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This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music from artists including collaborations by Xavi and Manuel Turizo, Calle 24 with Fuerza Regida, as well as a new bachata album from Natti Natasha produced by Romeo Santos. Xavi and Manuel Turizo teamed up for the first time for a […]
Snoop Dogg was dropping jokes like they were hot at the NFL Honors Thursday (Feb. 6), but one of them in particular — lobbed at Bill Belichick and the coach’s girlfriend, Jordon Hudson — packed extra heat. During the rapper’s opening monologue at the pre-Super Bowl award ceremony, which he hosted, Snoop got the crowd […]
Lola Young’s “Messy” has landed a third week at No. 1 on the U.K. Singles Chart (Feb. 7). The song first hit the top spot in January after dethroning Gracie Abrams’ “That’s So True,” which held the top spot for eight non-consecutive weeks.
The news coincides with her continued rise on the Billboard Hot 100; “Messy” now sits at a new peak of No. 14, a rise of 10 places week-on-week. The track featured on her sophomore album, This Wasn’t Meant for You Anyway, which was released in May.
In March, Young will compete for a BRIT Award in the pop act category against Charli XCX, Dua Lipa, Jade Thirlwall and Myles Smith. Recent months have also seen the Londoner perform on The Tonight Show Starring Jimmy Fallon and appear on Tyler, the Creator’s Chromakopia as a guest vocalist on “Like Him.”
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Speaking to Billboard U.K., Young discussed the success of “Messy” and why the message of self-acceptance has resonated with fans. “For a long time, I wanted to represent this ideal of Westernized beauty — but then I realized I’m not that,” Young said. “I now choose to give realness and truth. I’ve got a bit of a belly out, I f–king swear a bunch and I have fun. And that’s what people are resonating with.”
The success of “Messy” means that the Island EMI label group have scored a grand slam with four No. 1s across the U.K.’s Official Albums, Singles, Compilations and Radio Airplay Charts this week. The feat was achieved as The Weeknd’s Hurry Up Tomorrow hit the top spot on the Official Albums Chart, “Messy” on the Singles and Radio Airplay Charts, while the Wicked soundtrack rules the Compilations Chart. It’s the first time the feat has been achieved by any label group in over 10 years.
The remainder of the top five features familiar faces, with ROSÉ and Bruno Mars’ “APT.” (No. 2), Gracie Abrams’ “That’s So True” (No. 3), Chrystal’s “The Days” (No. 4) and Gigi Perez’s “Sailor Song” (No. 5) all staying put week-on-week.
Lady Gaga’s new song, “Abracadabra,” goes straight in at No. 6, giving the pop hero her 17th top 10 hit in the U.K. It’s the third single from upcoming album Mayhem to land in the top 10 following “Die With a Smile” (No. 2) and “Disease” (No. 7).
The Weeknd has landed his fourth No. 1 album in the U.K. with Hurry Up Tomorrow (Feb. 7).
The Canadian megastar (real name Abel Tesfaye) has previously topped the Official Albums Chart with Beauty Behind the Madness (2015), After Hours (2020) and Dawn FM (2022). His greatest hits compilation The Highlights (2021) peaked at No. 2, and has been a chart mainstay ever since.
The 22-track Hurry Up Tomorrow features guest appearances from Travis Scott, Justice, Lana Del Rey, Florence + The Machine, Anitta, Future and Playboi Carti, and rounds out the After Hours Til Dawn trilogy. In the build-up to its release, Tesfaye teased that it could be the final album he releases under The Weeknd moniker.
The Weeknd also appeared at the Grammys for a live performance on Feb. 2, returning to the institution after vowing to boycott the ceremony due to a lack of recognition for his After Hours campaign. On Tuesday (Feb. 4), the first trailer for Hurry Up Tomorrow’s accompanying film was shared; Jenna Ortega and Barry Keoghan both star alongside Tesfaye in the flick, directed by Trey Edward Shults.
