Ye’s struggles for acceptance as a rapper are well documented in the early stages of his career. Dame Dash admitted he originally signed the artist formerly known as Kanye West to Roc-A-Fella for his prowess as a producer, but the Chicago native had much grander aspirations.

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Dash joined the TFU Podcast on Tuesday (March 3), where he recalled Ye’s status within the Roc-A-Fella army in the early 2000s, doubting his rapping ability and the mentality that allowed Yeezy to break through and become a full-blown A-list superstar.

“I didn’t necessarily think he was so talented like that. I didn’t think he could rap, I thought he made good beats. He had good beats, but he showed up,” he explained. “For example, ‘We Are the Champions‘ was the record that kind of broke him and I produced that with him.”

Dame continued: “I was giving that sample to Just Blaze. Had Just Blaze done what I asked him to do and given me the respect, that might have been a Just Blaze big record for him. It was the first time Queen cleared the sample. Just Blaze didn’t do it, so after a while I said, ‘Kanye, you do it.’ He did it that day and reaped the benefits of it.”

It wasn’t until West broke his jaw in a 2002 car accident that Dame thought Ye could be special — West remained gung ho in his pursuit of greatness even with a wired jaw. “I saw that he was still proactive and turned something that could’ve put him out of business [into] something that put him into business,” Dame said. “I’m more into a person’s hustle and respect.”

“He’s not a quitter. He could fail and make it a learning experience — which he did in fashion — and that he was fearless,” the Roc-A-Fella cofounder added. “Kanye won because of his hustle and the fact [that] he went and did other verticals and he’s also polarizing.”

West turned his tragedy into triumph with the No. 15 Billboard Hot 100 hit “Through the Wire” and cemented his superstar status with his debut album, The College Dropout, in 2004, which arrived at No. 2 on the Billboard 200. The set contained anthems such as the Hot 100-topping “Slow Jamz,” as well as “All Falls Down” and “Jesus Walks.”

In the years since, Ye’s decorated résumé includes earning 11 No. 1 albums on the Billboard 200, five No. 1 hits on the Hot 100 and 24 Grammy Awards. However, has star has dimmed considerably since he began spewing antisemitic hate speech in recent years, which led to the loss of many of his brand deals. He has since apologized several times for his remarks, with the most recent apology coming in January 2026, during which he claimed that a brain injury led to his “reckless behavior.”

Watch the clip of Dame Dash talking about Ye below:


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UPDATE (March 5): The Grammy Museum will extend the exhibition period of Selena‘s personal items until May 11 due to high ticket demand. “Selena: From Texas to the World” was originally scheduled to run from Jan. 15 to March 16, but now, fans will have the opportunity to visit for a longer period.

The show includes clothing, microphones and even the singer’s cell phone, which, for the first time, have left the Selena Museum in Corpus Christi, Texas. After her death on March 31, 1995, the museum was created to honor the memory of the greatest female artist in Tex-Mex music, who achieved the coveted crossover in the U.S., earning a Grammy and securing prominent positions on the Billboard charts.

Tickets for “Selena: From Texas to the World” are available on the Grammy Museum’s official website, priced at $22.50 and valid for 30 days from the date of purchase.

PREVIOUSLY (Jan. 16): For the first time, personal items of late Tex-Mex music icon Selena Quintanilla have left Corpus Christi, Texas, to be shown at the Grammy Museum in Los Angeles. The exhibit, “Selena: From Texas to the World,” opened on Thursday (Jan. 15) and will remain on display until March 16.

Outside the museum, as a prelude, there is a mural created by artist Mr. Toledo showcasing the star at different moments in her career. Inside, visitors can view items selected by Suzette Quintanilla, Selena’s sister, including a microphone that still bears marks of her red lipstick, her personal cell phone, instruments from her band Los Dinos, and her Grammy awards — including the Lifetime Achievement Award she received posthumously in 2021 from the Recording Academy.

Pieces of her unforgettable wardrobe, such as the white rhinestone dress by Lillie Rubin that Selena wore to the 1994 Grammy Awards, are part of the collection. Selena was a fashion icon for Latina women and designed many of her own outfits; some of her sketches are also on display.

One of the most consequential artists of her generation, Selena revolutionized Latin music with her tejano twist on norteño music and hip-swiveling techno-cumbias that showcased her versatility. With anthems such as “Amor Prohibido,” “Bidi Bidi Bom Bom,” “Como La Flor” and “No Me Queda Más,” to name a few, her music has endured decades after her death in 1995 at 23.

