional violation of the First Amendment protecting free speech and would unfairly prejudice the jury.Young Thug, born Jeffery Williams, was one of 28 people initially charged in May 2022 with conspiracy to violate Georgia’s Racketeer Influenced and Corrupt Organizations law, or RICO, with some accused of murder, attempted murder, armed robbery and other crimes. Prosecutors say Young Thug, who has denied all of the charges and pleaded not guilty, occupied a leadership position in the gang, known as Young Slime Life or Young Stoner Life, which they say is an offshoot of the national Bloods gang.Jury selection for the trial began in January with 14 defendants, following some plea deals and the severing of other defendants from the case. After more than 10 months, a jury was seated last week; six defendants — including Young Thug — are left, with the remainder of the trial expected to last from three months to a year. Opening statements are scheduled for Nov. 27.The use of rap lyrics in criminal prosecutions has long been a thorny topic, with critics and defense lawyers contending that negative attitudes toward crude and violent lyrics in hip-hop could bias a jury. Lawyers for Young Thug argued in this case that the use of lyrics, videos and social media posts was “racist and discrimination because the jury will be so poisoned and prejudiced by these lyrics/poetry/artistry/speech” that it amounted to “unlawful character assassination.”Brian Steel, a lawyer for Young Thug, said in court on Wednesday that lyrics needed to be specifically tied back to alleged crimes in order to be admissible. “They’re targeting the right to free speech,” Steel said.Doug Weinstein, a lawyer for Deamonte Kendrick, the YSL rapper known as Yak Gotti, said, “There is art here, and the art has got to be separated from real life.”“They’re going to look at these lyrics and instantly say these guys are guilty,” Weinstein said of the jury, adding that rappers were playing characters: “It’s what his audience is looking for and demands in gangster rap.”Prosecutors argued that because they were not charging the rappers for the content of their lyrics — as in a terroristic threat case — but merely using the lyrics as supporting evidence that other crimes had been committed, that they were not protected by the First Amendment and should be admitted.They added, “the Defense would seem to opine that if the Unabomber’s manifesto had been set to music, it could not be used against him.” And in court, Carlson, the prosecutor, raised the frequently cited Johnny Cash lyric, “I shot a man in Reno just to watch him die,” arguing that if Cash had actually been accused of killing a man in Washoe County, where Reno is located, “his lyrics would have in all likelihood have been used against him.”Carlson also noted that, in a racketeering and gang conspiracy case like the one facing YSL, “evidence of existence and the nature of the organization is not only relevant, it’s required.”Among the specific lyrics admitted as evidence by the judge — taken from songs like “Eww,” “Just How It Is” and “Mob Ties” — are lines that prosecutors argued would establish the existence of YSL (“this that mob life”); the expectations for its self-professed members (“for slimes you know I’ll kill”); and Young Thug’s role as a leader (“I’m the principal (slime!),” “I’m a boss, I call the shots,” “I was a capo in my hood way before a plaque”).The use of the lyrics at trial, Judge Glanville said, would be conditional, depending on prosecutors laying a foundation for their relevance, with any additional lyrics subject to further analysis before they could be admitted. More

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    Morgan Wallen Tops the Album Chart for a 15th Time

    Young Thug opens at No. 2 and Peso Pluma at No. 3 as the country superstar continues to dominate the Billboard 200.A month ago, the country superstar Morgan Wallen seemed sidelined. A vocal cord injury had benched him from his arena and stadium tour, and after a 12-week perch atop the Billboard album chart he had ceded No. 1 to Taylor Swift and the K-pop group Stray Kids.But Wallen didn’t stay down for long.He returned to the stage in late June, and “One Thing at a Time,” Wallen’s latest streaming blockbuster, came back to No. 1 after two weeks in second place, and it has stayed on top. This week, “One Thing” notches its 15th week at No. 1. Watch out, Adele, whose “21” was No. 1 for a total of 24 weeks in 2011 and 2012.In its latest week, “One Thing” had the equivalent of 110,500 sales in the United States, up slightly from the week before. That total includes 140 million streams and 4,500 copies sold as a complete package, according to the tracking service Luminate. Since its release in March, Wallen’s album has racked up the equivalent of just under three million sales, and been streamed 3.5 billion times.The list of artists whom Wallen has blocked from No. 1 — among them Metallica, Ed Sheeran, Niall Horan, Lana Del Rey and the K-pop acts Ateez, Seventeen, Agust D and Jimin — now includes Young Thug and Peso Pluma, who released new albums last week.Young Thug, the veteran Atlanta rapper, opens at No. 2 with “Business Is Business,” which had the equivalent of 89,000 sales, including 106 million streams. (He remains incarcerated in Georgia on racketeering charges in a wide-ranging RICO case.)Peso Pluma, a 24-year-old songwriter and performer from Mexico, starts at No. 3 with “Génesis,” which had the equivalent of 73,000 sales, and 101 million streams. According to Billboard, “Génesis” reached the highest-ever chart position for an album of regional Mexican music, which has lately been on a winning streak online and on tour.Also this week, Swift’s “Midnights” holds at No. 4 and Gunna’s “A Gift & a Curse” falls two spots to No. 5. Kelly Clarkson’s latest, “Chemistry,” arrives at No. 6. More

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    Popcast (Deluxe): Kim Petras’s New LP and Jennifer Lawrence’s Return

    Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:The new album from Young Thug, released as his trial has yet to seat a juror after six months; plus word of a new album from Drake, pegged to the release of a new poetry bookThe conclusion of the ongoing legal battle between Kesha and Dr. LukeThe new album from the meta-pop singer Kim PetrasA check-in on “The Idol,” the louche HBO show about the wages of pop stardom, which is on the verge of its season finale“No Hard Feelings,” the May-December quasi-romance that’s serving as a lighthearted comeback vehicle for Jennifer LawrenceA new collaboration from Juice WRLD and Cordae, and a new song from glaiveSnack of the weekConnect 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. More

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    Prosecutors Say Young Thug’s YSL Is Both Gang and Rap Label

    Listen to This ArticleTo hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.ATLANTA — Day after day, the young men came before a judge, handcuffed, clad in county jumpsuits and answering to their government names rather than their rap monikers: Slimelife Shawty, Unfoonk, Lil Duke and even the chart-topper Gunna, who is nominated for two Grammy Awards at next month’s ceremony in Los Angeles.Each pleaded guilty to a racketeering charge, some to other crimes. And each agreed, in open court, that the famed Atlanta rap crew they were associated with — YSL, headed by the enigmatic star Jeffery Williams, or Young Thug — was not only a renowned hip-hop collective, but also a criminal street gang.At the hearing for Slimelife Shawty, born Wunnie Lee, a prosecutor prompted him to acknowledge that his associates “have committed at least one of the following acts in the name of YSL: murder, aggravated assault, robbery, theft and/or illegal firearms possession.”“Yes, ma’am,” Mr. Lee, 24, said.The case has pitted law enforcement officials who say they are determined to stamp out a violent gang problem against those who see it as yet another moral panic inspired by rap, in a city with one of the most vibrant scenes in the nation. And it has once again raised questions about whether lyrics should only be taken as artistic expressions meant to portray a harsh reality, or as evidence of crimes.The guilty pleas by the four Atlanta rappers and four other men associated with YSL, all of whom are now free after seven months in jail on probation or with requirements that they meet special conditions, may have bolstered prosecutors’ blockbuster case against 14 other alleged members of the group, who are accused of conspiracy to commit racketeering, gang statute violations and more. Jury selection began last week, and the judge estimates that the trial could last six to nine months.Most remarkable among the remaining defendants is Mr. Williams, 31, whose iconoclastic mystique and psychedelic flow have landed him on pop hits, the “Saturday Night Live” stage and in Vogue. With a maximum 120-year sentence hanging over his head, the man who fans worldwide have come to love as Young Thug — but whom prosecutors describe as a cutthroat gang leader — is now facing the prospect of growing old in prison.Young Thug performed with Gunna (seated on piano) on “Saturday Night Live” in 2021, the year two albums headlined by Young Thug hit No. 1 on the Billboard 200 chart.Will Heath/NBC, via Getty ImagesThe indictment charges Mr. Williams with participation in criminal street gang activity and of furthering the interest of a criminal conspiracy through a number of illegal acts; it does not charge him individually with most of those acts, which include accusations that he rented the car used in the murder of a rival gang leader and provided safe harbor for those responsible after the killing.Mr. Williams has denied everything. “Jeffery is a kind, intelligent, hard-working, moral and thoughtful person,” his lawyer, Brian Steel, said in a statement, arguing that the rapper had been wrongly targeted by law enforcement because of his fictional persona. “Despite the unthinkable oppressive, impoverished and cruel conditions of his upbringing, he has been able to cultivate his creative genius to lawfully and ethically attain phenomenal worldwide success.”The case has deeply shaken the pop culture universe, especially in Atlanta, Mr. Williams’s hometown, which can stake a claim as the hip-hop capital of the world. Fans, fellow artists, record executives and influential figures including Stacey Abrams, who was the Democratic nominee for governor last year, have sounded notes of concern, even outrage.Some have accused the prosecutor, Fani T. Willis — the aggressive district attorney for Fulton County, a Black Democrat who is best known for pursuing the criminal investigation into postelection meddling in Georgia by former President Donald J. Trump — of applying a “gang stereotype” to Atlanta’s rap community, and putting Black art on trial.The case has prompted an outcry, given how artists from the poorest parts of Atlanta have shaped global popular music. Young Thug’s nickname and YSL’s slang term of choice — slime — has gone international, its “wipe your nose” hand gesture a popular N.F.L. celebration.But the recent admissions in court point to a parallel reality: In Atlanta, law enforcement officials say, it has become increasingly difficult to discern the difference between some rap crews and street gangs, and to disentangle where exactly the credibility-obsessed art form overlaps with criminality.Ms. Willis contends that Atlanta is suffering from a plague of gang violence, estimating — with a hazy explanation for the figures — that up to 80 percent of violent crimes in the area are committed by gang members. She says that an eight-year war between YSL and a rival gang known as YFN, headed by another major-label rap artist, has accounted for more than 50 incidents.But in a city with a well-established path from the hardest streets to a world of fame, fortune and major awards shows — often via songs that chronicle, and some argue glorify, an outlaw life of drugs and guns — the nature of gang culture is also mutating, according to the authorities, with social media and music increasingly important to establishing dominance and influence.So while many young Black men in Atlanta see an escape in turning their dire circumstances in neglected communities into hard-edged rap music, investigators say some of it serves to establish clout, inspire fear, recruit members and fund illegal activity.