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With The Weeknd taking the top spot, the Island EMI label group have scored a grand slam with four No. 1s across the U.K.’s Official Albums, Singles, Compilations and Radio Airplay Charts this week. The feat was achieved as Lola Young’s “Messy” has scored a third week at No. 1 on the Official Singles and Radio Airplay Charts, while the Wicked soundtrack rules the Compilations Chart. It’s the first time the feat has been achieved by any label group in over 10 years.
Central Cee’s Can’t Rush Greatness slips one spot to No. 2, and follows his No. 9 placing on the Hot 100, the highest charting U.K. rap LP ever in the U.S. Sabrina Carpenter’s Short n’ Sweet (No. 3), The Weeknd’s The Highlights (No. 4) and Ed Sheeran’s +–=÷× (Tour Collection) (No. 5) round out the top five.
Dance duo Maribou State lands its first top 10 record with third LP Hallucinating Love finishing at No. 9. Speaking to Billboard UK, the pair discussed the numerous health and personal issues they faced during the album’s production.
“It was a really important process for us to go through, personally and creatively,” said member Chris Davids. “We learned a lot about ourselves in that time. We’re grateful that we were in a position where we were able to press pause for a minute during the writing process, and to look after ourselves and not just push through and break ourselves when doing it.”
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, LISA is reincarnated alongside Doja Cat and Raye, while Anitta sets forth on a new era. Check out all of this week’s picks below:
LISA feat. Doja Cat and Raye, “Born Again”
Opulence and religious imagery abound on LISA’s new team-up with Doja Cat and Raye, as the BLACKPINK star settles on disco elegance for the pop-star summit: “I would’ve made you a believer / Would’ve showed you what it’s like,” she sings as a kiss-off, while her guest stars flaunt biting rhymes and oversized vocals on the second verse and bridge, respectively. Anitta, “Romeo”
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The first Anitta release of 2025 kicks off a new era in style — moving on from Funk Generation, the Brazilian superstar continues exploring propulsive dance on “Romeo” but with more restrained production and emphasis on her vocal delivery, as if Anitta, not the beat beneath her, is the star of the show.
Pardison Fontaine & Cardi B, “Toot It Up”
Over a masterful sample of Nas’ “Made You Look,” Pardison Fontaine and Cardi B aim for a chest-thumping anthem for a new generation on “Toot It Up,” with both artists trading rhymes on the hook and finally delivering a long-in-the-works collaboration to official streaming services.
GELO feat. Lil Wayne, “Tweaker (Remix)”
GELO’s “Tweaker” has been one of the first surprise smashes of 2025, a viral hit that has earned LiAngelo Ball a label deal and lots of raised eyebrows; that quick rise continues with this Lil Wayne-assisted remix, as Weezy (who just announced an album of his own) gets in on the basketball metaphors: “I cross your ass up like Jesus, baby.”
Dom Dolla feat. Daya, “Dreamin’”
Australian DJ Dom Dolla has been linking up with various pop stars for a while now, and Daya, the Pittsburgh native of “Don’t Let Me Down”/“Hide Away” fame, makes for a perfect muse on “Dreamin’,” a hypnotic club track in which Daya deploys the smokiness of her voice and repeats the refrain until it gets lost in the rhythms.
Editor’s Pick: Rema, “Baby (Is It a Crime)”
Revamping Sade’s 1985 classic “Is It a Crime,” Rema returns with an immediately memorable piece of rhythmic pop: the Nigerian star has demonstrated crossover potential in the past, most notably with “Calm Down,” but the contours of “Baby (Is It a Crime)” are more subtle, his flow bridging the 40-year gap in styles.
Dream Theater‘s new Parasomnia is titled after a specific category of sleep disorders. But it’s also an album that’s made dreams come true for fans of the 40-year-old progressive metal quintet.