On the Billboard charts, she earned 24 entries on Top Latin Albums, 16 of which hit the top 10 and seven of which hit No. 1 — among them Amor Prohibido, which spent 20 weeks at the top in 1994, and the posthumous Dreaming of You, which spent 40 weeks at the summit in 1995. On the Regional Mexican Albums and Latin Pop Albums charts, the late artist placed seven and six titles at No. 1, respectively. Amor Prohibido topped the former chart for nearly 100 weeks. 

“Selena: From Texas to the World” was inaugurated by her sister Suzette and Selena’s widower, Chris Pérez. The exhibit comes a month after the death of Abraham Quintanilla, the father and manager of the Mexican-American star. The family had previously safeguarded this legacy at the Selena Museum in Corpus Christi.

For tickets, schedules, and more information, visit the official Grammy Museum website.


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Hours after previewing the “Good Flirts” visual at a surprise NYC show, Baby Keem released the music video to his Kendrick Lamar and Momo Boyd-assisted collaboration on Thursday (March 5).

Keem has to be a Grand Theft Auto fan, as he references a GTA V campaign mission featuring Franklin and Lamar flaming one another with the opening scene of the “Good Flirts” video.

Directed by Renell Medrano, the 25-year-old rapper finds himself in various social settings, flirting with a potential love interest, which takes Keem from the ice cream parlor to riding the bus and eating at a Chinese restaurant with different women.

Draped in all-black and a leather jacket, the scene pivots to a barren church room with Kendrick Lamar surrounded by a hanging cross and a water fountain. K. Dot’s hood love story takes him to the basketball courts, where he delivers his soulful assist.

The visual seemed to be celebrated by fans. “pgLang shoot these videos like a HBO drama. Greatness,” one person wrote in the YouTube comments while lending their stamp of approval.

Another added: “This video is full of so much dark skins it’s too beautiful. Wow. Celebrating us has always been sweet.”

Keem performed a pop-up show at New York City’s Webster Hall on Wednesday (March 4), where he previewed a teaser of the “Good Flirts” video. The Las Vegas native is set to hit the road for the Ca$ino Tour in April, with the North American trek kicking off in North Carolina.

Ca$ino arrived on Feb. 20 and debuted at No. 4 on the Billboard 200 with 72,000 total album units earned, according to Luminate. “Good Flirts” notched the highest Billboard Hot 100 entry from the album, debuting at No. 34.

Watch the “Good Flirts” video below.


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What’s more difficult: singing “The Star-Spangled Banner” in front of millions or appearing on Hot Ones? Charlie Puth — who performed the song at the 2026 Super Bowl — still isn’t sure.

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While guesting on the episode of the show posted Thursday (March 5), the singer-songwriter barely made it through host Sean Evans’ ultra-hot wings while answering questions, one of which was about Puth’s past classification of the United States’ national anthem as the most difficult song to perform of all time.

“It’s constant tension and release,” the hitmaker told Evans of the anthem penned by Francis Scott Key. “Listen to it. It’s constant tension and release. It’s major chord, minor chord. And I don’t know, it just has a melody that soars and when you put it in 4/4 timing, it’s just good.”

Earlier in the video — before the wing-eating commenced — Puth had confessed, “I haven’t been this nervous since the Super Bowl, I’m going to be honest.” That’s saying something, as the Big Game — which is watched by tens of millions of people yearly — is famously one of the most high-stakes gigs a performing artist can snag.

Puth performed “The Star-Spangled Banner” on Feb. 8 before the Seattle Seahawks faced off against the New England Patriots, winning 29-13. He was one of a few artists involved in the pre-game show, with Brandi Carlile performing “America, the Beautiful,” Coco Jones singing “Lift Every Voice and Sing” and Green Day delivering a medley of the Bay Area band’s hits.

On X after his high-pressure performance of the anthem, Puth revealed that he’d specifically used it as an opportunity to pay tribute to another New Jersey native. “I wrote the arrangement in a very specific way to honor Whitney Houston,” he posted at the time. “I hope that was heard.”

Elsewhere on Hot Ones, Puth — who was recently named chief music officer of AI company Moises — had a progressively more difficult time chewing, burping and spitting his way through the spicy wings, at one point saying he was on the verge of an “anxiety attack” and discussing his love of SpongeBob SquarePants. He also shared his thoughts about the future of pop music.

