Rob Base died on Friday (May 22) just days after turning 59 years old. The “It Takes Two” rapper’s family announced on his Instagram account that the Harlem native, who made up one-half of the duo Rob Base & DJ E-Z Rock, died following a private battle with cancer.

“Today, we share the heartbreaking news that hip hop legend Rob Base passed away peacefully on May 22, 2026, surrounded by family after a private battle with cancer,” the statement began.

The rapper’s family continued: “Rob’s music, energy, and legacy helped shape a generation and brought joy to millions around the world. Beyond the stage, he was a loving father, family man, friend, and creative force whose impact will never be forgotten. Thank you for the music, the memories, and the moments that became the soundtrack to our lives. Rest in Paradise, Rob Base. May 18, 1967 – May 22, 2026.”

Childhood friends Rob Base (born Robert Ginyard) and DJ E-Z Rock rose to prominence in the late 1980s, and the duo’s breakout came in 1988 with “It Takes Two” via Profile Records, which hit the top 40 of the Billboard Hot 100, peaking at No. 36 and spending 16 weeks on the chart. The crossover hit is certified platinum by the RIAA.

Black Eyed Peas sampled “It Takes Two” for their top 10 Billboard Hot 100 hit “Rock That Boy,” and the single was also played in plenty of movies like Love & Basketball, The Proposal, Iron Man 2, The Disaster Artist, Hey Arnold! The Movie and was part of a radio station in 2004 video game Grand Theft Auto: San Andreas.

“It Takes Two” was followed up by The Jacksons-sampling “Get on the Dance Floor,” which topped Billboard‘s Dance Club Songs chart. Rob and E-Z Rock returned to the Hot 100 for a second and final time with “Joy and Pain,” which peaked at No. 58 in July 1989.

The Harlem duo released a pair of albums together with 1988’s It Takes Two (No. 31 Billboard 200 peak), and Break of Dawn in 1994. Base dropped one solo album in his career, which came in 1989 with The Incredible Base (No. 50 Billboard 200 peak).

DJ E-Z Rock (born Rodney Bryce) died in 2014 due to complications related to diabetes, while Base continued their musical legacy in the years since, as he performed as part of the I Love the 90’s Tour with Vanilla Ice and other acts.

Base even extended his reach into Hollywood, where he executive produced the horror movie Urban Flesh Eaters in 2025.

Rob Base’s final public statement came earlier this week when celebrating his 59th birthday with a post to Instagram on May 18. “Happy 59th Birthday to me. God thank you for allowing me to see another year,” he wrote.

TAEYONG stands on a busy corner in Gwanghwamun Square, his icy hair slicked back, looking like an extraterrestrial being that was precipitously beamed down on the streets of Seoul.

In reality, the idiosyncratic NCT rapper’s return wasn’t out of the blue, as these teaser photos for his debut LP WYLD would seem to suggest — of course, it’s the product of meticulous planning. Yet they do wonders to illustrate how the homecoming feels. Say goodbye to monotonous and pedestrian concepts; one of K-pop’s true eccentrics is back.

It’s been a long time in the making. Rather than enforcing a strict two-year break from his primary job, serving in the military band gave TAEYONG even more time to think about music; during leaves, he squirreled himself away to write song lyrics. Upon discharging last December, the now-30-year-old immediately set out to show that the effort paid off, to prove that he had leveled up his skills from previous EPs SHALALA and TAP.

“Back then, I never thought that my music skills were at all complete,” TAEYONG tells Billboard over Zoom. “During the time I stopped all music promotions, I reflected on what the problems were and what I was better at these days. As a trainee, I dreamt of the artist I hoped to be someday.” He pauses. “I think I’m closer to that dream now than ever before.”

The comeback lands at just the right time, too. As NCT celebrates its tenth anniversary in 2026, the sprawling boy band, once conceived as having ever-expanding membership, looks to have officially hit its ceiling in that regard. This April, NCT 127 and NCT Dream’s pivotal player MARK left the group, while WayV’s superstar dancer TEN parted ways with SM Entertainment. (Likewise, following the debut of NCT WISH in 2024, there are reportedly no more new sub-units on the way.)