Parasomnia marks the recording return of drummer and co-founder Mike Portnoy to the band’s ranks for the first time since 2009’s Black Clouds & Silver Linings. It reunites him with guitarist (and album producer) John Petrucci and bassist John Myung, who started Dream Theater as Majesty in 1985, after meeting at the Berklee College of Music in Boston. Vocalist James LaBrie came on board in 1991, while Jordan Rudess joined in 1999.
That quintet released six studio albums prior to Portnoy’s departure, and Petrucci acknowledges to Billboard that “we fully understand the gravity of Mike coming back and us being together again.”
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From Portnoy’s perspective, “As Dorothy once said (in The Wizard of Oz), there’s no place like home. It’s not the original lineup, but it is the ‘classic’ lineup. I think the era this band made albums, basically ’99 through 2009, that was in a lot of ways the golden age of this band and…a musical blueprint that is such a big part of Dream Theater’s history. For this particular lineup to be reunited, it’s really special.”
While Portnoy acknowledges that “some fences had to be mended” from his departure, he and Petrucci worked together on the latter’s 2020 solo album, Terminal Velocity, and toured together; the two joined Rudess and bassist Tony Levin for a third studio album as Liquid Tension Experiment in 2021. But, Petrucci says, “those weren’t intended as any indication that (Portnoy) might be returning. Mike Mangini [Portnoy’s replacement] was very strong in the band…even if he couldn’t escape the ‘When’s Portnoy coming back?’ question that was constantly asked. We had just come off our first Grammy win [best metal performance in 2022 for “The Alien”] and everything was going great with touring.
“For whatever reason the stars aligned in that moment, in the fall of 2023. We did understand that making the announcement that not only was (Portnoy) coming back, but that we’d be going into the studio again, the excitement would be crazy — for us, too. I think you can hear it on the album.”
The eight-track, 71-minute set — out Friday (Feb. 7) and recorded at Dream Theater’s DTHQ studio on Long Island — is the band’s 16th overall, and the follow-up to 2021’s A View From the Top of the World, which debuted at in the top 10 of Billboard‘s Top Hard Rock Albums, Top Rock Albums and Independent Albums charts. With its intricate arrangements, explosive dynamics, virtuosic playing and long-form compositions (six songs are over seven minutes and a closing epic, “The Shadow Man Incident,” clocks in at a heady 19:32), Parasomnia is everything Dream Theater envelopes while sounding decidedly present-day.
“I wanted it to sound modern but also classic,” Petrucci explains. “Some of the albums made between 1999 and 2009 or so, that’s a period that’s so beloved by our fans. So having Mike rejoin, I think there’s hope for some of that nostalgia coming back — and it pretty much did. You can hear it on the album. It definitely has that vibe. But as a producer I’m going in wanting to make an album that sounds better than anything else we’ve done before. So you try to push the envelope with ways of recording. It’s a combination of using modern techniques but using vintage audio equipment to do it and mash those up in a perfect way. And of course using great personnel — Jimmy T (Meslin) our engineer, Andy Sneap, Mark Gittins — these guys are helping to bring it into the future, into a modern sound. It’s a perfect balance of old and new.”
Petrucci says Parasomnia‘s concept is not based on any real-life sleeping disorders within the band. He first heard the term a few years ago and “kept it in my back pocket. I love the sound of that word. I love the tie-in to dreams and Dream Theater, and I loved that the subject matter could be so creepy and dark and heavy.” He researched the various parasomnias — including sleepwalking, night terrors and night paralysis — and used them as the basis for songs; one, “Dead Asleep,” was even drawn from a true story about a man who accidentally strangled his wife in bed while dreaming that he was fighting a home intruder.
The suite-like “The Shadow Man Incident,” meanwhile, is based on a pre-waking phenomenon of feeling the presence of “demons or dark figures,” according to Petrucci.