“We believe that Mr. Williams doesn’t sing about random theoretical acts — he sings about gang acts he’s a part of,” Don Geary, then a lawyer for the district attorney’s office, said in court last year.Authenticity, an always slippery but foundational concept in hip-hop, has taken on even greater significance in the internet age. In places like Atlanta, it is a crucial selling point for the unflinching style of hip-hop known as trap music, which builds on earlier iterations of gangster rap and centers on the drug trade.And on social media, fans follow not just the music, but the lives of rappers and their associates, keeping scorecards of beefs and scores settled, even rooting them on.“It feels like they’re playing Grand Theft Auto in real life, and people are commenting on a video of them playing Grand Theft Auto,” said Gerald A. Griggs, president of Georgia’s conference of the N.A.A.C.P.Blurring the lines between gangs and musicAtlanta was not traditionally a stronghold of the major national gangs that took root in prisons and cities like New York, Los Angeles and Chicago. But as a rapidly gentrifying city with some of the highest income inequality in the nation — and in a state with some of the laxest gun laws — gang culture has changed.Most common now, experts say, are what are known as “hybrid gangs”: looser constellations mixing members from various national sets, local crews and neighborhood cliques. These groups may have connections to the Bloods, Crips or Gangster Disciples, but often without their rules and hierarchies.While some traditional gangs, like the Mafia, are strict, top-down enterprises earning money through illicit business, the chief mission of today’s groups may be simply bolstering the brand.“That lack of structure makes it dangerous and unpredictable,” said Cara Convery, a former deputy district attorney for Fulton County who now runs a statewide unit targeting gangs. Money and territory remain important, she added, but “respect is still the primary currency of all of these gangs — it’s everything.”In places like Atlanta, law enforcement officials contend, it has become commonplace to align primarily with homegrown stars, who can offer aspirants prestige and money.“The new color lines,” said Marissa Viverito, a gang investigator in Ms. Willis’s office, “are the rappers.”The authorities say they are not targeting famous individuals or rap, a varied art form, writ large. Instead, they say, prosecutors hope to hold those at the top of the criminal food chain accountable, even when they overlap with a beloved, city-defining cultural product.Recent high-profile crimes said to be gang-related include the July 2020 killing of an 8-year-old girl; home break-ins targeting celebrities that have been tied to a recently indicted group called Drug Rich; and the December shooting deaths of two boys, ages 12 and 15, near the popular Atlantic Station mall.Fani T. Willis, the district attorney for Fulton County, contends that Atlanta is suffering from a plague of gang violence.Ben Gray/Associated PressMs. Willis is a seasoned prosecutor who took office in January 2021, amid a spike in homicides and growing unease about violent crime. Her work investigating Mr. Trump, which could result in indictments this year, has earned plaudits from liberals. But her focus on gangs has also made her a de facto ally of conservative leaders who have raised alarms about a statewide problem.Ms. Willis has expanded her anti-gang team and promised to make vigorous use of the state’s Street Gang Terrorism and Prevention Act and its Racketeer Influenced and Corrupt Organizations act, or RICO. She charged Mr. Williams, or Young Thug, under both laws, and has done the same for his rival Rayshawn Bennett, the rapper known as YFN Lucci, and his associates.Her beefed-up focus on gangs stands in contrast to other prosecutors, like George Gascón, the Los Angeles County district attorney, who in 2021 reduced, renamed and reorganized his office’s famous Hardcore Gang unit, moving away from a “purely prosecutorial model.”Ms. Willis has faced criticism for her hard-line approach to gangs, especially her office’s use of rap lyrics in indictments, which critics say raises First Amendment concerns.“People can continue to be angry about it,” Ms. Willis said at a news conference announcing the racketeering indictment against Drug Rich, which also included lyrics. “I have some legal advice: Don’t confess to crime on rap lyrics if you do not want them used. Or at least get out of my county.”Lawyers for Mr. Williams have called the practice unconstitutional, arguing it is “racist and discriminatory because the jury will be so poisoned and prejudiced.”Ms. Abrams, the prominent Democrat, said at a campaign appearance with the rapper 21 Savage last year that while “bad actors should be held accountable,” she did not believe that lyrics should be used as the basis for criminal charges. “The reality is we cannot thwart the entertainment industry in pursuit of justice,” she said.But the authorities argue that songs are no different than a text message or a confession, if the content can be tied to real-life events. (Prosecutors, for example, say that after YSL members fired on the home of YFN Lucci’s mother, Young Thug rapped, “I shot at his mommy, now he no longer mention me.”)“It’s a dangerous line,” said Ms. Convery, the gang prosecutor. “Art and expression and exaggeration surround all of this stuff.” However, she added: “If you are making music about the crime that you committed, I think it’s evidence. It would be crazy to leave that on the table.”Some critics are concerned that the justice system’s focus on young Black men seems to come at the expense of other issues, including Georgia’s white nationalist groups, and worry that Ms. Willis’s aggressive use of RICO statutes, which give prosecutors wide leeway, could wrap up innocent people.