But trust TAEYONG to rep for the Neos. Throughout WYLD, he nods to game-changing moments from his team’s history: The title track alone both seemingly interpolates “INTRO: Neo Got My Back” — iconic opener of NCT’s 2018 album EMPATHY and a fandom touchstone — and cribs a key move from the choreography of NCT 127’s signature hit “Kick It.”

As a founding father and the de facto group leader of NCT, he’s long proven particularly adept at understanding its “neo” sound. (How many can truly say they rocked with the “Sticker” flute upon first contact?) Suggest this to TAEYONG and he demurs, but those fingerprints — abrasive textures, swerving beats, odd one-liners that stop you in your tracks — are all over his latest project.

Because he had a hand in making each track, WYLD offers a peek at the inner workings of TAEYONG’s weird and wonderful brain. Even on songs that are generally what they say on the tin (“Hypnotic,” “Feeling Myself”), delightful quirks abound. He drops bars about bug scientists; his flow often pinballs off in directions impossible to predict.

As a prelude to this new and improved era, he also fittingly kicked things off in March with the rap-heavy Anderson .Paak collab “Rock Solid,” which all but eschews typical pop song progression.

Though the credits are thinner than ever, TAEYONG is quick to give his collaborators their flowers. Since self-production has become K-pop’s most marketable buzzword, there tends to be some tricky sleight of hand surrounding the extent of idols’ creative input — so it comes as a welcome change of pace to hear him shout out a music video director or buddies he’s made music alongside since his SoundCloud days by name.

Below, TAEYONG discusses how this joint effort — on top of his relentless work ethic while in the Navy — shaped WYLD into what the NCT leader believes is his most evolved work yet.

When did you start working on WYLD?

While I was in the military, I prepared for the album bit by bit. The plans for after the military were still up in the air, but I like making music, so I kept making songs. The title track, “WYLD,” was made right before discharge, around last December, in a final push to make something. Fortunately, it was selected by the company and became the title for the album. 

Did serving in the military band influence the way you think about music at all?

In the military, we use live sessions. So my understanding of instruments increased a lot. I’m not sure how those experiences helped in my music-making process… But I had a lot of time to organize my personal thoughts about music, and I think that was really helpful. 

What was the idea behind the concept?

The original concept was “animal.” After being discharged from the military and entering my thirties, I had the thought to change my image. Something more manly, more adult, more sexy, was what I had in mind.

In the album teasers, you’re muzzled and trapped in various kinds of cages. What inspired those visuals?

After the two of us worked together for the “SHALALA” and “501” music videos, I think that [“WYLD” MV] director Lafic had a much deeper understanding of me. He put a lot of thought into what would suit me best and didn’t hold back.

In the military, I was essentially trapped for almost two years. The thirst and desperation I felt during that time are reflected in [the visuals]. I wanted to shatter my old self and emerge as a new artist, a new me. 

Why was it important for you to write or co-write the lyrics to every song on WYLD?

SM gives me a lot of opportunities and trusts me. So, for me, writing my own music has become the expectation. I think the company thinks that, since it’s TAEYONG’s story, it’s only right to use TAEYONG’s lyrics.

You mentioned that you enjoy incorporating brand names into your songwriting, but SM advised against that. What other feedback did the company staff give you?

There was a lot of feedback and many changes. In the song “Hot,” there’s a part where I do a sort of hip-hop homage. Originally, they wanted that whole part cut, but I made my case and got to keep it in. 

There were some really unexpected references on “Skiii.”

Honestly, my producer friend [PixelWave’s] Squar and I made this song just for fun. The company rejected it at first, saying it’s too difficult to absorb, that there are too many beat changes. But after seeing the reaction it got during the concert, it was undeniable. I think this song was a moment where I got more recognition from the company.

I had to do some Googling, especially for the line, “But I protect the environment like a Fabre.” 