“I like the fact on a logistical standpoint, that there’s no longer people telling you what song you have to sing in order to get played on this radio station, or to get played on Spotify,” the producer told Evans. “It’s just best song wins, which is what I’ve always wanted. I love artists like sombr, who are putting a lot of reverb on their vocals. And I do think pop music, in my opinion, will expand because of hip-hop. It’s always expanded because of hip-hop. Katy Perry, “Dark Horse,” would not be here without Juicy J, Three 6 Mafia and Memphis, Tenn.”

Watch Puth struggle to endure the Hot Ones challenge above.


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Billboard is expanding its dance chart portfolio with the inclusion of the WARM Global Dance Radio Chart, developed in partnership with World Airplay Radio Monitor.

The chart will debut on billboard.com Tuesday, March 10, joining Billboard’s long-standing U.S.-based rankings, including Hot Dance/Electronic Songs, Hot Dance/Pop Songs, Dance/Mix Show Airplay and Top Dance Albums.

The 40-position chart (published in full as a 100-position ranking on WARM’s platform) aggregates plays from dance-dedicated radio outlets worldwide, reflecting which songs are trending globally through a network of programmers and radio gatekeepers operating across multiple territories.

“The chart is based on 200-plus dedicated and culturally relevant dance music radio stations, broadcast in 30 countries that create a reflection of what is actually trending on radio globally,” says Jesper Skibsby, CEO of WARM. “Access to global radio airplay visibility is vital to the strength of dance music as radio remains predominantly human-curated, providing an aggregated view of organic programming trends rather than algorithm-driven consumption.”

Silvio Pietroluongo, Billboard EVP Charts & Data Partnerships, adds, “Radio has always been an integral part of celebrating dance music globally, and Billboard is excited to add the WARM Global Dance Radio ranking to our weekly menu to provide dance fans and the music industry new insights on how songs and artists in this genre are resonating around the world.”

WARM monitors more than 23,000 radio stations across all genres and formats in 150 countries worldwide. Since 2016, WARM has been providing the music industry with real-time radio airplay data and insights through advanced music recognition technology and audio fingerprinting, creating greater opportunities for labels, publishers managers, radio promoters, and artists alike to make better data-driven decisions.

For more information, visit warmmusic.net.


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Stepping into a new phase with their major-label debut, REIRIE — the duo comprised of RIE (Rei Kuromiya) and REI (Rie Kaneko) — are moving forward with renewed momentum. The two first performed together in the same group before going their separate ways, only to reunite after roughly five years apart. Soon after reconnecting, they launched REIRIE.

Reflecting on how the pair came together and the unique bond they share, they spoke to Billboard Japan about the full scope of their first major-label EP Amethyst and the thoughts behind each track.

First, could you tell us how REIRIE began as a unit?

RIE: We originally performed together in a group called LADYBABY but ended up going our separate ways at one point. Then about five years later we reconnected, and it was like, “Yeah, it has to be the two of us,” so that’s how REIRIE formed. Right?

REI: Nothing to add. [Laughs] Exactly what she said.

RIE: There are so many different kinds of groups out there, but honestly, we don’t even really feel like we’re “doing a group.” It’s more like we just want to be together, and the music and live shows naturally fall into place around that.

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It sounds like there’s a very fateful bond between you two. Going back further, could you tell us about how you first met?

RIE: It really felt like we were destined to meet. It wasn’t like becoming friends with a classmate at school because you get along. We first met in an elevator at an event venue. I was lost, and REI happened to be there. When I spoke to her, she kind of glared at me. [Laughs]

REI: [Laughs] I really wasn’t glaring at you.

RIE: But something about her presence and reaction completely got me. Not just in a visual way, but overall I thought, “She’s so cute.” And that was before I knew anything about her!

So it wasn’t only REI’s striking visuals, but you also picked up on something else.

RIE: Exactly. Her whole existence was totally my type. It went beyond something typical like admiring a boy who runs fast. The moment we met, it was like a shock went through me. After that I was always tagging along behind her, going, “REI, REI.”

From your side, REI, that must have been quite an intense approach off the bat.

REI: I was basically like, “What is this girl…?” I was on guard. [Laughs] RIE had this slightly performatively cute vibe going on at the time — I’d turn around and she’d be smiling, then she’d switch to a worried face out of nowhere, then smile again, that sort of thing. I had no idea what she was thinking. That was my first impression.

What was it like when you reunited after five years?