“It is a thematic, concept album,” he acknowledges, “so there are some Easter eggs throughout, (musical) themes that repeat themselves that I think hardcore fans will pick up on. We love doing stuff like that. I think it takes the album to another level. It makes it more epic, more classic, more special. And it’s so much fun.”
Portnoy, meanwhile, takes credit for pushing Dream Theater in the conceptual direction on Parasomnia. “It’s such an important album for us that I thought it needed to be something more than just a collection of songs,” he says. “That’s when we started creating the album, thinking of it in terms of one piece of work that you digest from start to finish, like watching a movie or reading a book. Once we decided to go in that direction it really opened the doors to make this a very special album.”
Dream Theater preceded Parasomnia‘s release with the tracks “Night Terror,” “A Broken Man” and “Midnight Messiah,” along with accompanying videos. The band returns to the road on release day in Philadelphia, with dates currently announced through a sold-out March 22 stop at Radio City Music Hall in New York City. Petrucci says the trek will feature a couple of songs from the new album but is mostly designed to continue a celebration of Dream Theater’s 40th anniversary — which began last year, overseas — with a more Parasomnia-centric tour planned for later this year. Portnoy adds that Dream Theater hopes to play the new album in its entirety at that time.
“It’s pretty incredible I’m still in the same band with a guy I met when I was 12, in middle school, and a guy I met when I was 18, just starting at college,” Petrucci notes. “We all love doing it. We’re driven. We love playing our instruments, we love writing music together, recording music together, we love touring together. The chemistry and brotherhood we have as people is just so strong. And on top of that is a fan base that’s international and widespread and loyal and dedicated and devoted. We don’t take that for granted.
“Not every band survives, right? Bands break up, members leave. We know how lucky we are to have a 40-year career and that a member can leave and come back and rejoin with such happiness and excitement around it. That’s a testament to everybody’s love for doing it, and love for each other.”
From Section.80 to No. 1, Kendrick Lamar has stormed to levels of commercial success and critical admiration in the last two decades that place him as one of the preeminent rappers of his generation — and many observers suggest, already among the greatest of all time.
Born in Compton, Calif., Lamar earned regional buzz for a series of mixtapes in the 2000s, but slowly attracted larger attention beginning with his Overly Dedicated mixtape. The release became his first Billboard chart entry, reaching No. 72 on the Top R&B/Hip-Hop Albums list in October 2010. Less than a year later, Lamar’s debut album, Section.80, allowed the rapper to break onto the Billboard 200 for the first time and peaked at No. 113 in June 2011.
The hitmaking run ignited with his next album, 2012’s good kid, m.A.A.d city. The set, his initial LP through a major label, Aftermath/Interscope Records, opened and peaked at No. 2 on the Billboard 200 and produced three top 40 hits on the Billboard Hot 100 – the No. 17 hit “Swimming Pools (Drank),” “Bitch Don’t Kill My Vibe” (No. 32) and the Drake-assisted “Poetic Justice” (No. 26). Cementing its acclaim among Lamar’s industry peers, the set was nominated for seven Grammy Awards, including album of the year.
Since that breakthrough, every Lamar project has become an event. Each of good kid’s studio album successors – To Pimp a Butterfly (2015) DAMN. (2017), Mr. Morale & The Good Steppers (2022) and GNX (2024) – has debuted at No. 1 on the Billboard 200, as have Lamar’s exploratory demo collection Untitled Unmastered (2016) and the multi-artist soundtrack that he curated for the film Black Panther (2018).
While singles success didn’t initially mirror the chart-topping results of his albums, Lamar steadily became a major player on the Hot 100. He earned his first No. 1 as a guest on Taylor Swift’s “Bad Blood” in 2015 before unlocking the penthouse on his own with “Humble.” two years later. He accumulated more top 10 hits with solo songs, including “DNA.” and “N95,” and collaborations with acts such as Maroon 5 (“Don’t Wanna Know”), The Weeknd (“Pray for Me”) and SZA (“All the Stars”).
