Mexican cumbia and pop band Mister Chivo achieves its first No. 1 on a Billboard chart with “¿Qué Haces Por Acá?” with Grupo Frontera, as the song jumps 2-1 on the Regional Mexican Airplay chart dated Oct. 18.
“¿Qué Haces Por Acá?” is Mister Chivo’s first entry on any Billboard songs chart. The sextet from Tamaulipas, Mexico has only charted three times previously, all with albums: two times on Top Regional Mexican Albums (in 1987 and 1991), and once on the now-defunct Latin Album Sales chart (in 2019).
“¿Qué Haces Por Acá?” ascends with 6.9 million audience impressions earned in the United States in the week ending Oct. 9, according to Luminate. That’s a 3% gain from the week prior. The song, which pays tribute tothe musical heritage of the 1970s, was released June 11 via BorderTown, marking the indie label’s first chart-topping entry.
“¿Qué Haces Por Acá?” sends Los Dos De Tamaulipas’ “Supercargada” to No. 5, after the latter’s 29% dip in impressions during the tracking period. Mirroring Mister Chivo’s breakthrough achievement, Los Dos De Tamaulipas celebrated their first chart-topper on the Oct. 4-dated ranking.
Grupo Frontera collects its 13th No. 1 in just two years. Their previous No. 1, “Me Jaló,” a second chart-topping hit with Fuerza Regida, claimed the top spot in April 2025. Both acts previously dominated Regional Mexican Airplay with the three-week ruler “Bebé Dame” in 2023. That said, here’s a look at Frontera’s collection of No. 1s dating back to Jan. 2023:
Title, Artist, Peak, Weeks at No. 1 “Que Vuelvas,” with Carín León, Jan. 28, 2023, six “Bebe Dame,” with Fuerza Regida, March 18, 2023, three “Di Que Sí,” with Grupo Marca Registrada, April 29, 2023, three “Frágil,” with Yahritza Y Su Esencia, August 12, 2023, one “El Amor De Su Vida,” with Grupo Firme, Oct. 7, 2023, four “En Altavoz,” ith Junior H, December 23, 2023, wwo “Alch,” with Carín León, March 2, 2024, one “Ya Pedo Quién Sabe,” with Christian Nodal, May 11, 2024, wne “(Entre Paréntesis),” with Shakira, May 18, 2024, one “¿Por Qué Sera?” with Maluma, August 10, 2024, one “Hecha Pa’ Mi,” Dec. 14, 2024, one “Me Jalo,” with Fuerza Regida, April 5, 2025, one “¿Qué Haces Por Acá?” with Mister Chivo, Oct. 18
Beyond its Regional Mexican Airplay coronation, “¿Qué Haces Por Acá?” holds steady at its No. 4 high on the overall Latin Airplay chart for a second week, with a 2% gain in impressions, to 7 million.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-10-14 19:46:012025-10-14 19:46:01Mister Chivo Scores First No. 1 on a Billboard Chart With Grupo Frontera Collab
Solange has been named the first scholar-in-residence at USC Thornton School of Music and announced her three-year residency at the music school on Monday (Oct. 13).
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Solange will teach a course in collaboration with her multidisciplinary institution Saint Heron, USC Thornton dean Jason King and other faculty members on music curation. She will also host student-focused conversations and workshops (including one dedicated to “The Making of Eldorado Ballroom,” the series she hosted at Walt Disney Concert Hall last October), and help faculty build long-term frameworks for Thornton during her custom-designed residency, which kicks off this week, theLA Times reported.
Launching in fall 2027, the music curation course will “explore the process of constructing curatorial frameworks alongside the context, craft and creation of musical landscapes,” according to USC, and will be tentatively titled “Records of Discover: Methodologies for Music and Cultural Curatorial Practices.” She will also participate in USC’s forthcoming symposium by discussing women in classical work, such as composer Julia Perry.
“For decades now, I’ve watched the evolution of music and music curation, and I feel like I have something adequate to add to the conversation,” the Grammy-winning artist told the Times. “I feel really inspired by the idea of my 15-year-old self being able to have someone sort of walk me through the footsteps of what I was about to embark on. So if I can, in any role, be a vessel of guidance, it really just sort of warms my heart that I am given the opportunity to be in that space…. Being able to help students navigate what that is for them is like a dream job.”