All Koreans likely know about [nineteenth-century French entomologist Jean-Henri] Fabre since elementary school because there’s this picture book written about him. [Laughs.] I included that line because I see him as someone close to and in tune with nature.

This is surprising. I didn’t realize some people wouldn’t know him. 

How does WYLD‘s “404 Euphoria” connect to the other two songs in the “404” series from SHALALA and TAP?

While I was in the military, I would come home during leave. Each time I was home alone, seeing myself laundering the same clothes, I felt empty. I tried to capture that feeling in this song. Originally, 404 wasn’t part of the title. But as I worked on the song, it became deeper and more of a reflection of my inner self, making me add 404 to it. At the time, meeting fans and having concerts [in the military band] was like a sort of euphoria.

On all three projects, you’ve worked with a core group of producers: PixelWave, Royal Dive, Zayson. How influential has it been to collaborate with the same people?

I’ve known them for a long time. When I first started making music, I knew nothing. It’s not easy to work with someone like that for six, seven years. But we also got closer as people, and started sharing our dreams and problems. The company has suggested different producers and collaborators, but the reason I choose to work with this team is that, rather than someone who is good at producing beats, I think music is meant to be made with people who know me well, who I can share my emotions with. 

What have you learned from them?

I haven’t learned anything. [Laughs.] They grew with me. Back then, even they weren’t as good as they are now. We used to chastise each other, saying we have to make things like this, we have to do it like this. Maybe it’s because they also weren’t perfect that we became close. 

You also reunited with frequent NCT 127 producer Dem Jointz for “Rock Solid.” How was that?

It was so hard. The instrumental demo wasn’t one that used an ordinary rhythm. There was a lot to learn and for me to improve on, whether it was the method of production or vocalization.

There was this debate in the studio about whether that song needed a more traditional chorus so that its structure would be recognizable to K-pop fans. You ultimately decided against it, but did you feel that tension while making WYLD, as well?

I just do what I want, what I feel drawn to make. Making music is where I feel happiest and most at peace. If I were constrained in any way, I think I would lose a lot of the desire to make music at all.

So we make whatever we want to make at that moment, spontaneously. Even if it’s [just recording] nonsense whistles or a chanted melody, we make music in a variety of ways. 

I heard you were having stress dreams while touring. Are those still happening?

Yes, even recently, I keep having nightmares. I think I only have nightmares these days. There was one where I had a piece of glass stuck in my foot. But in Korea, we say, “Dreams are the opposite of reality.”

Oh, interesting. The dream you talked about was of fans saying your performance wasn’t good, so I’m sure the opposite will likewise pan out in reality.

I’m relieved you think that, too.

When I interviewed NCT’s Doyoung for his debut solo album, he said you gave him a lot of support in the run-up to its release. Did he return the favor this time?

He actually contacted me yesterday. Even in the military, he keeps in touch. Yesterday, he said that he’ll repost the album when it comes out, asking me if I know how valuable that is [because they have limited phone access in the military]. I told him I was grateful. [Laughs.]

Did anyone else from the team give you feedback?

The members haven’t been able to listen to all the songs, but everyone is rooting for me. They do things like send snacks while I’m filming the music video, which makes me feel supported.

In the lyrics of “I’m a Dancing Cactus,” there’s a reference to NCT U’s groundbreaking debut single, “The 7th Sense.” Was it top of mind for you because of its recent 10th anniversary?

“The 7th Sense” is a song that’s meaningful to every member of NCT. In the 10 years since, I don’t think there’s been another song like it — the song is such a symbolic one. That’s why, for “I’m a Dancing Cactus,” I wanted to shout it out.

I see you as one of the biggest champions of NCT and its “neo” sound. Since there have been so many changes with the group recently, what do you envision for the future of NCT?

I’m thankful that you think of me that way. I don’t think I am, but I am grateful. I think NCT Wish will become one of the key parts of NCT — they work so hard, and I get inspired when I see them perform.

As a senior, leader, and older brother, my focus is to lead the team well. Doing that, I believe what’s to come will be cooler, more neo, and more of the music and performance that is unique to us. 

Additional translation provided by Gene Kim.

