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A critically acclaimed singer, actress and dancer, BLACKPINK’s Jennie is now adding “designer” to her impressive resume with her latest collaboration with Frankies Bikinis.

The “Like Jennie” singer codesigned an extensive line of ultra-cute apparel with the brand’s creative director Francesca Aiello that includes printed bikinis and one-pieces ready for wading in the waves this summer, along with cozy hoodies, zip-ups, colorful top and color-blocked low-cut bottoms. The collection dropped Thursday (April 2) and is available to shop on Frankies Bikinis’ website.

Pricing ranges from $85 to $195. Each piece seems to focus on a laid-back aesthetic. Beachy cover-ups give way to swimwear and date night-ready dresses that scream “cool girl” because everyone wants to be like Jennie. While there’s a lot to look at — around 50 pieces — we have some favorites that we’ve linked to shop below.

Some of our favorites include an adorable Venus Cotton Top in the shade Rose for $95. The piece is made of breezy cotton with long sleeves and a rounded, plunging neckline. A collaborative star graphic is affixed to the front of the top, reading “Frankies Bikinis Jennie.” This is an everyday piece with a flattering form fit in a colorway we think will flatter most, if not all, who buy this shirt. They especially look good with the Eva Cotton Mini Shorts from the collection for $95 that also comes in a rosy hue, although, our favorite is the muted blue in the shade comet. The shorts are extremely mini, sitting low on the hips. They’re extremely cheeky and form-fitting, prepped for layering over your favorite bikini.

Speaking of bikinis, the Ari reversible style from the collection is to die for. Both the top and bottom retail for $95 each and come in a unique leopard print style that can be inverted, revealing an equally cute black and white striped style beneath. It’s like getting two bikinis for the price of one. If you’re more of a one-piece person, the collection also features a ton of styles with more coverage, such as the Lotus swimsuit in black, retailing for $180. The piece is your standard high-cut swimwear in the front with spaghetti straps, but turn the style around and you’ll find the swimwear has a low-cut back with tons of personality.

From night to day, we have the Briar Knit Halter Top, which retails for $110 and comes in a pastel yellow morning light hue with a plunging neckline. The top is made of a comfortable stretch fabric that is form-fitted, snatching up your waist. There’s also the Kim Mini Dress in coconut cream available for $130. This is a long sleeve style made of a sheer cream-colored fabric. The sheer moment is great for layering, but can also be worn solo over a cute bra and panties for a sexy moment. We’d also wear this piece as a beach cover-up in a pinch.

This week, Billboard is publishing a series of lists and articles celebrating the music of 20 years ago. In this instalment of our 2006 Week, we turn to the rapid rise of Arctic Monkeys, an early social media-era breakthrough that redefined how bands could build an audience.

It began in earnest, almost like a modern myth, with four fateful words: “Don’t believe the hype.” When Arctic Monkeys frontman Alex Turner delivered this line while filming the Old Grey Whistle Test-style video for electrifying 2005 debut single “I Bet You Look Good On The Dancefloor,” he did so with a nonchalant tone and half a shrug. Yet, at the time, this was a band on the brink of stardom beyond its wildest dreams, ultimately living inside a storm of its own making.

If virality has a starting point in modern rock, it arguably kicks off with Arctic Monkeys, and a wave of scrappy demos that spread faster than the British music industry could react. When this gang of school friends emerged from Sheffield’s grassroots underground in the early 2000s, they became one of the first groups to harness the power of the internet to reach its audience. By October 2005, the same month “Dancefloor…” was formally released, the band had already sold out the 2,000-capacity London Astoria. It was the stuff that fairytale stories are made of. 

This early success was the result of a dramatic display of word of mouth. Young, unsigned and hungry, the band frequently gave away free demo CDs at pub gigs across Sheffield. But something unusual happened: those recordings didn’t stay confined to the local music scene. Fans began ripping the CDs and sharing the bootlegs to blogging platform MySpace, simply because they loved the music and wanted others to hear it. Per a report from The Guardian, it was estimated that there were upwards of 140 different live Arctic Monkeys tracks floating around on the internet by mid-2005.

The members of Arctic Monkeys grew up on hip-hop – and have repeatedly spoken of their love of British rapper Roots Manuva – alongside Britpop and garage rock. But their fusion of influences sounded entirely their own. From the deliberately offbeat name, to lyrics rooted in keen observation of day-to-day youth antics in Sheffield and colloquial speech, the band made it its mission to quietly stand apart in every way, a vision that caught the attention of esteemed indie label Domino Records [Wet Leg, Hot Chip] and led to a record deal.

“Dancefloor” immediately stormed straight to the top of the Official U.K. Singles Chart, logging six consecutive weeks in the top 10 while also swiftly becoming a staple on British alternative and rock radio. Three months later came the January 2006 arrival of the band’s first album, Whatever People Say I Am, That’s What I’m Not, from which the majority of tracks were already available for free online ahead of release. 