“When you blur the line between a criminal street gang and a music label, that could bring a lot of people into the net that don’t have anything to do with furthering criminal acts,” said Mr. Griggs, of the N.A.A.C.P.In a video interview from jail before his guilty plea, Mr. Lee, better known as Slimelife Shawty, said he had been wrongly ensnared by the scope of the case.Unlike other YSL defendants, some of whom were charged with murder, drug dealing and assault, he was accused of a single count: racketeering, or furthering YSL’s criminal enterprise by making music videos, posting online and rapping vague but threatening lyrics.At his Dec. 16 plea hearing, however, Mr. Lee confirmed that he had sent a message containing rat and brain emojis to a witness in a YSL-affiliated suspect’s murder case. Prosecutors interpreted this as a threat of violent retaliation.Mr. Lee was one of many young people who grew up along Cleveland Avenue, a desolate South Atlanta corridor, and were inspired by Mr. Williams and his transformation into the global star Young Thug.Rapping the often-violent content audiences wanted to hear, Mr. Lee said from jail, became “our main go-to to get out of this place.”A rap innovator on trialAccording to court documents, YSL was founded along Cleveland Avenue in late 2012 by Mr. Williams and two other men, both of whom have pleaded guilty in the case.But while the rapper’s defense team argues that he was repping Young Stoner Life, a fledgling record label and lifestyle brand, prosecutors say it was first Young Slime Life, an upstart criminal organization with ties to the national Blood offshoot Sex Money Murder.The battle with crosstown rivals YFN was sparked in 2015 with the murder of Donovan Thomas, known as Nut, a behind-the-scenes connector instrumental in the rap careers of YFN Lucci and Rich Homie Quan, a once-frequent collaborator of Young Thug.In the aftermath of the killing, the authorities say, many in the city picked sides as retaliatory shootings spilled across Atlanta.Prosecutors say Mr. Williams rented the car used during the fatal shooting of Mr. Thomas and then urged those involved to “lay low,” giving them cash and traveling with them to Miami, according to the guilty plea last month of a YSL founder charged in the case, Antonio Sledge.As law enforcement opened its investigation into the murder, Mr. Williams’s profile as a whimsical, genre-shifting musician — with attention-grabbing fashion sense that includes, in defiance of macho gangster stereotypes, wearing dresses — only grew.Last January, not long before the indictment, 300 Entertainment, the label that had signed Young Thug and his YSL imprint, sold to Warner Music for a reported $400 million.At a bail hearing last year, Kevin Liles, the chief executive of 300, was brought to tears on the stand describing Mr. Williams and “how good this guy is,” pointing to the rapper’s generosity and mentorship. He said in a statement on Wednesday: “Young Stoner Life Records is and always has been exclusively a recorded music partnership with Jeffery Williams. Nothing I’ve seen has changed my point of view.”But the authorities say Mr. Williams’s good deeds were a cover for his dark side. The case seeks to tie him to a spate of other violent crimes, including a 2015 tour bus shooting that targeted Lil Wayne, a one-time idol turned rival.Whether or not Young Thug is found to be YSL’s mastermind, there may be lasting consequences for members who publicly identified it as a gang. Artists who came up under him, like Mr. Lee and Gunna, born Sergio Kitchens, now face accusations of being snitches — a potentially fatal label for rappers who trade in toughness and loyalty.Mr. Kitchens, who like the others had agreed to testify as part of his plea deal, released a statement saying he would claim his Fifth Amendment privilege if called. And on Instagram, Mr. Lee said his plea did not tell the authorities anything they did not already know.“I admitted Young Slime Life was a gang ’cause it ain’t illegal for no group to be a gang,” he said, adding that he did not know anything about specific crimes. “Look it up.”As Slimelife Shawty, he teased, he would soon be rapping about all of it.Audio produced by More

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    Atlanta Rapper Gunna Reaches Plea Deal in YSL Gang Case

    The artist born Sergio Kitchens was among the 28 people, including the rap star Young Thug, who were charged this year with violating Georgia’s racketeering laws.Sergio Kitchens, the chart-topping, Grammy-nominated Atlanta rapper who performs under the name Gunna, pleaded guilty to a racketeering charge on Wednesday and admitted that the rap crew with which he is affiliated, known by the initials YSL, is also a criminal street gang, according to a spokesman for the Fulton County District Attorney’s Office.As a result of the plea, Mr. Kitchens was released from jail on Wednesday evening, his lawyer, Steve Sadow, said. Since Mr. Kitchens’s arrest in May, he had been held without bond in advance of a trial scheduled to begin in January.Mr. Kitchens’s guilty plea was an important development in one of two sprawling Atlanta criminal cases targeting what prosecutors say are a pair of feuding gangs that have committed dozens of shootings and other violent crimes since 2015.The cases have garnered international attention because of indictments against hip-hop stars like Mr. Kitchens and Jeffery Williams, who raps under the name Young Thug and is one of the most famous and influential rappers of recent years. The indictments have also shaken the industry in Atlanta, which has emerged as one of the most fertile incubators of rap talent.The authorities say Mr. Williams founded and leads the organization known as YSL. Prosecutors refer to it as a gang that revolves around the Cleveland Avenue area in South Atlanta and whose initials stand for Young Slime Life, alleging that some members of the group engaged in violent crimes including murder and attempted armed robbery. Defense lawyers contend that YSL merely represents a record label and a loose alliance of artists called Young Stoner Life.The rival group, known as YFN, was targeted with a racketeering indictment in April 2021. Among the defendants was Rayshawn Bennett, a less-renowned artist who raps under the name YFN Lucci.On Wednesday, Mr. Kitchens, 29, entered an Alford plea, which allows defendants to maintain their innocence while pleading guilty. He was sentenced to five years but was released because one year was commuted to time served and the rest of the sentence was suspended.Another accused YSL member, Walter Murphy, known as DK, pleaded guilty to racketeering this week and was released on Tuesday, his lawyer, Jacoby Hudson, said. Fulton County prosecutors confirmed on Wednesday that they had reached a plea deal with Mr. Murphy, who they said had founded the gang with Mr. Williams and others in 2012.Mr. Murphy was sentenced to 10 years — including one year of time served and nine years of probation — and agreed to “testify truthfully in any further trial as it may become necessary.”In announcing his plea, Mr. Kitchens emphasized that he had not cooperated against his co-defendants and did not plan to at trial.