REI: Purely by coincidence, we both happened to be in Shibuya the same day. A mutual acquaintance told me, “RIE is doing an event nearby, she says we should come.” I hadn’t seen her in five years, so at first I wondered what we’d even talk about. But I figured maybe it was fate. I went to the venue where she was performing, and the first thing we did when we saw each other was shout “Yay!” and throw up double peace signs. [Laughs]

RIE: [Laughs] Yeah, “Yay!”

REI: The moment I saw that, I realized words weren’t necessary. Time had passed, but whatever flows between us hadn’t changed.

RIE: I never quite found the right timing to reconnect, but I’d always wanted to see her. More than being nervous, it just felt like, finally, we meet again.

REI: We exchanged LINE (chat app) contacts on the spot, and the next time we met it already felt like, “Let’s do REIRIE.” Not even “Want to try working together?” Just, “If it’s the two of us, of course we’re doing this.” “OK!”

RIE: The pull between us is like Dyson-level suction! [Laughs] Not exactly magnet poles, but no matter how far apart we are, we get drawn back together.

REI: If you had to use an existing word, it’s probably “fate,” but to us it feels heavier, more unavoidable — kind of like carrying something bigger than ourselves. Even in our previous group we were practically a pair, and even after separating we snap back together instantly.

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So it’s a one-of-a-kind bond that doesn’t quite fit friend, family, or romantic categories.

RIE: I guess you could call it being soulmates, but for me there’s always been a sense of not being able to resist being drawn to REI. Literally since the day we met. It’s not friendship, we’re not sisters, and it’s not romantic — it’s all of those things combined, but also something bigger than that, maybe?

REI: There probably isn’t a word for it yet, so we can’t express it. But whatever it is, that’s what REIRIE represents.

You’ve now stepped into a new field with your major-label debut. Has that changed how you approach pressure or music?

REI: In a way, we don’t really think of this as a job. With the major-label move too, it was basically, “Seems fun, maybe let’s try it once.” Of course our team works incredibly hard on numbers, sales, promotion and all that, but (RIE and I) don’t focus on it too much. REIRIE exists so the two of us can be together, and that stance hasn’t changed. We won’t push ourselves in ways that would break that.

RIE: Still, moving into the major sphere lets us give something back to our fans, which makes me really happy. I do want to show some kind of result. But at the same time, I sometimes wonder, “Are the label folks sure they want to keep up with us?” I’m deeply grateful they chose to work with us, but we see ourselves as embodying freedom and a certain precariousness, so if there’s something we don’t want to do, we’ll say so. The fact that the current team respects “REIRIE-ness” and lets us do what we want means a lot.

It sounds like you’ve built a strong trust relationship with the label team.

RIE: Even the things we want to do just because we want to do them get realized with “REIRIE-ness” as the starting point. It’s a really comfortable environment, and we’re able to express ourselves freely.

REI: Of course, when it’s time to work, we do it properly! If outside support expands what REIRIE can do, that’d be wonderful.

Your first major-label EP Amethyst feels like an explosion of REIRIE’s raw individuality. The opening track “BaD=DoLL” that was pre-released in August is especially striking.

REI: It puts our rebellious spirit and slightly dangerous vibe right up front. The contrast between RIE’s shouts and her cute singing voice really comes through. This is probably the closest to our “default mental state.”

RIE: Yeah, pretty much our baseline. We’ve mostly worked with heavy sounds like this, so it was pretty easy to channel strong emotions directly into the music. Personally, I feel like I’ve lived outside the conventional path compared to what society expects, but there’s this core inside that never wavers, and I’m glad this song let me express that. I think people are often surprised when I shout, “Annoying as hell!” given how I look.  [Laughs

The closing track is “Aishiteyo.”

REI: There are strong lines in this song too, like “There’s no such thing” and “No way that’s true,” but underneath it all is a pure desire to be loved by someone. It’s a song that carries the parts of REIRIE we can’t always say honestly.

RIE: In my case, more than wanting to be loved, I first want to love. It’s like, “Let me love you — then will you love me?” As REI said, it really expresses REIRIE’s heart and the songwriter who wrote it is a genius.

All five tracks flow beautifully in sequence.

REI: We left the track order to our label team. I listened all the way through myself, and it really works. Starting with “BaD=DoLL” and ending with “Aishiteyo” feels very REIRIE.

REIRIE has also drawn strong reactions outside of Japan, fueling anticipation for further global expansion.

RIE: When I look at the comments on our music videos, I see that a lot of people from overseas are checking us out. Knowing REIRIE is reaching someone somewhere out there in the world, not just in Japan, makes me really happy.

