This podcast episode is part of the Billboard editorial staff’s Greatest Pop Stars of 2025 list. Find our accompanying Kendrick Lamar essay here, and all the rest of our essays and podcasts related to the list here.

At the end of one of the best years for pop music and pop stardom in recent memory, Kendrick Lamar stood alone for us as the No. 1 Greatest Pop Star of 2024. His run for the ages in that year included three No. 1 hits on the Billboard Hot 100, a Billboard 200-topping surprise-release album, the most world-stopping concert event of the year and a decisive victory in the biggest rap beef of his generation. But if anyone — particularly a certain Canadian someone — was hoping he was going to ease up in 2025, they were quickly disappointed, as Lamar kept pushing on with achievement after achievement, matching his 2024 dominance for much of the year, and even looking for a minute like he might end up our No. 1 for the second straight year.

This Greatest Pop Stars of 2025 episode of the Greatest Pop Stars podcast looks at how Kendrick Lamar ended up at No. 4 on our list — thanks to a year where he just couldn’t seem to stop winning, from the Grammys to the Super Bowl to the charts to just about everywhere in between (You can find Angel Diaz’s essay on Lamar’s stunning sequel year here.) Today, Billboard Hip-Hop‘s Carl Lamarre joins host Andrew Unterberger to relive the flashbulb moments from the rapper’s second straight all-world campaign, whose greatness Carl can’t help but acknowledge, even as it continued to come at the expense of his own No. 1 guy.

Along the way, we ask all the most pressing questions about Kendrick Lamar’s 2025: Was he intentionally dragging it on the way to the Grammys stage to get the “A-Minor” timing just right? Was Drake watching the Super Bowl halftime show live from somewhere in Australia? Does “Luther” make sense to us yet as a 10-plus-week No. 1 on the Hot 100? How does the Grand National tour compare to Jay-Z and Beyoncé’s On the Run trek? Why didn’t Playboi Carti’s “Good Credit” and the Clipse’s “Chains & Whips” end up bigger hits with those K Dot guest verses on them? And perhaps most importantly: Was there a world in which Kendrick Lamar ended up the first artist to ever top our Greatest Pop Stars list two years in a row?

Check it out above, along with a YouTube playlist of some of the greatest moments of Sabrina Carpenter’s 2025 — all of which are discussed on the pod — and subscribe to the Greatest Pop Stars podcast on Apple Music or Spotify (or wherever you get your podcasts) for complete podcast coverage of this year’s Greatest Pop Stars of 2025 list!

And as we say in every one of these GPS podcast posts — if you have the time and money to spare, please consider donating to any of these causes in the fight for trans rights:

Transgender Law Center

Trans Lifeline

Destination Tomorrow

Gender-Affirming Care Fundraising on GoFundMe

Also, please consider giving your local congresspeople a call in support of trans rights, with contact information you can find on 5Calls.org.

For this year’s update of our ongoing Greatest Pop Star by Year project, Billboard will be counting down our editorial staff picks for the 10 Greatest Pop Stars of 2025 all the next two weeks. Last week, we revealed our Honorable Mentions artists for 2025 as well as our Rookie of the Year and Comeback of the Year artists. Now, we reach No. 4 on our list with an artist who kept an all-time run in pop or hip-hop history going for another year — half a year, at least — with similarly dazzling results: Kendrick Lamar.

Listen to our Greatest Pop Stars podcast discussion about Kendrick Lamar’s year continuing to pile it on here, and find the rest of our updating top 10 list with all our corresponding essays and pods here.

How do you follow up one of the best years of any artist in hip-hop history? You just let off the first shot in the most significant rap battle since The Battle of New York City in 2001 when Jay-Z got on that Summer Jam stage, stood in front of that crowd, and said, “Ask Nas, he don’t want it with Hov.” You then meticulously picked your opponent apart with clever and maniacal diss records effectively mimicking what Drake did to Meek Mill when he answered “Charged Up” with a hit record in “Back to Back” back in 2015. The knockout punch then goes viral, hits No. 1 on the only chart that matters, and gets nominated for multiple Grammys. 