Chart fortunes, however, surged to a new plane in 2024 following a feud with Drake that captured pop culture’s attention. Thanks to Lamar’s targeted verse on the “Like That” collaboration with Future and Metro Boomin, the song debuted at No. 1 on the Hot 100 and sparked an array of diss tracks between the two rappers. Among them, Lamar earned a second Hot 100 No. 1 with “Not Like Us,” the most successful track of the entire saga.
With public momentum in his corner, Lamar released GNX in November 2024. The set’s “Squabble Up” arrived as the rapper’s third Hot 100 leader for the year – the most of any artist in 2024. In addition, GNX tracks occupied the entire top five in its debut week, making Lamar only the fourth act – after The Beatles, Drake and Taylor Swift – to monopolize the region.
Lamar’s victory lap extended into 2025, with five wins at the 2025 Grammy Awards ceremony, including record of the year and song of the year for “Not Like Us.” On Feb. 9, he’ll headline the halftime show at Super Bowl LIX in New Orleans.
As Lamar prepares for his turn on the world’s biggest stage, let’s recap the Pulitzer Prize-winning rapper’s 20 biggest hit songs on the Hot 100, a review that encapsulates a range of his earliest, scrappy hits to world-conquering anthems.
Kendrick Lamar’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 from its Aug. 4, 1958, start through Feb. 8, 2025. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
“Bitch, Don’t Kill My Vibe”
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Natti Natasha, Natti Natasha en Amargue (Pina Records/Sony Music Latin)
Natti Natasha continues to explore the sound of bachata on her fourth studio album, Natti Natasha en Amargue, a 10-track set produced by the king of the genre himself, Romeo Santos. From the opening song “Desde Hoy,” through “Escasez de Besos” and “Cansada,” the Dominican singer shows off her deep, raspy voice as she addresses topics such as heartbreak and betrayal with empowering lyrics of growth and self-respect. The set includes the previously released singles “Tu Loca” and “Quiéreme Menos,” as well as a collaboration with Ozuna, “Ya No Comparto,” in which a couple decides their fate after infidelity.
Santos’ trademark is felt from beginning to end, with elegant arrangements, instrumentation and back-up vocals providing a solid framework for the singer. “All these songs are an offering of love and gratitude to the Dominican Republic and to all those who have embraced bachata, in all its forms, especially to my great friend, songwriter and producer Romeo Santos,” says Natti in a statement. The union of both artists is a success. While they’re not reinventing the wheel by any means, Natti Natasha en Amargue sounds like an instant classic. — SIGAL RATNER-ARIAS
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Xavi & Manuel Turizo, “En Privado” (Interscope Records)
For Xavi and Manuel Turizo’s first collaborative effort, you’d expect them to go either the música Mexicana or pop-reggaetón route — but never a bachata. “En Privado” (in private) is just that, a surprising fusion between the tropical Dominican genre (one that Turizo has dominated) and Xavi’s signature tumbados románticos sound. Produced by Andy Clay, the track is a dedication to “la mas chula del barrio” (the most beautiful girl in the block), with a lot of hard-to-decline invitations and exciting promises. “I’m going to steal you, I’m going to maintain you/ A night in Cancun, and the next in Dubai,” Turizo chants, while Xavi also proposes: “Everything you want, my sweetheart/ I’ll even erase the girls I have on Instagram.” — JESSICA ROIZ
Silvestre Dangond & Emilia, “Vestido Rojo” (Sony Music Latin)
Silvestre Dangond’s melodic vocals could carry the entire song without any other instruments in two, but when his voice joins the vallenato’s accordion, there’s an explosion of rhythms that make this song so catchy. Argentine star Emilia joins Dangond at the minute-mark, adding her velvet vocals to the cumbia track. “Vestido Rojo” is almost like a call and response with Dangond expressing his desire to be with the women in red who seems to be playing hard to get. But he may be overthinking it. Her response? “I didn’t want anything but now I’ll give you everything,” she sings. The Colombian artist says of his collab with Emilia in a statement, “Her way of interpreting gives a new dimension to ‘Vestido Rojo’, and together we achieved a song that we hope will connect deeply with the public.” — GRISELDA FLORES