“While I have agreed to always be truthful, I want to make it perfectly clear that I have NOT made any statements, have NOT been interviewed, have NOT cooperated, have NOT agreed to testify or be a witness for or against any party in the case and have absolutely NO intention of being involved in the trial process in any way,” the rapper said in a statement provided by his lawyer.But Jeff DiSantis, a spokesman for District Attorney Fani T. Willis, said that Mr. Kitchens agreed in court on Wednesday to testify if called upon to do so.It is a sensitive topic. In hip-hop, where authenticity and credibility remain a coin of the realm, the concept of “snitching,” or cooperating with law enforcement, continues to loom large. Speaking to the police or testifying at trial has resulted in threats and harmed careers, as in the case of the New York rapper 6ix9ine.Mr. Sadow said in a statement that Mr. Kitchens would “testify truthfully” if he is called to a courtroom, but that “he reserves his right to assert his Fifth Amendment privilege against self-incrimination.”Mr. Kitchens’s emphatic denial of cooperation comes five months after prosecutors, in court documents, revealed that they had learned of numerous violent threats against witnesses who have said that they feared for their lives and the lives of their families. The revelations came in an order in July that forced defense lawyers to withhold witnesses’ contact information from their clients.Mr. Kitchens was charged with one felony: conspiracy to violate Georgia’s Racketeer Influenced and Corrupt Organizations Act, or RICO. Like the federal law on which it is based, the Georgia law is typically used by prosecutors to show a pattern of apparently unrelated crimes that are committed to further the objectives of a corrupt enterprise.In the indictment, Mr. Kitchens’s name appeared in a number of “acts in furtherance of the conspiracy,” including receiving stolen property and possessing methamphetamine, marijuana and hydrocodone with the intent to distribute them.As Gunna, Mr. Kitchens came to mainstream prominence beginning in 2017 as the premier protégé of Young Thug and his YSL Records label, now a subsidiary of Warner Music Group.In January, the Gunna album “DS4Ever” became Mr. Kitchens’s second consecutive solo release to debut atop the Billboard 200 album chart. Last month, his hit single “Pushin P” received Grammy nominations for best rap performance and best rap song; the ceremony is scheduled for Feb. 5 in Los Angeles.“When I became affiliated with YSL in 2016, I did not consider it a ‘gang’; more like a group of people from metro Atlanta who had common interests and artistic aspirations,” Mr. Kitchens said in his statement on Wednesday. “My focus of YSL was entertainment — rap artists who wrote and performed music that exaggerated and ‘glorified’ urban life in the Black community.”As part of his plea, Mr. Kitchens must perform 500 hours of community service, at least 350 of which must involve speaking with young people about the dangers of gangs. (Other conditions included having no contact with guns or any co-defendants in the YSL case, except through lawyers and his record label.)“I love and cherish my association with YSL music, and always will,” Mr. Kitchens said. “I look at this as an opportunity to give back to my community and educate young men and women that ‘gangs’ and violence only lead to destruction.” More

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    California Bill Could Restrict the Use of Rap Lyrics in Court

    The bill, which applies more broadly to other forms of creative expression, has unanimously passed the Senate and Assembly and could become law by the end of September.A California bill that would restrict the use of rap lyrics and other creative works as evidence in criminal proceedings has unanimously passed both the State Senate and Assembly, and could soon be signed into law by Gov. Gavin Newsom.The bill, introduced in February by Assemblyman Reginald Jones-Sawyer, a Democrat who represents South Los Angeles, comes amid national attention on the practice following the indictment of the Atlanta rappers Young Thug and Gunna on gang-related charges. Prosecutors have drawn on the men’s lyrics in making their case.The California measure, however, would apply more broadly to any creative works, including other types of music, poetry, film, dance, performance art, visual art and novels.“What you write could ultimately be used against you, and that could inhibit creative expression,” Mr. Jones-Sawyer said Wednesday in an interview. He noted that the bill ultimately boiled down to a question of First Amendment rights.“This is America,” he said. “You should be able to have that creativity.”Mr. Newsom has until Sep. 30 to sign the bill into law. If he neither signs nor vetoes the bill by that date, the measure would automatically become law. The law would then go into effect on Jan. 1, 2023, Mr. Jones-Sawyer said.When asked whether Mr. Newsom planned to sign the bill, his office said that it could not comment on pending legislation. “As will all measures that reach the governor’s desk, it will be evaluated on its merits,” it said.Though the bill’s genesis is in preventing rap stars’ lyrics from being weaponized against them, the measure loosely defines “creative expression” to include “forms, sounds, words, movements, or symbols.”It would require a court to evaluate whether such works can be included as evidence by weighing their “probative value” in the case against the “substantial danger of undue prejudice” that might result from including them. The court should consider the possibility that such works could be treated as “evidence of the defendant’s propensity for violence or criminal disposition, as well as the possibility that the evidence will inject racial bias into the proceedings,” the bill says.