And while rumors of an album swirl, as fans and the industry alike assume you’d capitalize some way from all the attention the battle has garnered, you get tapped to headline the Super Bowl Halftime show. Finally, you do drop that sixth studio album, which debuts at No. 1 and takes over the entire top five of the Billboard Hot 100, and announce a stadium tour that would touch 18 countries the following year. That’s how Kendrick Lamar answered his critics after wrestling the crown away from his peers Drake and J. Cole, effectively turning the trio once affectionately known as “The Big 3” into officially just “Big Me.”

Lamar’s 2024 — which ended with him being named our staff’s No. 1 Greatest Pop Star of that year — effectively set up 2025 to be his victory lap. He started the year off with GNX still in the Billboard 200 top five and had an absolutely absurd February. He then took home five Grammys while having an audience of his peers scream “A-minor” in unison, needing extra arms to carry the best music video, best rap song, best rap performance, song of the year and record of the year trophies — all for “Not Like Us” — back to Compton. He then turned around and delivered the most watched Super Bowl Halftime Show to date, in which he ran up the score on Drake worse than the Eagles torching the Chiefs, by performing a song at the center of a preposterous and frivolous lawsuit — getting a sold-out stadium filled with people from all walks of life rapping along at the top of their lungs, while Drake’s ex tennis superstar Serena Williams Crip Walked on his proverbial grave. 

The response from his historical performance was so massive that both “Not Like Us” and “Luther,” his GNX duet with SZA, shot back up the charts — and his catalog saw the biggest post-Super Bowl chart gains we’ve ever seen, putting four of his songs back in the top five and 13 overall in the Hot 100. When it was all said and done, “Luther” not only topped the chart for the first time in March, it dominated for 13 consecutive weeks, longer than any other 2025 hit. 

Lamar also made appearances on two of the year’s best rap projects in the Clipse’s reunion album Let God Sort Em Out on the track “Chains & Whips,” as well as on Playboi Carti’s highly anticipated I Am Music on the songs “Good Credit,” “Backdoor” and “Mojo Jojo,” which added another layer to those already eventful albums — sort of like seeing Jigga feature during the late ‘90s and early ‘2000s’00s. Then there was the Grand National Tour he embarked on alongside former TDE teammate SZA — with whom he enjoyed yet another Hot 100 top 10 hit earlier that year, with the Lana bonus cut “30 for 30” — which ended the year as the highest grossing hip-hop tour of 2025, and served as the culmination of an 18-month run that will be referenced by for years to come. 

He then capped things off with nine Grammy nominations at February’s upcoming ceremonies, including record of the year, song of the year, rap song of the year, rap album of the year and album of the year. His guest appearances on SZA’s and the Clipse’s respective records were also nominated, rounding out yet another year leading music’s biggest night. Now that’s how you stay top of mind — particularly as Drake keeps trying to make that preposterous and frivolous lawsuit mentioned earlier happen, further confusing his own comeback efforts and preventing him from being able to take the throne back.

For the foreseeable future, rap’s crown now resides in the West, where Kendrick’s focus this year will be presumably on his cousin and pgLang labelmate Baby Keem. Fans aren’t really expecting new music from the Compton rapper in 2026, but that could change — especially depending on whether Drake says anything on his upcoming Iceman set that makes the boogeyman come back outside, or if J. Cole somehow decides to get back in the ring with The Fall-Off when it drops in February. 

Kendrick Lamar for Billboard's Greatest Pop Stars

Gregory Shamus/Getty Images

Kendrick has undoubtedly entered a new stratosphere within the pop culture zeitgeist, thanks to the cultural impact of “Not Like Us” and besting Drake in the most pivotal rap battle in more than 20 years. He’s officially a household name now. Your mom might’ve known who he was or heard his name before, but now your grandmother knows who he is or at the very least knows that he’s the guy with the song they kept hearing everywhere. Now we wait for the acting pivot (he once played a drug addict in Power) or maybe the running for office pivot, or even him hosting Saturday Night Live.