This interview by Yukiko Kawakura first appeared on Billboard Japan.

INI‘s second photo book, Viva la vita, hits No. 1 on the Billboard Japan’s Book Hot 100 chart, on the list released Mar. 5.

The boy band’s latest photo book is themed around “all eleven members’ trip to Italy,” and shot entirely on location there. At 192 pages, it’s a generously sized keepsake. The volume rules the e-commerce metric and tops the overall chart as a result.

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At No. 2 is Mrs. GREEN APPLE‘s first publication, MGA MAGICAL 10 YEARS ANNIVERSARY BOOK -OUR STORY-. It’s the three-man pop band’s anniversary release marking a double milestone: the 10th anniversary of its debut and the conclusion of Phase 2. The set comprises four volumes — one for the band and three focusing on each member, with Motoki Omori, Hiloto Wakai, and Ryoka Fujisawa reflecting on their life stories to date.

Fumi Yoshinaga’s Kinou Nani Tabeta? (What Did You Eat Yesterday?) Vol. 25 holds at No. 3 for a second week, topping the brick-and-mortar sales metric and coming in at No. 7 for e-commerce and No. 14 for e-books. The hit manga series also breaks into the top 100 in social media.

The Japan Book Hot 100 is a comprehensive chart combining physical sales, e-books, library loans, subscription data and social media activity. Check out the top 10 titles on this week’s list, tracking the period from Feb. 23 to Mar. 1.

(Numbers in parentheses indicate the title’s metric placements for physical stores, EC, e-books, subscriptions, and social media, top 20 only. English title given if translations or adaptations exist.)

1. INI 2nd Photo Book “Viva la vita”, INI, ISAC, Tsunekawa Shuhei (–/1/–/–/–)

2. MGA MAGICAL 10 YEARS ANNIVERSARY BOOK -OUR STORY-, Mrs. GREEN APPLE (–/2/–/–/–)

3. Kinou Nani Tabeta? (What Did You Eat Yesterday?) Vol. 25, Fumi Yoshinaga (1/7/14/–/–)

4. Okiraku Ryoshu no Tanoshii Ryochi Boei (Easygoing Territory Defense by the Optimistic Lord) Vol. 8 (Comic), Maro Aoiro, Sou Akaike, Kururi (2/–/1/–/–)

5. Akatsuki no Yona (Yona of the Dawn) Vol. 47, Mizuho Kusanagi (3/6/13/–/–)

6. Shokan-gata Shosetsu “Nininsho” Yorushika, n-buna, Yorushika (–/3/–/–/–)

7. Mystery to Iu Nakare (Don’t Call It Mystery) Vol. 16, Yumi Tamura (4/–/11/–/–)

8. Mushoku Tensei: Isekai Ittara Honki Dasu (Mushoku Tensei: Jobless Reincarnation) Vol. 24, Yuka Fujikawa, Rifujin na Magonote, Shirotaka (6/–/3/–/–)

9. In the Megachurch, Ryo Asai  (–/–/–/12/1)

10. BLUE GIANT MOMENTUM Vol. 7,Shinichi Ishizuka, NUMBER8 (8/16/7/–/–)

UPDATE (March 5): Will Arnett, Priyanka Chopra Jonas, Robert Downey Jr., Anne Hathaway, Paul Mescal and Gwyneth Paltrow have joined the list of presenters for the 2026 Oscars. Hosted by Conan O’Brien, the Oscars will air live on ABC and stream live on Hulu on Sunday, March 15, at 7 p.m. ET/4 p.m. PT.

Downey, Hathaway and Paltrow are past Oscar winners, for Oppenheimer, Les Misérables and Shakespeare in Love, respectively. Hathaway also cohosted the Oscars in 2011 with James Franco.
Mescal is one of the stars of Hamnet, which received eight Oscar nominations, including best picture, though he was passed over for a best actor nod.

The producers will continue to announce talent appearing on the Oscars in the 10 days remaining before the show.

PREVIOUSLY (Feb. 26): Demi Moore was highly touted for an Oscar last year for The Substance, but ultimately lost to Mikey Madison for Anora. Both women will be back at the 2026 Oscars in roles that carry much less pressure — presenters.

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Maya Rudolph, veteran film and TV star (and daughter of the late, great Minnie Riperton, who topped the Billboard Hot 100 in 1975 with “Lovin’ You”), will also present, as will Chase Infiniti, one of the stars of One Battle After Another, which amassed 13 Oscar nominations, second only to Sinners this year.