“People were going to jail merely because of their appearance,” Mr. Jones-Sawyer said. “We weren’t trying to get people off the hook. We’re just making sure that biases, especially racial biases toward African Americans, weren’t used against them in a court of law.”The bill would require that decisions about the evidence be made pretrial, out of the presence of a jury. For decades, prosecutors have used rappers’ lyrics against them even as their music has become mainstream, with critics and fans arguing that the artists should be given the same freedom to explore violence in their work as were musicians like Johnny Cash (did he really shoot a man in Reno just to watch him die?) or authors like Bret Easton Ellis, who wrote “American Psycho.”In other cases, though lyrics were not used as evidence, they were discussed in front of the jury, which “poisoned the well” by allowing bias to enter the court, according to Mr. Jones-Sawyer’s office. It also noted that while country music has a subgenre known as the “murder ballad,” it is only the lyrics of rap artists that have been singled out.Charis E. Kubrin, a professor of criminology, law and society at the University of California, Irvine, who has extensively researched the use of rap lyrics in criminal proceedings, said that the way prosecutors have used defendant-authored lyrics in court was unique to rap.The practice, she said, essentially treated the lyrics as “nothing more than autobiographical accounts — denying rap the status of art.” The California bill is significant, Dr. Kubrin said, because it would require judges to consider whether the lyrics would inject racial bias into proceedings. “This is bigger than rap,” she said.Among the first notable times the tactic was used was against the rapper Snoop Dogg at his 1996 murder trial, when prosecutors cited lyrics from “Murder Was the Case.” The rapper, whose real name is Calvin Broadus, was acquitted.Snoop Dogg entering a Los Angeles court in 1996, where a prosecutor cited his lyrics during a murder trial. He was acquitted.Mark J. Terrill/Associated PressMost recently, the charges against Young Thug and Gunna have called national attention to the tactic. Both men, who have said they are innocent, were identified as members of a criminal street gang, some of whom were charged with violent crimes including murder and attempted armed robbery.Young Thug, whose real name is Jeffery Williams, co-wrote the Grammy-winning “This is America” with Childish Gambino and is one of the most influential artists to emerge from Atlanta’s hip-hop scene.In November, two New York lawmakers introduced a similar bill that would prevent lyrics from being used as evidence in criminal cases unless there was a “factual nexus between the creative expression and the facts of the case.” It passed the Senate in May.In July, U.S. Representatives Hank Johnson of Georgia and Jamaal Bowman of New York, both Democrats, introduced federal legislation, the Restoring Artistic Protection Act, which they said would protect artists from “the wrongful use of their lyrics against them.”The California bill is supported by several other music organizations and activist groups, including the Black Music Action Coalition California, the Public Defenders Association and Smart Justice California, which advocates criminal justice reform.In a statement of support from June, the Black Music Action Coalition, an advocacy organization that battles systemic racism in the music business, said that prosecutors almost exclusively weaponized rappers’ lyrics against men of color.“Creative expression should not be used as evidence of bad character,” the organization said, maintaining that the claim that themes expressed in art were an indication of the likelihood that a person was violent or dishonest was “simply false.”Harvey Mason Jr., the chief executive of the Recording Academy, which runs the Grammy Awards, said that the bill was intended to protect not only rappers, but also artists across all genres of music, and other forms of creativity.“It’s bigger than any one individual case,” Mr. Mason said. “In no way, at no time, do I feel that someone’s art should be used against them.” More

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    The 1975’s Chamber-Pop Confessions, and 8 More New Songs

    Hear new tracks from Alvvays, Tyshawn Sorey, Killer Mike 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.The 1975, ‘Part of the Band’Matty Healy, the proudly enigmatic singer-songwriter of the 1975, leads his group into chamber-pop with “Part of the Band,” the first song from an album due in October, “Being Funny in a Foreign Language.” He sings about “cringes and heroin binges,” about a “vaccinista tote-bag chic barista” and about literary-minded gay liaisons — “I was Rimbaud and he was Paul Verlaine.” He also queries, “Am I ironically woke?” The production wanders from chugging string ensemble to fingerpicked folk-rock to saxophone choir, with all of them mingling near the end. It’s pandemic confusion, self-questioning and ennui, with melodies to spare. JON PARELESAlvvays, ‘Pharmacist’A plain-spoken, everyday admission — “I know you’re back, I saw your sister at the pharmacy” — kick-starts the latest single from the Canadian dream-pop band Alvvays; as soon as the vocalist Molly Rankin sings that line, the song suddenly transforms into a fantasia of melancholic melody and squalling guitars. Hints of My Bloody Valentine and Japanese Breakfast hang in the hazy atmosphere, but Rankin’s bittersweet delivery gives “Pharmacist,” the opening track from the upcoming album “Blue Rev,” a distinct emotional undertow, like a stirring dream that ends a little too soon. LINDSAY ZOLADZJulien Baker, ‘Guthrie’“Guthrie” is a quietly harrowing postscript to Julien Baker’s 2021 album “Little Oblivions” from a collection, “B-Sides,” being released later this month. Like “Little Oblivions,” the song confronts what it’s like to be an addict: “Whatever I get, I always need a little more,” she sings. But while Baker overdubbed herself into a rock band on “Little Oblivions,” in “Guthrie” she’s solo, picking a soothing waltz on her guitar as she tears into her own failings. The song is a crisis of conscience and of faith, with a voice humbled by self-knowledge. “Wanted so bad to be good,” she offers, “but there’s