Solange is also the second member to be invited to join the Dean’s Creative Vanguard Program, joining her frequent collaborator Raphael Saadiq who became the inaugural member in December. The Dean’s Creative Vanguard Program, which officially launched this year under the direction of King, is designed to foster creative interaction between distinguished artists and Thornton students. The initiative includes masterclasses, workshops, private instruction and public discussions.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-10-14 19:35:482025-10-14 19:35:48Solange Appointed First Scholar-in-Residence at USC Thornton School of Music
If you ask someone about the Mount Rushmore of neo-soul, D’Angelo’s face sits squarely in the middle. An R&B marksman with genuine charisma and seduction skills, he never cheated the genre. Sure, he released only three albums in 20 years — but each drop was seismic. That’s why losing the icon at 51, early Tuesday (Oct. 14), cuts deeper than usual for the culture.
D’Angelo had an aura before Gen Z knew what that was. Sporting tight cornrows and a bandana draped across his forehead, he was the antithesis of a classic ’90s heartthrob. He wasn’t decked out in suits, whispering sweet nothings in your girl’s ear — he had hood appeal. He delivered ghetto gospel, channeling the reverence of his minister father while preaching his own testaments of love, sex, and relationships. His 1995 slam-dunk debut Brown Sugar is a sacred text for modern R&B, oozing the sly coolness that made D’Angelo one-of-one. While his tenor and falsetto did the heavy lifting, it was his daredevil pen that kept us entranced. If the title track was the appetizer to his storybook career, his Hot 100 top 10 hit “Lady” started the main course. During a freak’n-focused moment in ‘90s male R&B, “Lady” put the priority on the long-term romance, making such relationships a badge of honor.
Though cats tried to replicate his Main Character Energy, D’Angelo put his peers to shame with “Untitled (How Does It Feel).” Dripping with sexual innuendos – not that you could even understand all of them on first listen, so overtaken with the spirit was his vocal – he delivered a masterclass in how to woo women in the bedroom in under seven minutes. And if the song wasn’t enough, the risqué video put the entire music industry on notice: The sculpted singer caused a tizzy, forcing his competition to run to the gym after he brought abs along with vocals to the picnic. Despite a five-year layoff between 1995’s Brown Sugar and 2000’s Voodoo, the latter was well worth the wait. With the rich sonics and layered textures on B-side cuts like “Chicken Grease” and “The Line,” you knew this level of genius wasn’t some overnight concoction.
Still, as magnetic as “Untitled” was, the mental scarring it left on D’Angelo was profound, turning him into a recluse. The death of a close friend fueled his alcohol addiction. He removed himself from the public eye, nearly undoing his venerable legacy. He and Lauryn Hill existed in a vacuum of their own — indelible legacy, jaded by the industry. We would see little of D’Angelo again until 2014, nearly 14 years after the release of his seminal sophomore album. In D’s case, his Midas touch for crystallizing Black music beyond radio and mainstream stood tall in a room full of imitators. His third album, Black Messiah, earned universal acclaim — a wonderland where funk, rock, and R&B flourished. Black Messiah became the soundtrack to a socially volatile moment, as police killings and political reckonings changed the landscape during Obama’s second-term in the ‘10s.
D’Angelo didn’t have the most robust discography. He didn’t clinch his place in R&B lore with gangbuster hits – only “Lady” ever even reached the Billboard Hot 100’s top 10. Instead, he made moments: ones that last forever, ones that transcend the genre and the culture. Moments that remind you that not every hero needs a cape or superhuman strength to uplift the world. Sometimes, a pen, a studio, and a captivating story are all it takes.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-10-14 19:35:482025-10-14 19:35:48D’Angelo: The Music, The Aura & The Vanishing Act That Made a Neo-Soul Giant
Following 2023’s Words of a Goat Princess, Jessie Reyez is back with a new poetry collection — The People’s Purge: Words of a Goat Princess Volume II — and she’ll be talking all about it during Tuesday’s (Oct. 14) Billboard Book Club livestream, powered by TalkShopLive.
For the latest installment of Billboard Book Club, the Canadian singer/songwriter will open up about penning The People’s Purge, a collection of poetry born from a popular long-running series on Reyez’s Instagram page, during which she crafts in-the-moment poems written in response to fan-supplied prompts.. Powered by TalkShopLive, Reyez’s live, shoppable interview will air at 4 p.m. ET/1 p.m. PT on Tuesday, where fans can pre-order a copy of the book, including a version signed by Reyez.
