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Razer dropped its most exciting collaboration to date, and it makes us want to “Jump.” The tech manufacturer launched a line of gaming equipment in collaboration with one of the hottest K-pop girl groups, BLACKPINK.

The collection includes the brand’s ever-popular DeathAdder Essential mouse, bundled with a V2 Mouse Mat mousepad retailing for $79.98, along with an Ornata V3 Tenkeyless keyboard for $119.99 and an Enki X gaming chair for $499.99. The Razer x BLACKPINK collection drops on Thursday, May 28 at 10 p.m. ET/7 p.m. PT.

Meanwhile, with your purchase, you’ll receive a free exclusive BLACKPINK photocard of one of its members. This allows fans to try their luck at pulling their bias, an incentive to add to their photocard binder. Learn more about these randomized photocards here.

Each piece is emblazoned with Razer and BLACKPINK co-branding and comes in black and pink hues, a nod to the “Go” singer’s official colors.

Razer DeathAdder Essential Bundle

$79.98

Buy Now at razer

This bundle is an excellent starter option and is easy to set up. Usually, the DeathAdder Mouse and V2 Mouse Mat are sold separately.

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Comfortable and totally cute, this DeathAdder bundle is a must-have for gamers and K-pop fans alike. With your purchase, you’ll receive the DeathAdder Essential wired mouse and the V2 Mouse Mat mousepad, giving you all the tools you’d want for co-op play, comfortably — all in one place.

Unfortunately, this bundle is designed exclusively for right-handed gamers only. The accompanying mousepad is plush and easy to rest on, allowing the DeathAdder to glide across surfaces smoothly. The gaming accessory also has a nice grippy bottom, so it won’t slip and slide on your table.

Razer Ornata V3 Tenkeyless

$119.99

Buy Now at razer

Like the other pieces in this collection, the BLACKPINK Ornata V3 Tenkeyless keyboard comes in pink and black hues.

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The Ornata V3 Tenkeyless is an easy-to-use compact keyboard, ideal for small spaces. It comes with mecha-membrane switches, which means the keys are similar to your traditional rubber dome style but with a softer, more cushioned feel. This creates what Razer describes as a slim, clicky feel.

The Ornata V3 Tenkeyless keyboard is equipped with Chroma RGB lighting that flashes beneath your keys, offering a playful touch. If you’re in the market for a gaming keyboard, this model should be your first choice.

Razer Enki X

$499.99

Buy Now at razer

This is the most expensive item in the collection at $499.99. While they’re best known for their mice and keyboards, Razer offers a slew of gaming chairs just like this one.

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Gaming chairs like the Enki X are made to keep users extra comfy, whether they’re in an intense round of Overwatch or busy on a work Zoom call. The backrest of the Enki X is high for maximum back support, keeping users supported after sitting for long periods of time.

You’ve got a built-in lumbar arch that curves inward to match the natural arch in your spine. The Deadline-themed chair has a 152-degree adjustable recline, allowing users to lie back and relax after a long day of work or a gaming session. In short, chairs like these are meant to make the user feel as comfortable as possible.

As for BLACKPINK, the girl group’s Deadline EP features a total of five tracks. The lead single “Jump,” which dropped in 2025, reached No. 28 on the Billboard Hot 100. Other tracks on the mini album include “Go,” “Me and My,” “Champion” and “Fxxxboy.” This is the girl group’s third mini-album and their latest music project to date.

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 
 
This week: A buzzy steamy streaming TV romance enters the arena as the new synch show to beat, a pop legend gets a catalog bump from her new docuseries, and a Dominican rapper enters the Song of the Summer race.

‘Off Campus’ Blows Up Streaming Totals for Classic Rock & New Alt-Pop Favorites 

What do you get for the Heated Rivalry superfan in your life who already has everything? How about another steamy TV romance adapted from a book series in which hockey features prominently? While Amazon Prime’s Off Campus might not be quite the cultural sensation that Rivalry became earlier this year, it seems on its way to comparable popularity — and one way you can tell is how, like its predecessor, it’s making a streaming hit out of nearly every song featured on its soundtrack. 