The question we have now is: Will he take a hiatus between music projects like he’s been known to do in the past, or will he continue to stay outside and remind us of who he is as the game’s best and who he wants to be when it comes to being a record executive? He doesn’t have to go on a stream to gamble or post consistently on social media like a certain somebody — but he can’t go back in hiding and expect to maintain cultural relevance, let alone cultural dominance, even if everyone in the world knows who Kendrick Lamar is now. 

Listen to our Kendrick Lamar Greatest Pop Stars of 2025 podcast discussion here, check back for our No. 3 artist on Wednesday, and stay tuned all next week as we roll out the top five of our list — leading to the announcement of our No. 1 Greatest Pop Star of 2025 on Friday, Jan. 30!

THE BIG STORY: Nelly’s “Hot in Herre.” Snoop Dogg’s “Drop It Like It’s Hot.” Gwen Stefani’s “Hollaback Girl.” Justin Timberlake’s “Rock Your Body.” If you can think of an infectious pop song from the mid-2000s (personally, I’m visualizing a college basement) there’s a decent chance it was produced by The Neptunes, the legendary duo of Pharrell Williams and Chad Hugo.

But as happens all too often in the music industry, that lucrative partnership has now, decades later, devolved into a legal battle over money.

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In a lawsuit filed last week, Hugo accused Williams — his friend since their Virginia childhoods — of committing “willful, fraudulent, and malicious conduct.” He says he’s been essentially cut out of their joint company, and that Pharrell could owe him as much as $1 million from an N.E.R.D. album.

For all the details, go read our full story – featuring a full breakdown of the case, a response statement from Pharrell, and access to the actual legal documents Hugo filed in court.

You’re reading The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. To get the newsletter in your inbox every Tuesday, subscribe here.

Other top stories this week…

-Drake filed his hotly-anticipated appeal seeking to revive his lawsuit against Universal Music Group over Kendrick Lamar’s “Not Like Us,” arguing that a judge’s ruling dismissing it was “dangerous.”

-Wixen sued Meta over claims that the social media giant wants to “drastically cut payments to human songwriters” and replace them with A.I. music – and that it’s now retaliating by smearing Wixen.

-Nicki Minaj finally paid $500,000 to a concert security guard allegedly assaulted by her husband in 2019, avoiding a court-ordered sale of her Los Angeles area mansion to satisfy the judgment.

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-Zac Brown scored a court ruling forcing his ex-wife, model and actress Kelly Yazdi, to return confidential business records she took amid her divorce from the Zac Brown Band frontman in 2024.

-Spotify and the big three music companies teamed up to sue Anna’s Archive, a so-called shadow library that they say copied “nearly all of the world’s commercial sound recordings” without permission.

-Elsewhere in Spotify litigation, the streamer fired back at a class action lawsuit claiming its Discovery Mode is a “modern form of payola,” arguing that its users waived the right to sue.

-A former Marilyn Manson assistant has again seen her sexual assault lawsuit against the controversial rock star revived in court, thanks to a new California law allowing for years-old abuse cases.

-Fugees rapper Pras Michel lost a bid to stay out of prison while he appeals his 14-year prison sentence for illegal foreign lobbying, but he did win a two-month reprieve.

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-R&B singer Trey Songz filed a lawsuit against the Kansas City Police Department over his 2021 arrest at an NFL game between the Kansas City Chiefs and Buffalo Bills.

-Slipknot decided to drop a lawsuit seeking to take over the web address for its name after the site fought back by arguing that it was the “lawful and long-time” owner of the address.

-Want to know how much you’ll be earning per stream under your new record deal? Top music law firm Manatt, Phelps and Phillips has a new royalty calculator to help figure it out.