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Reyez’s full conversation will also be available for anyone to watch in the video player above.
The conversation arrives a week before the poetry collection’s official Oct. 21 release date. It’s been a busy year for Reyez, who also released her third studio album, Paid in Memories, back in March.
In June, Victoria Monét joined Billboard Book Club to chat about penning Everywhere You Are, an adorable illustrated children’s book about a moon who comforts a young star as they part ways at dawn.
You can find all of Billboard’s shoppable TalkShopLive interviews here, including past chats with Garth Brooks, Sabrina Carpenter, Shaboozey and more.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-10-14 19:35:472025-10-14 19:35:47Jessie Reyez Joining Billboard Book Club to Discuss ‘The People’s Purge’ Poetry Collection: How to Watch
When it comes to the past three decades of R&B, particularly the development of the neo-soul movement, D’Angelo‘s name stands heads and shoulders above the rest. From his culture-shifting Brown Sugar debut album and complicated sex symbol status during his Voodoo years to his Soulquarian contributions and enigmatic late-career moves, D’Angelo wielded his virtuosic songwriting and instrumental abilities to create music that captured life’s warmest, most sensual and most fleeting moments. The Virginia-bred Grammy winner’s influence reverberates across the contemporary R&B scene, as evidenced by both Leon Thomas‘ guitar-shredding charisma and Elmiene‘s sultry timbre.
On Tuesday (Oct. 14), D’Angelo’s family confirmed that the legendary singer passed at 51 years old following a battle with cancer. “We are saddened that he can only leave dear memories with his family, but we are eternally grateful for the legacy of extraordinarily moving music he leaves behind,” they wrote in a statement to Billboard. “We ask that you respect our privacy during this difficult time, but invite you all to join us in mourning his passing while also celebrating the gift of song that he has left for the world.”
Boasting two Billboard 200 top 10 albums — including the 2000 chart-topper Voodoo — and four top 10 hits on Hot R&B/Hip-Hop Songs, D’Angelo’s succinct catalog houses some of the most pivotal R&B records of the past quarter-century. Whether he was serving as a duet partner for Ms. Lauryn Hill (1999’s “Nothing Even Matters”) or revolutionizing the music video (2000’s “Untitled”), D’Angelo’s taste for subtlety, thematic boldness and attention to detail made him a singular force in contemporary music.
On the somber day of his passing, here are our staff picks for D’Angelo’s 10 all-time greatest songs.
THE BIG STORY: Less than a year after Drake filed a stunning lawsuit against Universal Music Group (UMG) over Kendrick Lamar’s “Not Like Us,” a federal judge tossed it out of court. Her reason? That context is crucial.
Drake’s case claimed that UMG defamed him by releasing Lamar’s scathing diss track, which tarred his arch-rival as a “certified pedophile.” He believed that millions of people took that lyric literally, severely harming his reputation.
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That might have been true, said Judge Jeannette Vargas, if Kendrick called him a pedo in a context where people expect to hear “sober facts,” like a news story. But in a series of diss tracks? Where Drake himself had suggested Kendrick wasn’t the father of his own son? In that setting, the judge said, people expect to hear bombastic insults that may or may not be true.
“The recording was published as part of a heated public feud, in which both participants exchanged progressively caustic, inflammatory insults and accusations,” Judge Vargas wrote. “This is precisely the type of context in which an audience may anticipate the use of epithets, fiery rhetoric or hyperbole rather than factual assertions.”
That outcome should surprise nobody. Back in May 2024, months before Drake sued, I asked experts whether such a case would make sense — even though it felt unthinkable at the time that a rapper would ever sue over a beef. Those lawyers told me that such a lawsuit stood little chance of success, and for precisely the reasons Judge Vargas gave last week.
But the case isn’t over yet. Despite widespread criticism and hefty legal bills, Drake seems intent on fighting this one out til the bitter end: “We intend to appeal today’s ruling, and we look forward to the Court of Appeals reviewing it,” a rep said after the decision. That means we could still be talking about the Drake v. Kendrick beef in 2026 or beyond. Stay tuned.