Yet the record still went on to become one of the fastest-selling debuts in U.K. chart history, shifting over 360,000 copies in its opening week and winning both the Mercury Prize and multiple BRIT Awards. It received a Grammy nomination for best alternative music album, while “Dancefloor” landed a spot in the best rock song category, helping to introduce the band to a wider transatlantic audience. (This week, the track ranks at No. 12 on the Billboard editorial staff’s 100 best songs of 2006 list.)

The band weren’t directly involved with the dissemination of their music online, Arctic Monkeys’ former press officer, Anton Brookes, told The Independent at the time. “It was all generated by enthusiastic fans,” he said. “A few years ago, it would have involved fanzines and cassettes. New technology means it just happens a lot quicker.” 

What soon became clear was that MySpace allowed a fledgling band’s music to be heard without major label assistance or traditional gatekeepers like radio and press, who struggled to keep up with the internet’s boundless velocity. Arctic Monkeys’ trajectory was as much about people connecting with the songs as the material itself; the band provided decisive proof that a following could be built through direct fan engagement, signaling a shift in control from labels to listeners that continues today.

The Arctic Monkeys members’ own reaction to their burgeoning status suggested that success was a shock even to them. Many of the interviews they gave at the time suggested that they were observing their own rise from a distance, unsure how to process it. “[The hype] doesn’t seem to be as big [to us] as what people might think it is,” Turner told The Today Show. “Maybe we are immune to all of it because of everything that’s happened. Maybe in 10 years we’ll realize what it is.”

Two decades on, even in an age where virality can launch careers overnight, the band’s ascent remains a watershed moment. They weren’t the only British act of the era to break through online – the likes of Lily Allen and Adele were also hugely prominent on MySpace during the mid-2000s – but it was Arctic Monkeys who indirectly helped to break down access and barriers in the industry, while also illustrating how the internet could place music at the heart of social media.

In more recent years, with seven records and sold-out stadium shows to their name, the band have continued to reshape expectations for what a contemporary rock act can achieve away from traditional routes. Arctic Monkeys have chosen to shun social media throughout their career, and have historically been known to swerve all major brand deals and ad synchs alongside a number of television appearances, including declining an offer to perform on the once-iconic Top of the Pops.

This display of artistic integrity has been consistent, and has only helped to cement their stature as one of the most influential acts of the 21st century. Arctic Monkeys’ anthemic, adventurous sound – from the funny, feisty garage rock of their early days to the psychedelic lounge-pop and baroque flourishes of their later material – can be heard in a generation of disparate musicians from Fontaines D.C. to Sombr and Texan rapper Monaleo, who interpolated the band’s Billboard Hot 100-charting hit “Do I Wanna Know?” on her song “Sober Mind.”

If anything, this sonic evolution only sharpened their cultural reach. The band were mostly a British phenomenon until their slow-burning reinvention on 2013’s platinum-selling AM transformed them into bonafide rock stars in the U.S. That era also saw them become unlikely fixtures of a new digital monoculture, as the record’s nocturnal cool and romantic detachment found a home on Tumblr. Here, they thrived along with moody alt-pop heroes like Halsey, Lana Del Rey and The Neighbourhood, helping to define the microblogging platform’s overall aesthetic.

In 2022, following latest LP The Car, Arctic Monkeys’ initial rise was once again paralleled by a fresh flush of social media attention, as a new, predominantly Gen Z wave of listeners rediscovered and amplified their music across TikTok. This resurgence gave older tracks a new lease of life, most notably 2007’s eerily beautiful “505” and “I Wanna Be Yours,” the steady, smoky, deeply romantic ballad – and reworking of the John Cooper Clarke poem of the same name – that closes out AM.

By the start of the following year, “I Wanna Be Yours” had spent months on Spotify’s Top 50 songs chart, not in the U.K. but globally, a feat spurred on by fan edits circulating TikTok. At 3.6 billion streams, more than any Taylor Swift, Bruno Mars or BTS song, it stands as the 14th most popular song in Spotify history, with continued growth across key markets including the U.S., India, Mexico and Brazil. Intriguingly, neither “I Wanna Be Yours” nor “505” were ever pushed as a single, nor did the former feature regularly in the band’s setlists prior to The Car world tour, which wrapped up in late 2023.

With four tracks that have accrued over a billion streams, it’s clear that Arctic Monkeys occupy a rare position: a band whose legacy is not confined to nostalgia, but continues to expand, even while it remains on hiatus. What began as a defining indie breakthrough in the mid-2000s has evolved into a sustained, significant global force that has remained consistently present over shifting eras of social media, one that has only been reinforced by time. 

Above all else, a gut-led approach to every aspect of the band’s work has remained paramount. “When I think back to earlier times, I feel like we were just running on instinct, creative decisions included,” Turner told NME in 2022. “I don’t really think that much within the band has changed a great deal; we might know a few more tricks, but we’re still rolling on that very same instinct.”

The final masks came off on the latest season of Masked Singer during the Wednesday (April 1) finale, revealing Ashlee Simpson as the season 14 winner. And what made the moment even more special was that her famous sister, Jessica Simpson, was there to celebrate in real time.