-An Italian photographer has dropped a lawsuit that claimed Drake stole a key motif in the music video for his hit summer single “What Did I Miss?”


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It’s no secret that songs these days tend to have more writers than songs from earlier eras. A lot more. Four of the eight nominees for song of the year at the 68th annual Grammy Awards, set for March 1, have seven or more writers. Bad Bunny’s “DtMF” and HUNTR/X’s “Golden” each have seven writers. Rosé & Bruno Mars’ “APT.” has nine, and the Kendrick Lamar/SZA collab “Luther” has 10. But even that’s not the all-time Grammy record, as you’ll soon see.

First, a little Grammy history. At both of the first two Grammy ceremonies, both held in 1959 (in May and November of that year), all song of the year nominees were the work of just one or two songwriters. Through the awards presented in 1981, not one song nominated for song of the year had more than three writers.

The number of songwriters on nominated songs grew slowly at first and then very quickly in recent years. To illustrate that point, here are the first song of the year nominees by four-, five- and seven-member teams. The years shown are the years of the Grammy ceremonies.

Four writers: Christopher Cross’ “Arthur’s Theme (Best That You Can Do)” (1982). Written by Peter Allen, Burt Bacharach, Carole Bayer Sager & Christopher Cross. (Bacharach and Sager married on April 3, 1982, five weeks after the Grammy ceremony where their song vied for song of the year.)

Five writers: Sheryl Crow’s “All I Wanna Do” (1995). Written by David Baerwald, Bill Bottrell, Wyn Cooper, Sheryl Crow & Kevin Gilbert.

Seven writers: Destiny’s Child’s “Say My Name” (2001). Written by Beyoncé Knowles, Rodney Jerkins, LaShawn Daniels, Fred Jerkins III, LeToya, LaTavia Roberson & Kelly Rowland. (Rodney Jerkins and Fred Jerkins III are brothers.)

And here’s a complete list of all song of the year nominees that were the work of eight or more songwriters. They are shown in ascending order, with the largest gaggle of writers on a nominated song at the bottom. The years shown are the years of the Grammy ceremonies.

  

If you’re about to give up on something tough, just put Ziggy Marley‘s musical words of wisdom in your head.

The eight-time Grammy-winning reggae legend and son of Bob Marley will appear on an upcoming episode of Yo Gabba GabbaLand!, with season 2 premiering globally Friday on Apple TV. Below, Billboard Family has an exclusive preview of his musical appearance.

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“Hey up there! Don’t get too down!” a shrunken-down Marley yells up to the classic Yo Gabba Gabba! monsters — Brobee, Foofa, Muno, Toodee and Plex — from inside a lunchbox. “Keep trying. You’ll get it!”

Marley then kicks into the uplifting song “Try Try Try,” with two backup dancers dressed as a thermos and a sandwich grooving behind him.

“When something’s hard, you gotta try, try, try/ Maybe find a different way,” Marley sings. “But you gotta try even though it ain’t easy, yeah/ And when it gets really tough/ That’s when you know it’s time to try, try try try/ Sometimes things don’t go as we planned/ Take our time so we can understand/ And the mind-set even though it ain’t easy/ And when it gets really tough/ You know it’s time to try, try try try.”

Watch the exclusive preview below:

This year, Marley is celebrating the 20th anniversary of his 2006 album Love Is My Religion, which was a top 10 hit on Billboard‘s Reggae Albums chart, peaking at No. 6. He just released an acoustic version of the album’s title track, with more new music coming this year.

In addition to Marley, other musical guests set for season 2 of Yo Gabba GabbaLand! include Yola, Sharon Van Etten, Sleigh Bells, Santigold, Still Woozy, Silversun Pickups, Chicano Batman, The Aquabats! and Hemlocke Springs.

The first season of Yo Gabba GabbaLand! — which is a reimagining of Nickelodeon’s original Yo Gabba Gabba! — premiered in 2024, after which the cast and guest star Thundercat delivered a memorable “NPR Tiny Desk” performance as well as back-to-back 2025 Coachella sets.