The rom-com series — which features an even higher synch-per-episode rate than Heated Rivalry — is based around contemporary alt-pop and alt-rock, but also includes a good number of 20th-century throwbacks favored by its two protagonists, Hannah (Ella Bright) and Garrett (Belmont Cameli). And already, plenty of songs both old and new are seeing the benefits from their prominent usage on the show’s first season. 

Among the classic rock songs getting boosted are Elton John’s 1974 anthem “The Bitch Is Back,” which is up 577% in weekly official on-demand U.S. streams to 1.2 million for the tracking week ending May 21 (according to Luminate), and Warrant’s 1990 hair metal smash “Cherry Pie,” up 122% to 1.1 million. Meanwhile, similar gains are being seen over the same timespan for newer artists G Flip (“Bed on Fire,” up 4,263% to 647,000), The Beaches (“Edge of the Earth,” up 735% to 1 million) and Audrey Hobert (“Sue Me,” up 103% to 1.1 million). 

And this is likely just the beginning: All of these songs are still climbing in daily streams, as more and more potential viewers jump on the Off Campus bandwagon. It’s all sure to make the show one of the most in-demand synch placements on television for its second season — which it was renewed for before season one even aired. – ANDREW UNTERBERGER

‘Off Campus’ Also Turns Jennifer Lopez’s and Pitbull’s ‘On the Floor’ Into a Global Smash (Again)

Another song given a viral lift by the explosive first season of Off Campus, Jennifer Lopez’s “On the Floor,” featuring Pitbull, returns to the Billboard charts, as the song debuts at No. 117 on the Billboard Global 200 and No. 80 on the Global Excl. U.S. charts (dated May 30).

“On the Floor” sees a resurgence following a steamy scene starring the character Allie (Mika Abdalla), dressed as J.Lo, and Dean (Stephen Kalyn), dressed as Tom Cruise’s character Maverick from the Top Gun films, who dance to Lopez’s 2011 hit at a Halloween party. Lopez later joined the moment on social media, teaming up with Abdalla to re-create part of the scene and dance to the song.

“On the Floor” opens at No. 117 on the Billboard Global 200 chart, totaling 15.1 million streams worldwide during the May 15-21 tracking week, according to Luminate. The streaming surge gives Lopez her second entry on the chart, following “Pa’ Ti” with Maluma in 2020 (No. 106 high). For Pitbull, “On the Floor” marks his third chart visit, his highest being the No. 106-peaking “Give Me Everything,” featuring Ne-Yo, Afrojack and Nayer (2025); it ruled the Billboard Hot 100 for a week in 2011 (with the global charts having begun in 2020).

Appearing on Jimmy Kimmel Live! on Wednesday (May 27), Lopez revealed to Kimmel that her socials team had alerted her to the buzzy situation. “I was like, ‘what?!’ It was like out of the blue.” And with that, she went a little deeper into the consumption of digital music. “The music business, everything has changed because people discover (from different sources),” she opined. “My kids are listening to all kinds of music that I’ve never even heard of. And some stuff that is classic, like The Beatles. Listen, great music lives forever, as we know, but it lives in a different way now because they can find it easily.”

The song also remains a milestone in both artists’ chart histories: It marked one of Lopez’s 10 top 10s on the Billboard Hot 100 — where it peaked at No. 3 in 2011 among her 32 career entries — and stands as one of Pitbull’s 10 top 10s among 45 total entries. – PAMELA BUSTIOS

Read more about the viral surge of “On the Floor” and Lopez’s response to it. 

Dominican Rapper Lil Naay Scores Fast-Rising Hit With “Mood Brazil” 

Let the 2026 song of the summer race begin! Dominican rapper Lil Naay has entered the fold with “Mood Brazil,” a catchy fusion of dembow and Brazilian baile funk that also recalls the synths strings of Michael Jackson’s “Billie Jean.” 