Other top stories this week…
MAVERICK MELEE – Days before Maverick City Music co-founder Chandler Moore announced his abrupt departure from the Grammy-winning worship collective, he sued the group and chief executive Norman Gyamfi for fraud, claiming they stole millions of dollars’ worth of royalties from him. The group strongly denied the claims as “wildly untrue,” alleging that Moore is just trying to “strong-arm” his way out of his contracts with Maverick City.
“STOP DEMONIZING” – Amid a debate over whether Taylor Swift’s new songs sound like old classics by The Jackson 5 and The Pixies, Charlie Puth took to social media to seemingly offer indirect support for his superstar pal. Though he never mentioned Taylor directly in his TikTok post, Puth told fans that “there’s only 12 notes in a scale” and that there are “bound to be similarities” to old songs when songwriters craft new ones. “We have to really stop demonizing this when it happens,” he said.
RISE UP … IN COURT – Andra Day and Jeff Evans, her manager of more than a decade, filed dueling lawsuits against each other, with each accusing the other of hoarding more than their fair share of royalty payments. Evans sued first, claiming Day was refusing to honor contract provisions that entitle him to a 40% royalty on her publishing and a 20% commission on other profits. Day then sued him back, claiming the manager had stolen more than $1 million in royalties: “Evans abused his role as a fiduciary to scam Day with blindless greed,” her lawyers wrote.
A SWIFTIE SCORNED – A Taylor Swift fan filed a class action against StubHub over allegations that the company refuses to honor its “FanProtect Guarantee,” leaving her with clearly “inferior” seats after she dropped $14,000 on Eras Tour tickets. The woman claims her pricy tickets were voided on the day of the show and StubHub offered new tickets worth only $3,600 located with “sharply angled side view of the stage” as a replacement. The case, seeking to represent potentially millions of fans, says that StubHub routinely fails to honor the FanProtect promise.
IT’S GETTING HOT – A federal judge said Nelly should be reimbursed for hefty legal bills he spent defeating a “baseless” and “frivolous” lawsuit filed by his former St. Lunatics bandmate Ali. The case claimed that Nelly owed his childhood friend a cut of royalties from the rapper’s debut album Country Grammar, but the judge said it “should have been patently obvious” that the case had “no chance of success.”
DIDDY IN REHAB Judge Arun Subramanian approved Sean “Diddy” Combs request to participate in the federal prison system’s in-house drug abuse rehab (Residential Drug Abuse Program) while serving his sentence for prostitution crimes. As Billboard‘s Rachel Scharf explains here, graduates of the RDAP treatment program can shave up to a year off their prison sentences — but there’s a catch.
CAN ZACH BRYAN SUE? The Trump administration’s Department of Homeland Security used Zach Bryan’s “Revival” in a promotional video on social media as a trolling jab at the country star after he released a song criticizing ICE raids. So Billboard wondered: Can he sue them for copyright infringement? The answer is yes, with some big qualifications.
AI LITIGATION UPDATE – A federal judge refused to allow music publishers to add claims of piracy to their lawsuit against Anthropic over copyrighted lyrics used to train the company’s Claude chatbot. The issue was important because the legality of how AI services acquire training materials — separate from the legality of using them at all — has become a key new front in the wide war over AI training.
SIA DIVORCE CASE – The singer’s estranged husband Dan Bernad demanded spousal support in their ongoing divorce case, arguing he’s owed more than $260,000 per month. Bernad said he’s “financially dependent on Sia” and that the pair live a “luxurious and upper-class lifestyle,” including private jet travel, fine dining and full-time staffers. Bernad, who was a radiation oncologist when he met Sia, also claimed the star convinced him to stop working because she disliked his long hours at the hospital.
TOUR TIFF – Rod Wave fired back at a lawsuit filed by promoter Grizzly Touring over his Last Lap tour, which claimed last month that the star owes $27 million in unrecouped advances after he failed to finish the tour. In his response, Rod said he was “was left with no option” but to cancel several dates because of massive scheduling and production issues caused by Grizzly — and that the lawsuit is trying to force him to keep working with the company.