Swedish music service Hyph has appointed Hartwig Masuch — former CEO of BMG — as its chairman, effective April of this year.

Masuch, who has already joined the company in an advisory capacity, will help guide Hyph’s strategic expansion as it aims to create interactive services at a time when traditional subscription streaming growth is leveling off. Led by CEO and hit songwriter Andreas Carlsson, Hyph is building tools that allow fans to create and engage with music in novel ways.

The company’s core technology centers on a massive library of millions of wholly owned, human‑created musical parts — described by the company as the “building blocks of popular music.” Hyph’s first product, currently being tested in multiple regions, including the Nordics, the UK and Sub‑Saharan Africa, is an app that lets fans assemble their own songs using these components. Additional products in development include a marketplace where artists can sell vocal lines, hooks and other musical elements directly to consumers, as well as APIs that enable labels to activate catalog and deepen fan engagement.

A view of the Hyph app

Courtesy of Hyph

Masuch brings decades of experience to the role, having built BMG from a three‑person start‑up in 2009 into a global company generating more than $900 million in revenue by 2023. Under his leadership, BMG completed over 200 acquisitions and grew into the world’s fourth‑largest music company. His history with Bertelsmann dates back to 1991, when he oversaw Germany, Switzerland and Austria for the original BMG Music Publishing. In 2008, he advised Bertelsmann during the sale of its stake in Sony BMG Music Entertainment to Sony and soon after helped launch BMG Rights Management — the company that ultimately became BMG.

“Streaming transformed music for the better, unleashing a wave of transparency which has empowered artists and restored the industry to profitability,” said Masuch. “But as subscription streaming begins to peak in major markets, music is increasingly thinking about what’s next. Hyph, with its commitment to human-generated music, and its understanding of the new creator economy is ideally poised to play its part in music’s next revolution. I am delighted to join Andreas and the team in turning this vision into reality.”

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Carlsson, a Songwriters Hall of Fame nominee known for hits for Backstreet Boys, NSYNC and Celine Dion, praised Masuch as one of the most accomplished executives of the past two decades and said his leadership will help Hyph drive “the first genuine leap forward for music” since the rise of streaming.

“Since I became CEO of this company 18 months ago, my mission, drawing on all my experiences as a songwriter and my deep understanding of rights, has been to create an ecosystem that allows musicians to prosper while using technology to give non‑musicians the ability to play with music in a way they have never had before,” said Carlsson. “The addition of Hartwig to our team brings that vision one step closer.”

Alicia Karlin has joined The Circuit Group as global president of live, the company’s CEO Dean Wilson announced Tuesday (Jan. 27). With the move, Karlin also brings her firm ASK Management & Advisory into The Circuit Group ecosystem through a joint venture.

Hard techno star Sara Landry is the first joint-venture signing under this new partnership, with Karlin also bringing management clients Annie Tracy and Brandi Cyrus. Having overseen Keyshia Cole’s 20th anniversary tour of her album The Way It Is, Karlin is continuing her partnership with Cole and her management team through ASK Advisory.

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“I’m not only bringing in my management company, but also the consulting side of the business that allows me to work with other managers, promoters, event producers and people who really want to make an impact in the live space and across music and media, to build lasting careers and to build a different kind of team around artists,” Karlin tells Billboard.

Having most recently served as vice president of global touring and talent at AEG Presents, Karlin has long known The Circuit Group co-founders Wilson and Brett Fischer and says that “when I was considering all of the options and making the move, I was really into what they’ve been building. They are not only building a global management infrastructure, but a real future-facing, artist career-driven company and a model that has a lot of different arms to it.”

“Building that infrastructure around careers is something I’m really interested in,” she continues, “because I think the future of management and of artists’ careers is driven by this kind of management hub and having all these pieces at your disposal… For me, touring is not just generating revenue, it’s adding to the building of leverage across the artist’s entire business. That’s something I’m really excited to bring into the team.”