Other presenters announced Thursday (Feb. 26) are Javier Bardem, Chris Evans and Kumail Nanjiani. Previously announced presenters are last year’s winners of best actor (Adrien Brody), best supporting actor (Kieran Culkin) and best supporting actress (Zoe Saldaña).

The producers will continue to announce talent appearing on the show in the coming weeks.

The 98th Oscars will be held on Sunday, March 15, at the Dolby Theatre at Ovation Hollywood and will be televised live on ABC and streamed live on Hulu at 7 p.m. ET/4 p.m. PT. Conan O’Brien will host the show for the second year in a row. The official live red carpet show will air at 6:30 p.m. ET/3:30 p.m. PT.

Raj Kapoor and Katy Mullan are the show’s executive producers. Kapoor is also showrunner.

Sinners and One Battle After Another are followed on the nominations leaderboard by Frankenstein, Marty Supreme and Sentimental Value, each with nine nods, and Hamnet with eight.


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Warner Music has inked a deal with rising star MC Meno K, the company tells Billboard. The signing comes on the heels of the Brazilian artist releasing a new feel-good baile funk single, “Motivos Pra Sorrir” (“Reasons to Smile”), on Thursday (March 5), alongside MC Brinquedo and DJ Oreila. According to the press release, the signing comes as MC Meno K becomes the most-streamed male artist in Brazil on Spotify, with 23.6 million monthly listeners on the streaming platform.

“I’m very happy with this moment and everything that’s been happening in my career,” MC Meno K says in a statement. “Signing with Warner Music is another important step and gives me even more motivation to keep sharing my truth, my story, and the sound of where I come from with an ever-growing audience.” 

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Born Kauan Soares in Porto Alegre, located in southern Brazil, MC Meno K gained recognition for his genuine depiction of life in the country’s urban areas. By fusing Southern funk with Rio de Janeiro’s funk carioca style, he crafted a sound that stands out.

His rise to prominence began in 2020 as an adolescent, with 20-million-stream hits like “Camisa do Grêmio,” with DJ Neeh, and “Camisa do Flamengo,” with DJ 2L da Rocinha. Now, the 19-year-old artist remains a fixture on the Spotify charts, this week coming in at No. 74 on the Weekly Top Artists Global and other chart appearances.

“The signing of MC Meno K marks an important moment for Warner Music.  He is an artist with a strong identity, a highly authentic perspective, and a significant reach — qualities that make him one of the most relevant names in today’s scene,” says Leila Oliveira, president of Warner Music Brazil. “Urban music is a core pillar of our strategy, and its creative strength in Brazil is reflected in talents such as Meno K.  We are excited to partner with him to further grow his career, strengthening the presence of funk in Brazil and around the world.”

Listen to “Motivos Pra Sorrir” below:

Keznamdi kicked off the month with his first career Grammy win, taking home best reggae album for Blood & Fyah at the Feb. 1 ceremony, and the Caribbean music community maintained that momentum.

Of course, DJ Mac and CrashDummy’s “WYFL” has been running di place since its release last November, but things truly kicked into high gear over the past few weeks, with an ever-extending cast of heavyweights delivering their take on the viral riddim. For his “Bad & BBC Rich” music video, Mavado returned for his first Cassava Piece-set short in over a decade, bringing him back to the “Gully Side.” From Vybz Kartel (“SYM”) and Buju Banton (“X Rated”) to Tielo Lanez (“Thickiana”) and NLE Choppa (“Watch Me Now!”), the “WYFL” riddim has quickly traversed generations and regions, even inspiring remixes from Ghanaian artists Shatta Wale (“Danger”) and Stonebwoy (“Silent Samurai”).

As that riddim lit up the scene, the business side of the Caribbean music industry convened in Kingston, Jamaica, for the fourth annual Island Music Conference (IMC). Co-founded by Shaggy, the four-day convention brought a host of informative panels, songwriters’ workshops, rising artist showcases and documentary screenings geared toward artists aiming to cultivate music careers with longevity.

As IMC closed out the Month, the final day of February (and the first of March) belonged to Protoje’s Lost in Time Festival. Primarily showcasing the biggest reggae stars of the 2020s (like Grammy nominees Lila Iké, Mortimer and Jesse Royal), this year’s Lost in Time also featured Chronixx in his first full live set since 2019 and Koffee’s return to major Jamaican festival stages after a four-year break.

Naturally, Billboard’s monthly Caribbean Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:


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