no such thing.” PARELESKing Princess, ‘Change the Locks’“A year without no separation just might have broke us, baby,” King Princess sings in “Change the Locks,” a song about how pandemic proximity — and friction — could destroy a relationship. It’s three-chord folk-rock that explodes into hard rock when King Princess (the Brooklyn songwriter Mikaela Strauss) realizes how bad things have gotten. She wants to hold on; she knows she can’t. PARELESFlo, ‘Immature’English R&B lags American innovations by years or sometimes decades. The vocal trio Flo is catching up with what American acts like Destiny’s Child accomplished in the 1990s: calling out male assumptions while mastering recording techniques and harnessing voices, instruments and machines to sharpen their message of self-determination. The way Flo juggles individual voices and two or three-part harmonies, flirtation and fury, harks back to Destiny’s Child, but unerringly: “Why you gotta be so immature,” they sing, adding “Tell me how can I relate/If you don’t communicate?” Even before a crying-baby sample slips into the mix, it’s easy to know who’s in the wrong. PARELESGhetto Kumbé, ‘Pila Pila (Trooko Remix)’Ghetto Kumbé is a group from Bogotá that fortifies Afro-Colombian drumming and socially conscious lyrics with electronics; it released a potent self-titled debut album in 2020 and has opened for Radiohead. The group handed over tracks from its album to various producers for “Ghetto Kumbé Clubbing Remixes,” an album due in November. “Pila Pila,” a brawny tribute to the power of drums, got reworked by the Grammy-winning Honduran producer Trooko (who worked on “Residente” and “The Hamilton Mixtape”). He revved it up even further, switching the meter from 6/4 to 4/4, moving its incantatory lead vocal to the start of the song and bringing in a hopping salsa bass line, electronic hoots, jazzy piano and twitchy drum machines, constantly hurtling ahead. PARELESKiller Mike featuring Young Thug, ‘Run’A verse from a still-jailed Young Thug only adds to the urgency of “Run,” Killer Mike’s first new track as a solo artist since his vital 2012 album “R.A.P. Music.” Across four fruitful albums with Run the Jewels, it’s become commonplace to hear Mike rapping over El-P’s kinetic, collagelike beats, but it’s refreshing here to hear him link up once again with the veteran No I.D., whose understated production allows Killer Mike to tap into a smoother flow. “The race to freedom ain’t won,” he raps on the chorus, providing some welcome counterprogramming to your standard Independence Day jingoism. ZOLADZDomi & JD Beck (featuring Anderson .Paak), ‘Take a Chance’Jazz might be one of the only spaces left where the term “internet star” still means anything. Domi & JD Beck are Exhibit A, a duo of virtuosic post-jazz Zoomers who seem to have leaped out of a cartoon, and whose wow factor is suited to the small screen: A blond keyboardist rips solos while a diminutive drummer taps out hyper-contained, hyperactive beats. References to jazz history are funneled into the aesthetics of a sped-up TV jingle. Domi and Beck have found a champion in Anderson .Paak, and their debut album, “Not Tight,” is being jointly released by his new label and Blue Note Records. Redolent of lounge, ’70s fusion, trip-hop and breakbeat, this LP offers the nonstop dopamine drip of a doom-scroll, and it’s heavy on star features: Thundercat, Snoop Dogg and Mac DeMarco all pull up. “Take a Chance” is their moment with Paak, and if his earnest, rapped pledges of devotion don’t exactly square with the song’s feel-good vibes and the geometrically sound pop hook that Domi and Beck sing, you’re hard-pressed to hold it against them. GIOVANNI RUSSONELLOTyshawn Sorey Trio, ‘Enchantment’A multi-instrumentalist, composer, University of Pennsylvania professor and MacArthur “genius” grantee, Tyshawn Sorey is likely to be found writing suite-length experimental works, or serving as composer in residence with an opera company, or conjuring up new systems for group improvisation. It’s been a long time since anyone really thought of him as “just” a jazz drummer. So, for Sorey, recording an album of standards with a piano trio qualifies as a curve ball. Of course, he has a big fondness for throwing curves. Sorey recently joined up with the pianist Aaron Diehl, one of jazz’s standard-bearing traditionalists, and the versatile bassist Matt Brewer to record “Mesmerism,” an album of jazz classics and lesser-known pieces from the canon. Horace Silver’s “Enchantment” is usually played as a tautly rhythmic samba, but the trio retrofits it, with Diehl putting the lush precision of his harmonies to work over a loose-limbed, shuffling beat from Sorey. RUSSONELLO More

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    Romeo Santos’s Melodramatic Return, and 13 More New Songs

    Hear tracks by Jack Harlow, Flock of Dimes, Tame Impala 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.Romeo Santos, ‘Sus Huellas’“Sus Huellas,” the first single from Romeo Santos’s forthcoming fifth solo album, “Formula, Vol. 3,” finds him reprising the bleeding-heart theatrics he’s known for, recalling the kind of cortavenas (roughly, “wrist cutting”) torment of bachata classics. This time, the genre’s white-pants-wearing, antics-obsessed lover boy is trying to recover from the despair of a lost love, and the melodrama is in overdrive: “Come, pull out my veins/Because the plasma inside of me has the poison of her love,” he sings. “And take this lighter, I want you to burn my lips/Eliminate the taste of her tongue, which did me harm.” It’s not all tradition though; Santos drops in an EDM interlude that will have uptown clubs losing it. ISABELIA HERRERAJack Harlow, ‘Nail Tech’Last year Jack Harlow went to No. 1 as the guest on Lil Nas X’s “Industry Baby,” and he’s learned something from that experience. “Nail Tech” has echoes of that song’s horns, and Harlow approaches the beat similarly, with imagistic rapping — “You ain’t one of my dogs, why do you hound us?” — and a confidence that makes this song sound like a victory lap. JON CARAMANICAC. Tangana, Omar Montes, Daviles de Novelda and Canelita, ‘La Culpa’The Spanish singer-rapper C. Tangana gets top billing on “La Culpa” (“The Blame”), a song added to the deluxe version of his 2021 Latin Grammy-winning