Karlin has more than 20 years experience in artist management and development, global touring strategy and large-scale festival and event production. At AEG Presents, she helped strategize Sabrina Carpenter’s Short n’ Sweet tour, the sixth highest-grossing tour of 2025 with $77.4 million, according to Billboard Boxscore. She also helped grow the touring careers of artists including Raye, Mitski and The Beaches and was a founding member of the producer team behind Michigan’s Electric Forest festival, where she served as the talent buyer from the festival’s beginning in 2011.

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Meanwhile, The Circuit Group was launched launched in 2023 by Wilson and his wife/business partner Jessica Wilson along with FischerDavid Gray and Harvey Tadman as a collective of management companies including Seven20 and Ayita. The company is focused on creating opportunities for artists across verticals while also offering traditional management.

In November, The Circuit Group launched Circuit Capital, a platform for acquiring and scaling music assets and cultural IP. Circuit Capital is backed by Create Music Group, which is giving Circuit Capital access to more than $500 million to achieve its goals. Other elements of The Circuit Group include Beat Switch, which provides distribution, label services and support to independent artists and Red Wire Publishing, the company’s music publishing division.

Karlin has known Landry for years and first booked her for Electric Forest 2024, although that set was thwarted a thunderstorm that led to the two women hanging out together backstage, with the relationship eventually evolving into a client/manager relationship.

In terms of working with Landry, “she didn’t need any help getting bigger during,” Karlin says of the Texas-born hard techno artist who’s exploded onto the scene over the last few years, helping to popularize the genre in the U.S. “When Sara was looking for management, she wanted infrastructure, and I know that working with women was really important to her and that she wanted to stay uncompromised and dedicated to her vision while she scaled it. I think us having a personal history and her being super familiar with me and me being familiar with her was just perfect timing, and the stars aligned.”

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“Partnering with The Circuit Group and ASK Management lays the groundwork for expanding my vision on a global scale,” Landry adds in a statement. “From day one, Alicia and the broader team saw beyond the music and fully understood the culture, intention and community I’m building. This collaboration marks the beginning of a bold and transformative next chapter.”

Karlin credits legendary industry execs including Michelle Jubelirer, Marlene Tsuchii, Cara Lewis and Debra Rathwell with helping guide and inform her career and inspiring her mission to work with and elevate women in the industry.

“I got to learn under and work with all of these women who were the first females in these spaces and who knocked down doors for us to thrive,” she says. “I think that’s really important, and I want to pass that along, mentor women and work with women teams and artists and open doors for them in the same way.”


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Grammy week is underway in Los Angeles, and TheBasement, Warner Records and artist collaboration app Feeture are set to kick off their partnership on Tuesday (Jan. 27) with a Grammy showcase of the live music series created by Warner SVP of A&R Ericka Coulter.

“TheBasement Series was created as a space for creatives to connect, collaborate and discover new artists and brands, like Feeture,” says TheBasement founder Ericka Coulter in a statement. “Both brands share a commitment to building impactful artist connections that elevate storytelling with R&B and Hip-Hop.” 

For the partnership’s debut, artists hitting the Kiss Kiss Bang Bang stage in L.A. include Honey Bxby, who will be an official artist partner on Feeture later in 2026, as well as Az Chike, BK Tha Rula, Casper Sage, Jaymin and Yonny. 

“Feeture exists to connect artists in meaningful ways,” adds Dria, who serves as global head of artist & industry relations at Feeture. “Our partnership with TheBasement and Warner Records brings that mission to life by building a collaborative ecosystem where artists discover one another, create with intention, and collectively push culture forward.”

Honey Bxby kept busy in 2025 with the release of her Raw Honey project featuring Coi Leray, Toosii and Lola Brooke. The New Jersey singer returned in December with her “Shame” single.

“Collaboration and artist go hand in hand,” states Anastasia Wright, global head of marketing at Feeture. “Partnering with TheBasement and Warner Records is a unique opportunity for Feeture to be positioned as a vehicle for growth for all talent and demonstrates how Feeture can be utilized by A&Rs/labels to market their talent.”