According to Luminate, “Mood Brazil” earned over 644,000 official on-demand U.S. streams in its first full week of release (May 8-14). That number spiked by nearly 50% the following week (May 15-21), with “Mood” collecting over 957,000 official streams. 

“Mood Brazil” officially hit streaming services on May 8, but its journey to TikTok virality began nearly a month prior. On April 16, user @/system0069, an account that appears to exclusively post Lil Naay edits, shared a clip laying “Mood Brazil” over a montage of in-studio behind-the-scenes footage, garnering over 960,000 views. Over the next few weeks, the song’s infectious beat began to soundtrack a plethora of clips — from dance challenges to thirst traps to actual Lil Naay performances— and, by April 22, Lil Naay started posting with the same audio, bringing the official “Mood Brazil” sound to over 1.1 million posts. “Mood Brazil” also plays in over 8,000 Instagram Reels, while its official music video has garnered over 6.5 million views in just two weeks. 

As the summer continues to heat up, keep an eye on “Mood Brazil” and its steady ascent. — KYLE DENIS 

Kyle Minogue’s Catalog Streams Are Up 25% Following Netflix Docuseries Premiere 

Global pop sensation Kylie Minogue got the Netflix docuseries treatment with KYLIE (May 20) — and fans have returned to her decadeslong catalog to celebrate. 

During the docuseries’ first four days of availability (May 20-23), Minogue’s catalog netted 2.47 million official on-demand U.S. streams, up over 25% from the 1.97 million official streams it collected the same period the week prior (May 13-16), according to Luminate. Her classic pop smash “Can’t Get You Out of My Head,” which remains her most recent Billboard 200 top 10 hit (No. 7 in 2002), is also up 11.7% in streaming activity to 1.2 million streams across the same timeframe, making it by far her most-played song over the past weekend. 

The three-part KYLIE docuseries traces the life and career of the Aussie pop legend. Helmed by Michael Harte — who also directed the buzzy 2023 Beckham docuseries — KYLIE also arrived a week before her Tension Tour concert film, which made her the first female solo artist to perform a total of 21 times at London’s iconic O2 Arena. The two-time Grammy winner also released a new song titled “Light Up,” co-written with Coldplay’s Chris Martin, to celebrate her new docuseries. — KD

Pepe Aguilar has taken on the task of keeping his father’s legacy alive, this time producing ¡Que Viva Antonio Aguilar!, a compilation album featuring iconic songs by the Mexican music legend reimagined by stars from various generations, from Banda El Recodo and Banda MS to Carín León, Pepe himself and his children.

“It’s a very special album,” he says in an exclusive interview with Billboard Español. “A record like this of Antonio Aguilar has never been done before. We’re showcasing the artist’s interpretation of songs my father once performed.”

In ¡Que Viva Antonio Aguilar! — to be released Thursday (May 28) at 8 pm ET under Equinoccio Records/Virgin Music — Ángela Aguilar and Leonardo Aguilar perform “China de los Ojos Negros” and “El Adolorido,” respectively, while Pepe Aguilar sings “Noches Tenebrosas.”

Among the album’s 14 tracks, Luis R Conríquez lends his voice to “4 Meses,” Banda El Recodo to “La Cama de Piedra,” Chuy Lizárraga to “Ánimas Que No Amanezca” and Banda MS covers “El Chivo.” Carín León takes center stage with the focus track “El Chubasco,” while Edén Muñoz performs “Albur de Amor” and Alfredo Olivas reimagines “El Alazán y el Rosillo.”

Two other women also appear on the tracklist: Lucero with “Triste Recuerdo” and Guadalupe Pineda with “Yo Ya Me Voy de Mi Tierra.” Additionally, a non-Mexican artist, Jessi Uribe, delivers his rendition of “El Hijo Desobediente.”