album “El Madrileño.” But except for a brief, vulnerable bridge, he spends most of the song merged in harmony with three other singers who are more robust and closer to flamenco — Omar Montes, Daviles de Novelda and the especially gutsy Canelita — while rock drums and electric guitars join flamenco handclaps to pace the song. While the lyrics profess guilt and regret, they’re delivered with jolly camaraderie, suggesting that male bonding can easily overcome pangs of conscience. JON PARELESTame Impala, ‘The Boat I Row’Kevin Parker, a.k.a. the one-man studio band Tame Impala, took so long to release his 2020 album, “The Slow Rush,” that of course he had outtakes. “The Boat I Row” is from his collection “The Slow Rush B-Sides and Remixes.” It shares the album’s stately, logy, time-warped sound — psychedelically phased drums playing a hip-hop beat, multitracked vocal harmonies suggesting both the Beatles and ELO — and its thoughts about dogged persistence. “Even if it takes a hundred thousand goes/The way’s in front of me ’cause that’s the one I chose,” Parker sings, at once diffident and determined. PARELESFlock of Dimes, ‘Pure Love’Jenn Wasner, who records as Flock of Dimes, ponders unsatisfied desire — material and emotional — in “Pure Love,” recorded with the producer Nick Sanborn from Sylvan Esso: “I keep dreaming of a better moment,” she sings. She’s surrounded by looped voices and instruments, with ricocheting programmed beats that hit like 1980s drums; she sounds like she’ll persist. PARELESAsa, ‘Ocean’The songwriter Asa has forged a long career in Nigeria, singing about adversity and conflict as well as romance. But “Ocean” is pure affection. Asa is about to release her fifth studio album, “V,” and “Ocean” distills the ways Nigerian Afrobeats exalts Minimalism. The percussion is just a few syncopated taps, the bass lines are only two or three notes and Asa’s breathy voice floats with professions of pure devotion: “Boy, you are the ocean,” she coos, and everything about the song promises bliss. PARELESYeat featuring Young Thug, ‘Outsidë’Two generations of surrealists in one liquid pool of syllables. Yeat is still swooning over abstraction, and Young Thug, several years older, has learned how to form word-like shapes while still seeming to melt in real time. CARAMANICASigurd Hole, ‘The Presentation Dance’Like so many, the Norwegian bassist Sigurd Hole — a nimble-fingered player and a composer of sonically expansive, thoughtfully paced music — has been overcome with dismay at the fast-worsening climate crisis. Like too few, in the face of it he’s sought out wisdom and theory from non-industrialized societies. “The Presentation Dance” comes from his newest album, “Roraima,” which he made after reading “The Falling Sky,” a book by the Yanomami shaman and mouthpiece Davi Kopenawa. The rain-like pitter-patter of a marimba interacts with a small corps of strings, playing fluid and intertwined melodies that sometimes fall into a pizzicato repartee with the marimba’s mallets. GIOVANNI RUSSONELLOEd Sheeran featuring Bring Me the Horizon, ‘Bad Habits’Last week Ed Sheeran released a new version of his song “The Joker and the Queen,” accompanied by Taylor Swift. Pfft. Predictably pretty. Plain. This is more like it. “Bad Habits” is maybe Sheeran’s most anodyne pop hit, and this version, which is theatrically stomped all over by the British metalcore band Bring Me the Horizon, rescues it, recalling the essential and overlooked “Punk Goes Pop” compilation series. CARAMANICAFrontperson, ‘Parade’Frontperson is the indie-rock duo of Kathryn Calder, from the New Pornographers, and Mark Hamilton, from Woodpigeon. Blooping, calliope-like keyboard arpeggios and layers of nonsense-syllable vocals give “Parade” a blithe, circusy tone as Calder and Hamilton sing about anticipation, connection and disconnection, accepting it all: “Sometimes you’re left/Sometimes you leave.” PARELESAmbar Lucid, ‘Dead Leaves’Ambar Lucid’s music bottles youthful longing. The 21-year-old, whose debut album, “Garden of Lucid,” collected stories about escape and radical self-acceptance, seems to know exactly how to stir the soul. “Should I even bother letting anybody know how I feel?” she wonders on “Dead Leaves.” It’s soft winter balladry that contains all the pain and promise of the change of seasons. HERRERAHurray for the Riff Raff, ‘Jupiter’s Dance’“Jupiter’s Dance” is from the newly released “Life on Earth,” the seventh album Alynda Segarra has made as Hurray for the Riff Raff. The new songs contemplate the natural world and humanity’s toll on it. “Jupiter’s Dance” is a quasi-mystical reassurance — “Celestial children coming through/You never know who you’ll become” — with a glimmering bell tones and an undercurrent of Puerto Rican bomba, a brief benediction. PARELESJavon Jackson featuring Nikki Giovanni, ‘Night Song’The poet Nikki Giovanni selected the repertoire for “The Gospel According to Nikki Giovanni,” a new album by the strapping tenor saxophonist Javon Jackson that explores the lineage of Black American spirituals and hymns. But her voice appears on only one track, and it’s the one that’s not a church melody: “Night Song.” Rather that recite her own poetry, Giovanni sings this ode to unbelonging — a favorite of her old friend Nina Simone — with wistful conviction, picking up where Jackson’s gentle treatment of the melody leaves off. Her voice crinkles up on the high notes but loses none of its gravitas or tenderness as she sings: “Music, by the lonely sung/When you can’t help wondering:/Where do I belong?” RUSSONELLOChris Dingman, ‘Silently Beneath the Waves’For the vibraphonist Chris Dingman, solo playing was becoming central to his practice even before the pandemic hit. Since then, it’s been his primary mode, and he’s increasingly sought to use the big, chiming instrument as a vehicle for transcendence. That pursuit has guided him into a close study of a far tinier instrument: the mbira, a thumb piano with spiritual applications across southern Africa. On “Silently Beneath the Waves” — the opener to a new album of solo performances, “Journeys Vol. 1” — you can hear evidence of that research, as he repeats fetching, hypnotizing patterns that pull you into their force field before gradually giving way to a different shape. RUSSONELLO More