Last month, Feeture debuted its COLLABS original performance series by teaming up Jai’len Josey and Xavier Omar for an intimate performance of their soulful “Painting the Stars” collab.

Ye (formerly Kanye West) apologized once again this week for his repeated amplifying of hateful antisemitic remarks, this time taking about a full-page ad in Monday’s (Jan. 26) edition of The Wall Street Journal to offer a mea culpa. The paid advertorial was his reported attempt to make amends to the Jewish community for his repeated embrace of Nazi symbolism and deployment of hate speech against Jews.

West explained in the pages of the Murdoch family-owned paper that the well-documented 2002 car crash that became the inspiration for his breakthrough 2004 single “Through the Wire” resulted in brain damage to the right frontal lobe of his brain that led to mental health issues and an eventual diagnosis of bipolar disorder. The once high-flying rapper and producer then claimed that he spiraled into a four-month manic episode in early 2025 that included “psychotic, paranoid and impulsive behavior that destroyed my life.”

Now, in a new email interview with Vanity Fair — in which the magazine said Ye declined to answer specific questions about where his antisemitic rants originated and why he chose to express himself that way, or how he has made amends in his personal life — the rapper addressed whether his renewed mea culpa is tied to a PR push to promote his upcoming Bully album.

Asked what he would say to those who think his newest apology is a way to clear the way for his music and operate in the business without the lingering spectre of antisemitism hanging over him, West leaned into stats. “It’s my understanding that I was in the top 10 most listened-to artists overall in the US on Spotify in 2025, and last week and most days as well,” Ye told VF. “My upcoming album, Bully, is currently one of the most anticipated pre-saves of any album on Spotify too. My 2007 album, Graduation, was also the most listened-to and streamed hip-hop album of 2025. This, for me, as evidenced by the letter, isn’t about reviving my commerciality.”

Instead, Ye claimed that the letter stemmed from “remorseful feelings” that weighed heavily on his heart and spirit, reiterating that he owes a “huge apology” to the Jewish and Black communities for his hurtful speech and actions.

“All of it went too far. I look at wreckage of my episode and realize that this isn’t who I am,” said West, who unleashed shock and disgust several years ago after putting swastikas on his Yeezy merchandise, parading white supremacist-inspired “White Lives Matter” shirts at his 2022 Yeezy Paris Fashion Show and repeatedly proclaiming “I love Nazis” and “I love Hitler” during what he now describes as bipolar episodes.

“As a public figure, so many people follow and listen to my every word. It’s important that they realize and understand what side of history that I want to stand on. And that is one of love and positivity,” Ye told the magazine.

In his WSJ advertorial, West skirted around his use of the reviled swastika on Yeezy merch, saying that he suffered from some “disconnected moments” which led to memory lapses that still linger. “In that fractured state, I gravitated toward the most destructive symbol I could find, the swastika, and even sold T-shirts bearing it,” he wrote, claiming that this time he is “committed to accountability” and that he is “not a Nazi.”

In response to the Journal ad, a spokesperson for the Anti-Defamation League told Billboard that Ye’s apology was “long overdue and doesn’t automatically undo his long history of antisemitism — the antisemitic ‘Heil Hitler’ song he created, the hundreds of tweets, the swastikas and myriad Holocaust references — and all of the feelings of hurt and betrayal it caused/ The truest apology would be for him to not engage in antisemitic behavior in the future. We wish him well on the road to recovery.”

At one point, an anonymous former employee of West’s reportedly told CNN that Ye wanted to name his 2018 studio album Hitler, telling the network, “He would praise Hitler by saying how incredible it was that he was able to accumulate so much power and would talk about all the great things he and the Nazi Party achieved for the German people.”

During his earlier 2022 antisemitic spree, West was dropped by nearly all of his creative and professional collaborators, including Balenciaga, Universal Music Group, Adidas and the Gap, as well as his booking agent and a number of social media platforms.