Also noteworthy is the inclusion of Vicente Fernández — another iconic, now-deceased figure of Mexican music — who shared a friendship with the patriarch of the Aguilar Dynasty and even attended his funeral. On the LP, his voice can be heard on “Ando Que Me Lleva,” in a version previously released on his 2024 posthumous album, Pa’ La Parranda.

“The idea to include Don Vicente Fernández came from my wife,” Aguilar explains. “[My daughter] Ángela participated in the tribute album to Don Vicente, and we thought it would be important to have him on my father’s tribute album since they were very good friends.”

Born in Villanueva, Zacatecas, on May 17, 1919, Antonio Aguilar remains a cultural and musical icon of Mexico, with over 150 recorded albums and hits like “Un Puño de Tierra,” “Caballo Prieto Azabache” and “Lamberto Quintero.” Known as “The Charro of Mexico,” Aguilar was also an undisputed figure of the golden age of Mexican cinema, appearing in over 160 films. A lover of charrería — a traditional Mexican equestrian sport he showcased across the U.S. and Latin America through a equestrian show that has become a family legacy — he passed away on June 19, 2007, at the age of 88.

“I deeply admire my father’s career not only because I’m his son but also because of everything he represented for Mexican music, for how he elevated ranchera music and his unique style of interpreting it, making it a part of our culture,” Aguilar, an icon of the genre in his own right, adds. “He was a proud Mexican who loved his homeland and traditions.”

Below, Aguilar elaborates on the making of ¡Que Viva Antonio Aguilar!

How challenging was the process of creating this album?

We’ve been independent artists for many years, so every album is a challenge. My wife is my partner and helps me along with the great team we have. What I wanted to do with this album was select the songs I most remember hearing in my father’s voice — Antonio Aguilar has many songs that have become part of Mexican culture, so I felt a responsibility to choose carefully what I wanted to present to people. There are representatives from different generations, which makes this compilation even more interesting. The idea is to preserve authentic Mexican music.

As a producer, what challenges did you face with the participating artists?

I had to analyze which songs hadn’t been recorded yet and determine which ones suited whom. My father was a very prolific artist, so there was plenty to choose from. As a producer, I needed to have a song proposal for each artist. I sent them a couple of options, and two or three artists requested specific tracks because they had personal reasons to perform them. Honestly, everyone was very eager and happy to participate.

Was it intentional for each song to bear the artist’s unique stamp?

Absolutely, because these aren’t collaborations; they’re new versions. That was the idea. For example, Edén Muñoz asked me to produce his track, and of course, I said yes. Most artists wanted to interpret the songs in their own style, which I understand because when I’m invited to tribute albums, I end up doing it my way. Poncho Lizárraga also suggested making “La Cama de Piedra” in Banda El Recodo’s signature style, and I was thrilled.

The same goes for Carín León; I sent him the arrangement for “El Chubasco” but he said, “Let me try something crazy.” I told him to go for it. The result is incredible — he even added a touch of tumbado. In my case, with “Noches Tenebrosas,” I remember hearing it on the radio as a child and my dad singing it at his shows. I created a more modern version, and I really liked how it turned out.

Did any artist have a special anecdote about Don Antonio Aguilar?

Actually, they’re all fans of his, but two cases stand out: Chuy Lizárraga has admired my father since he was a child, and it was very important to him to contribute his style to this tribute, which he did beautifully. Similarly, Alfredo Olivas recalls singing a verse from “El Alazán y el Rosillo” differently as a child, and I told him to perform it however he liked because the artists genuinely enjoyed participating in this project. The same goes for Luis R Conríquez.

How important was it to include women on the album?

It’s essential to have female representation. In Lucero’s case, she released a mariachi version of “Tristes Recuerdos” early in her career shortly after my father released it with banda, and it was very successful, so it made perfect sense for her to be part of this project. Ángela created “China de los Ojos Negros” in her unique style, and people love it. As for Guadalupe Pineda, she’s admired and sung my father’s songs from a young age in several films, so she couldn’t be left out.