This week, Billboard’s New Music Latin poll — curated with key recommendations by Billboard Latin and Billboard Español editors — features a number of new albums, including Greeicy’s Candela, Christian Nodal’s Bandera Blanca, Alvaro Diaz’s Omakase, Xavi’s Dosis and more.

Notably, Greeicy delivers a 12-song set that gathers her most recent hits and some new gems. In Candela—where she proves that she’s a flame that can’t be turned off—the Colombian artist taps into different musical genres including merengue (“Discúlpeme Señor”), bachata (“Estas ganas”), vallenato (“No Era Mío”) and kizomba (“Donde Como y Cuando”). She also reels in Rawayana, Cultura Profética, La Guru and more as collaborators on her fourth studio album. 

“Everything that has happened in my life lately is right here in this album; everything that has driven me to keep going is my candle—that spark we all possess, the one that propels you forward, the one that ignites you—the one that, just when you say, ‘I’m never going to make it through this,’ something comes along and lights it up again,” she expressed in a statement.

Meanwhile, artists such as Elena Rose, Jombriel and Fito Paéz dropped new music this week.

The most recent New Music Latin poll was topped by Lenny Tavárez’s romantic salsa “Pa’ Lo Bonito” with more than 65% of the vote. Which release this week do you think is best? Give these new releases a spin and vote for your favorite new Latin music release below.

Editor’s Note: The results of the weekly New Music Latin poll will be posted if the poll generates more than 1,000 votes. This poll closes at 11 a.m. ET on Monday, May 25.

Maná‘s iconic song “Oye Mi Amor” has taken on a new twist after being included in Dua Lipa‘s new album Live From Mexico City, released Friday (May 22). The legendary track by the Mexican rock band is now part of the British superstar’s material, recorded last December during the final leg of her Radical Optimism Tour in Mexico.

“Singing ‘Oye Mi Amor’ with an international artist with the caliber of Dua Lipa was very special,” Maná’s vocalist Fher Olvera said in a video shared by his press office in Mexico. “It’s an emblematic song for Maná, for the fans, and it’s been a fundamental song in our career. It’s a track that transcended boundaries and reached many parts of the world. Many people who don’t speak Spanish, who speak other languages, have embraced it as part of the soundtrack of their lives.”

“It’s a source of pride for us, for me, for all Mexicans, to be able to share this Mexican, Latin music with all our fans around the world,” Olvera added in the video, speaking about the only track on the album not drawn from Lipa’s own catalog.

“Oye mi amor” was written by Olvera and drummer Álex González and featured in Maná’s celebrated 1992 album ¿Dónde Jugarán Los Niños? as its second single. It’s considered a classic in the repertoire of the band from Guadalajara, as well as a very popular song in Latin America’s musical canon.

The track by Lipa and Olvera captures the Mexican musician’s participation in her second concert at the iconic GNP Seguros Stadium on December 2, 2025 in Mexico City — where the two turned the venue into a massive karaoke event celebrating one of the most iconic Spanish-language rock bands in the world, as reported by Billboard.

“Tonight we are very lucky because we have someone very special who is going to sing with us,” Lipa expressed in Spanish before introducing Olvera, who stepped onto the stage amid a storm of applause. The crowd’s ovation grew louder when the unmistakable guitar chords of the song began to play.

The “Oye Mi Amor” cover came the day after Dua Lipa performed Consuelito Velázquez’s classic “Bésame Mucho” during the first of three concerts that made up the Mexican leg of her Radical Optimism Tour. On December 5, she also delighted local fans with a rendition of Selena’s iconic “Amor Prohibido.”

The British star explored each city her tour visited and delivered surprise covers of local artists, connecting in a special way with her audiences. To see all the Spanish and Portuguese songs she performed throughout her journey, click here.

The close of her world tour in Mexico, now immortalized in the album and concert film Live From Mexico City, adds to the love story between Dua Lipa and the Latin American country, where she had previously performed in 2017 at the Corona Capital festival and in 2022 at the Foro Sol (now GNP Seguros Stadium).