Then, in March of last year, after claiming he was done with antisemitism following yet another outburst of hate speech, West posted on X that his “next album got that antisemitic sound,” seemingly doubling-back and doubling-down on his brief respite from expressing anti-Jewish sentiment.

Also during last year’s manic episode, West said he didn’t feel sick, but rather that everyone else around him was “deeply overreacting. You feel like you’re seeing the world so much more clearly on things, when in reality you’re losing your grip entirely. That’s what it felt like at that time.” Near the end of the four-month episode, West said he changed his medication, with the antipsychotic drug he was switched to taking him into a “really deep depressive episode.” After his wife recognized the effects, Ye said they sought out what’s been an “effective and stabilizing” treatment regime at a rehab facility in Switzerland.

The magazine also spoke to neuropathologist Bennett Omalu, who, speaking generally about the progression of neurological issues, but not specifically about the details of West’s case, said that a frontal lobe injury of the type the rapper suffered can possibly lead to a diagnosis of bipolar disorder. “TBI [traumatic brain injury] can result in a variety of behavioral, cognitive, and mood disorders,” said Omalu.

However, Dr. Avinoam Patt, director of the Center for the Study of Antisemitism at New York University told VF that it’s important to stress that the “vast majority of people who have mental health issues, or specifically have bipolar disorder, don’t espouse antisemitic or racist ideas. And I’ll just say I’m skeptical because we now have a pattern that goes back years of antisemitic rants that reinforce harmful, dangerous stereotypes about Jews.”


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ENHYPEN ascends to the top of the Billboard Artist 100 chart for the first time, re-entering at No. 1 on the Jan. 31, 2026-dated chart following opening-week performance of its new EP THE SIN : VANISH. The milestone helps the group become the top musical act in the U.S. for the first time.

Released Jan. 16 via BELIFT LAB/Geffen/Interscope Capitol, the set debuts at No. 1 on the Top Album Sales chart with 113,000 copies sold in its first week of release, according to Luminate. With the debut, ENHYPEN’s earns its fourth No. 1 on Top Album Sales, after MANIFESTO : DAY 1 (2022), ROMANCE : UNTOLD (2024) and DESIRE : UNLEASH (2025).

Beyond its sales success, THE SIN : VANISH also opens at No. 2 on the Billboard 200, becoming ENHYPEN’s ninth career entry on the chart and matching its 2024 set ROMANCE : UNTOLD as the group’s highest-charting effort. The band has steadily climbed the Billboard 200 since its 2021 debut, with its past six chart appearances reaching the top 10. Here’s a look at ENHYPEN’s full history on the Billboard 200:

No. 18, BORDER : CARNIVAL, May 29, 2021
No. 11, DIMENSION : DILEMMA, Oct. 30, 2021
No. 14, DIMENSION : ANSWER, Jan. 29, 2022
No. 6, MANIFESTO : DAY 1, Aug 13, 2022
No. 4, DARK BLOOD, June 17, 2023
No. 4, ORANGE BLOOD, Dec. 2, 2023
No. 2, ROMANCE : UNTOLD, July 27, 2024
No. 3, DESIRE : UNLEASH, June 21, 2025
No. 2, THE SIN : VANISH, Jan. 31, 2026

On Billboard’s song rankings, ENHYPEN’s “The Knife” debuts at No. 62 on the Global Excl. U.S. chart and No. 90 on the Billboard Global 200. It earns the group its eighth entry on Global Excl. U.S. and fifth on the Global 200. “The Knife” also arrives at No. 1 on the World Digital Song Sales chart, thanks to 1,000 downloads sold in the tracking week, becoming the group’s first No. 1 on the chart.

The Artist 100 measures artists’ activity across key metrics of music consumption: album sales, track sales, radio airplay and streaming. Using a methodology comprising those metrics, the chart provides a weekly multi-dimensional ranking of artist popularity.


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