Calle 24 x Fuerza Regida, “Como Estrella” (Street Mob/Warner Music Latina)
“Como Estrella,” the latest collaboration between Calle 24 and Fuerza Regida, captivates with its evocative blend of somber brass, warm nylon strings, and introspective lyrics. Traversing the themes of perseverance and celestial guidance, the song is layered with Diego Millán’s soaring vocal range and JOP’s impactful interjections. As the chosen theme for Netflix’s series Prison Cell 211, “Como Estrella” superbly enhances the dramatic narrative. “Being part of the Prison Cell 211 soundtrack is a very important step in my career,” Diego Millán shared in a press release. “This series portrays an intense and raw reality, full of strong emotions and personal struggles, and ‘Como Estrella’ fits perfectly with that story. It’s a song that speaks of absence, memories, and the strength left behind by those who are no longer with us.” — ISABELA RAYGOZA
Los Tigres del Norte, “La Lotería” (Fonovisa)
Los Tigres del Norte return to political-social corridos — with the double-meanings and metaphors that have characterized the group’s career of more than half a century. The song’s title is named after to a typical Mexican board game that’s similar to Bingo. Penned by Luciano Luna, the lyrics compare the characters on “la lotería” game to real-life situations and people, referring to current issues that governments have not been able to resolve. “This life is just like the lottery and there are some who play the brave/ They do everything to climb the ladder because the crown makes them influential,” Los Tigres sings in its well-known traditional northern style. The first single from the group’s upcoming album is accompanied by a very special music video: a short film made by filmmaker Sergio Arau, creator of the acclaimed documentary Un Día Sin Mexicanos, which takes on even more value in these times of uncertainty that immigrants are experiencing. — TERE AGUILERA
Check out more Latin recommendations this week below:
Ye went on a hate-filled tweet spree on Friday morning (Feb. 7) in which he once again praised Nazis and Adolf Hitler, while insulting the LGBTQ community and people with disabilities with phrases such as “f–k ret-rds.”
West, whose once formidable music and fashion empire crumbled in 2022 after a string of hate-filled, antisemitic rants in which he stated “I like Hitler” and repeatedly embraced antisemitic stereotypes and hate speech, doubled-down on that rhetoric in the dozens of posts on Friday.
The all-cap tweets began early in the morning with a statement in which Ye claimed that he “turned down 3 photos this week with Make-A-Wish kids in wheelchairs,” followed by a further, full embrace of antisemitic language. “I love Hitler, how what b–ches,” Ye wrote, followed by “I’m a Nazi.”
Anti-Defamation League CEO Jonathan A. Greenblatt responded to the posts on X with a statement that read: “Here we go again. Another egregious display of antisemitism, racism and misogyny from Ye on his X account this morning. Just a few years ago, ADL found that 30 antisemitic indents nationwide were tied to Kanye’s 2022 antisemitic rants. We condemn this dangerous behavior and need to call it what it is: a flagrant and unequivocal display of hate.”
He added, “We know this game all too well. Let’s call Ye’s hate-filled public rant for what it really is: a sad attempt for attention that uses Jews as a scapegoat. But unfortunately, it does get attention because Kanye has a far-reaching platform on which to spread his antisemitism and hate. Words matter. And as we’ve seen too many times before, hateful rhetoric can prompt real-world consequences.”
Ye’s spree also included the use of homophobic slurs (“f—ot a– n–gas”), ableist insults (“dumb a– ret-rds”) and the statement “all white people are racist.” A number of the tweets were marked “visibility limited” as they ran afoul of X’s rules against hateful conduct.