After Ashlee shed her Galaxy Girl costume — with the help of Jessica, whom host Nick Cannon helped on to the stage for the big reveal — the elder Simpson had nothing but praise when reacting to her younger sister’s victory. “I watched these performances at home on the couch,” she said from the stage. “She literally performs for us all the time, so she deserved this stage, and I’m so glad you guys got her.”

“Always her No. 1 fan,” she added as Ashlee beamed. “She can do everything.”

It was a memorable triumph for multiple reasons. Beyond Jessica being there to help crown Ashlee the winner, the latest installment of Masked Singer also saw the latter competing against her husband, Evan Ross, aka Stingray. Ross made it until week 10 of the series.

In an interview with Billboard after her big win, Ashlee said that her mom and daughter were “shocked” to see her take home first place. The “Pieces of Me” singer shares 10-year-old Jagger and 5-year-old Ziggy with Evan Ross, and she’s also mom to 17-year-old Bronx from her previous marriage to Pete Wentz.

“For me, it was something me and my kids watch together,” she said. “At first, I was like, ‘I’m gonna surprise the kids.’ And as my daughter hears me rehearsing a song every day, she knew every song I was doing so I let her in, but I said, ‘You cannot tell your friends!’”

Ashlee also told Billboard about competing against her spouse. “I would hear him sometimes rehearsing his songs at night, and he would hear me rehearsing mine, but that was about it,” she said. “Or we would call each other and be like, ‘How did it feel? Did you see?’ We were both just rooting each other on and there to have a good time.”

Watch the moment Jessica helped announce Ashlee as the winner of Masked Singer‘s 14th season below.

A former guitarist for the hardcore band Turnstile has been arrested and charged in Maryland with attempted murder over allegations that he intentionally hit the lead singer’s father with his car.

Brady Ebert, who left the band in 2002, was arrested by Maryland police Wednesday (April 1) on charges of attempted second-degree murder and first-degree assault over the alleged Sunday (March 29) incident, in which singer Brendan Yates’ father, William, was severely injured.

According to charging documents obtained by Billboard, Ebert showed up at the elder Yates’ Silver Spring home on Sunday and was “honking his horn” and “yelling obscenities.” As the 79-year-old man walked up his driveway, Ebert allegedly accelerated the car and took a sharp turn to strike him with the case. The alleged incident, which left the elder Yates with “trauma to his lower extremities,” was captured on a neighbor’s surveillance camera, police say.

Ebert is initially being held without bond. An initial court hearing is set for Thursday (April 2). His attorney declined to comment when reached by Billboard.

In a lengthy statement to Billboard Thursday, Turnstile said it “cut ties” with Ebert in 2022 “in response to a consistent pattern of harmful behavior” and only after “exhausting every available resource to support his access to help and recovery.”

“In the years since, his baseless tirades have continued in public. We never addressed it. We chose to protect his privacy and the circumstances around his departure, even when he did nothing to be deserving of that protection. Over the past few months, his threats only escalated further,” the band said.

Turnstile alleged those threats “led to a physical attack” on Sunday in which Ebert “went to the house of Brendan’s parents and used his vehicle to run over Brendan’s father, causing severe physical trauma.” The band said it was “grateful that Mr. Yates survived, has successfully undergone surgery, and we’re hoping for the best possible outcome in his recovery.”

“We have no language left for Brady,” the band continued. “Please respect our privacy in this time.”

Billboard has also asked Ebert’s lawyer for comment on Turnstile’s statement.

Founded in 2010, Turnstile has boomed in recent years — going from a small Baltimore hardcore band playing basement shows to selling out 13,000-capacity outdoor spaces and landing a prime billing at Coachella. In August, the band scored a No. 1 song on a Billboard chart for the first time, topping Alternative Airplay with its “Never Enough.”

Ebert was a founding member of the band, but parted ways with the group in 2022. No reason was given at the time, and the band had not commented on his departure until this week’s alleged incident.

According to police reports, surveillance footage shows that Ebert arrived at the home as Yates’ daughter and her husband were unloading their children in front of the house. Police say the footage shows that Ebert initially “swerves towards William Yates who backs up in to the driveway to avoid being hit.” Yates then threw a rock, police say, which struck Ebert’s car. The guitarist then allegedly put the car in reverse and drove toward Yates again.

“Brady Ebert then places the vehicle in to drive, accelerates quickly and makes a sharp left turn into the driveway striking William Yates who was attempting to run in to the front lawn away from Brady Ebert,” the police report reads. “Brady Ebert continues driving into the front lawn, makes a sharp right turn towards Erin Gerber who is holding her 3-year-old son, crosses the driveway and drives across the other side of the front lawn fleeing the area.”

Police say Yates told detectives at the hospital that Ebert had been “causing issues” with the family ever since he was removed from Turnstile; he claimed the former member had been “taunting them for a long time, but that his behavior had been escalating,” including another incident earlier in March in which Ebert also allegedly drove at Yates and “narrowly missed striking him.”

Police say Yates told them that during Sunday’s alleged incident, he “feared for his life.” And after the alleged attack, as he lie wounded on the ground, he claimed to police that Ebert had actually “returned to the scene” and yelled that he “deserved it.”