Why was Jessi Uribe, a Colombian artist, included on the album?

I wanted to include a Colombian artist because my father and Colombia had a beautiful relationship. That country was so important to his career that many of his songs are still sung and played on the radio there — it’s incredible. Yeison Jiménez was initially planned to participate, but it didn’t work out. However, Jessi is a very successful young artist and a fantastic singer. He did an excellent job performing “El Hijo Desobediente” with great admiration.

Some tracks have already been released ahead of the album launch. How has the audience responded?

People have received each song we’ve released so far very warmly, which makes us believe the response to the full album will be even better. It’s incredibly gratifying that almost 20 years after his passing, Don Antonio Aguilar continues to move hearts, make people feel connected to him and inspire new generations to discover traditional Mexican music and great Mexican artists.

Do you feel like the positive response from the audience affirm that the Aguilar family is still seen as significant representatives of Mexican music, despite other news related to your personal lives?

What we do is music, and that’s what we need to keep doing. We focus on that, and this album is proof of it. This year, each of us has many songs to release individually. We do what’s necessary for Mexican music. Each of us has our own message, and we’ll continue to share it in the best way possible. That’s how we respond; the rest is just gossip that’s out of our control.

Yasuhisa Hara’s Kingdom Vol. 79 hits No. 1 on the Billboard Japan Book Hot 100 released May 28, claiming the top spot by a commanding margin.

The volume surpasses 30,000 points in a single tracking week, the first title to do so in 11 weeks since Eiichiro Oda’s ONE PIECE Vol. 114 topped the chart on the list released Mar. 12. The title sweeps brick-and-mortar and e-books for a double crown, while also placing No. 2 in e-commerce (EC) and landing in the top 50 on the social media metric.

Debuting at No. 2 is Soryu’s Kouiu no ga Ii Vol. 13, which places No. 2 in e-books and No. 6 in brick-and-mortar. Ryo Asai’s In The Megachurch holds at No. 3, entering its 30th consecutive week on the chart, having remained in the top 100 every week since the tally’s launch last November. Also hitting their 30th week on the list this week are Ryunosuke Matsushita’s Ichijigen no Sashiki (Labyrinth of Hortensia and the Minotaur, No. 14), Asako Yuzuki’s BUTTER (No. 20), Shugo Hotta’s Harvard, Stanford, Oxford… Kagakuteki ni Shomeisareta Sugoi Shukan Daihyakka (No. 39) and Akiko Abe’s Cafuné (No. 42).

Mamekichimameko’s Mero to Tabi, which has been drawing attention on Instagram, debuts at No. 4. Satoshi Ogawa’s Kimi no Quiz, whose live-action film adaptation is currently in theaters, makes its first top 10 appearance at No. 10.

The Billboard Japan Book Hot 100 is a comprehensive chart combining physical sales, e-books, library loans, subscription data and social media activity. See the top 10 titles on this week’s list, tracking the period from May 18 to May 24, below.

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

1. Kingdom Vol. 79, Yasuhisa Hara (1/2/1/–/–)

2. Kouiu no ga Ii Vol. 13, Soryu (6/–/2/–/–)

3. In The Megachurch, Ryo Asai (10/–/–/2/1)

4. Mero to Tabi, Mamekichimameko (2/–/–/–/–)

5. Draft King Vol. 25, Tetsuro Kuromatsu (–/–/3/–/–)

6. Blue Period Vol. 19, Tsubasa Yamaguchi (5/–/5/–/–)


7. Dogsred Vol. 8, Satoru Noda (13/–/6/–/–)

8. Silver Mountain Vol. 4, Kazuhiro Fujita (3/–/–/–/–)

9. Yubisaki to Renren (A Sign of Affection) Vol. 14, Suu Morishita (8/–/–/–/–)

10. Kimi no Quiz (Your Own Quiz), Satoshi Ogawa (–/–/–/–/9)