Among them were comments such as, “Jewish people actually hate white people and use Black people,” “you can get money with Jewish people but they always gonna steal” and “this is how I really feel, how I really felt and how I will always feel… f–k all of your f–k a– unfair business deals any Jewish person that does business with me needs to know I don’t like or trust any Jewish person and this is completely sober with no Hennesy [sic].”
West also referenced Twitter/X owner and White House advisor Elon Musk’s repeated use of a Nazi-like salute at an inauguration event for Donald Trump last month that was widely criticized (Musk responded to critics by saying they “need better dirty tricks”). “Elon stole my Nazi swag at the inauguration… yooo my guy get your own third rale,” Ye wrote, adding, “I can say Jew as much as I want. I can say Hitler as much as I want.”
Claiming he has no interest in “adjusting nothing I do or say for anybody,” West promised to “normalize talking about Hitler they [sic] way talking about killing ni–as has been normalized,” followed by “Hitler was sooooo fresh” and “call me Yaydolf Yitler.”
The string of hate speech was seemingly embraced by white supremacist Nick Fuentes who wrote “and we’re back” in response to one of Ye’s tweets; Ye posted a series of crying laughing emoji on that Fuentes comment. Fuentes, known for his antisemitic, misogynistic and white supremacist views, also reposted a few of Ye’s most incendiary tweets, including one that read: “all you pleeeeease come at me… that’s who we spot the k–ns… let these white people and Jewish people tell you what to do and say.”
Amidst Ye’s earlier embrace of Hitler and Nazi propaganda, experts spoke to Billboard about the dangers of someone with such a wide social media reach promoting antisemitic tropes at a time when hate crimes against Jews and Jewish institutions were at the highest point in recent memory.
“At a time when the community is dealing with this level of hatred to have one of the most well-known entertainers in our culture making statements like ‘I like Hitler’ and showing up on [Jones’] InfoWars is not just vile and offensive, but it’s also endangering Jews by giving people permission to express that kind of prejudice,” Greenblatt said at the time. “People in the mainstream did not make such overtly awful, inflammatory comments before like this.”
Ye also tweeted support for Diddy, who is currently behind bars as he awaits trial for sex trafficking charges. “Puff we love you,” he posted. “I stood up for Puff and I’m still winning 20 Grammies [sic] next year and doing the Super Bowl.”
In a podcast interview earlier this week, Ye claimed that he’d recently been diagnosed with Autism Spectrum Disorder (ASD) after his wife said she thought his previous diagnosis of bipolar disorder was incorrect.
Over the past year, West had slowly begun to try and rebuild his music and fashion empire following its rapid meltdown after his 2022-2023 spree of antisemitic hate speech in interviews, which included a tweet announcing he was going “death con [sic] 3 on Jewish people,” repeated praise for Holocaust mastermind Adolf Hitler and the promotion of the white supremacist phrase “White Lives Matter” on shirts at Paris Fashion Week.
In the wake of those incidents, Ye was dropped by the Gap, Adidas, Balenciaga and his agents at CAA and his social media accounts were suspended or revoked in a fallout so wide-ranging that the former — and according to him, again — billionaire said in February of last year that he nearly went bankrupt.
At press time, the string of antisemitic statements continued unabated with Ye writing, “I don’t even know what the f–k anti semetic [sic] means… its just some bulls–t Jewish people made up to protect their bulls–t,” as well as a claim that he “channeled” misogynist influence Andrew Tate in his comments. Tate was released from five months of house arrest in Romania in January related to allegations of human trafficking and sex with a minor; Tate has denied the allegations.
Shaboozey’s “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music) continues its record run in the top 10 of Billboard’s Country Airplay chart, dated Feb. 15. The song adds a 32nd week in the tier, extending the longest top 10 residency since the survey began in January 1990. The track surpassed Dustin Lynch’s “Thinking ‘Bout You” (featuring […]