BREAK YA CASE – Busta Rhymes filed defamation counterclaims against a former assistant, Dashiel Gables, who sued the rapper earlier this year. Gable claims the rapper assaulted him by punching him in the face for using his phone on the job, but says that claim was false and defamatory. Statements made in court are typically shielded from such claims, but Busta’s lawyers are trying to get around that rule by claiming Gables shared his case with the press and encouraged media reports about it.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-10-14 19:21:012025-10-14 19:21:01Drake Lawsuit Ruling, Maverick City Case, Taylor Swift Song Debate & More Top Music Law News
Billboard Latin Music Week 2025 is turning up the heat with an electrifying lineup of superstar pairings that celebrate the shared energy and unique perspectives shaping Latin music today. Kicking off on Oct. 20 in Miami, this year’s event will shine a spotlight on various dynamic duos. Whether it’s through Billboard chart-topping hits, cultural impact, or behind-the-scenes innovation, these creative partnerships are breaking boundaries and paving the way for a stronger, united global music community.
Fans can expect to dive deep into the artistry, strategy, and personal journeys of some of the industry’s most iconic duos. Among the must-see sessions, Anuel AA and DJ Khaled — two hitmakers killing the game in their respective styles — will sit down for an exclusive conversation about their rise, creative processes, and ambitions for the future.
Attendees will also get a front-row seat to the live creation of a hit, as Spanish balladeer Pablo Alborán joins forces with renowned producer Julio Reyes for a masterclass in music-making. Meanwhile, unapologetic forces Tokischa and Ivy Queen will spark a powerful conversation about smashing stereotypes.
And don’t miss out on other standout duos, like Carín León and his longtime producer Jorge Juárez, as they discuss their musical synergy. Then there’s the “most beautiful party in the world” BRESH and Zumba, the dance-fitness program that combines Latin hits with dynamic movement. Plus, the legendary Gloria Estefan and Emilio Estefan return for an Icon Q&A.
Here are six panels you won’t want to miss. For the full program, tickets, and more info, visit www.billboardlatinmusicweek.com.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-10-14 18:53:222025-10-14 18:53:22Dynamic Duos of Billboard Latin Music Week: Anuel AA, DJ Khaled, Ivy Queen, Tokischa & More
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Las Vegas is known for its iconic music residencies, and the new kid on the Strip, the Sphere, is becoming the hot-ticket destination for immersive live music and concerts. Since opening its doors in 2023, the impressive venue has gathered an even more impressive lineup of musical acts to grace its futuristic stage.
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For those who haven’t made their way to Sin City yet or seen the many viral emoji face memes gracing the Internet, the Sphere is a massive, spherical venue known for its immersive entertainment experiences, including concerts and films, featuring a state-of-the-art 16K resolution wraparound screen and a powerful sound system.
From U2, to Phish, to the Eagles, the Sphere is already home to some legendary rockers. U2 helped launch the space with a concert residency, U2:UV Achtung Baby Live, which went on to sell out 40 dates through its extraordinary run from September 2023 through March 2024. The show has since concluded, but fans can still experience their captivating performance through an immersive concert film showing exclusively at the Sphere.
For Eagles fans, the band continues to add additional shows to their residency this fall, thanks to overwhelming demand. Their run now features over 36 shows and over 18 weekends, which started Sept. 20, 2024, and so far concludes next February 28.
But what about other genres? As of late, the venue is slowly expanding its array of shows, including a historic run by Anyma, the first electronic artist to grace the stage; hosting the UFC 306 event; and more recently, announcing its first-ever pop act to hold a residency with the Backstreet Boys. No Doubt also just announced their residency slot for next year. There were even rumors circling of Harry Styles planning a 35-date run at the venue, but the news was unfortunately squashed.
If you’re planning a trip to Las Vegas or looking for an exciting new way to experience live music, the Sphere should be high up on your list. To help you plan your next getaway, we’ve gathered a complete list of current Sphere residencies in 2025 and 2026, as well as where to buy tickets.
See below for a roundup of Sphere residencies to check out this year and next.
October 2025:
Oct 1 – 31: The Wizard of Oz Movie (Buy tickets here or here)
Oct 3 – 31: The Eagles at Sphere (Buy tickets here or here)
Oct 17 – 18: Insomniac x Tomorrowland: UNITY Show at the Sphere (Buy tickets here or here)
November 2025:
Nov 1 – 8: The Eagles at Sphere (Buy tickets here or here)
Nov 1 – 30: The Wizard of Oz Movie (Buy tickets here or here)
December 2025:
Dec 1 – 7: The Wizard of Oz Movie (Buy tickets here or here)
Dec 5 – 13: Zac Brown Band (Buy tickets here or here)
Dec 26 – 31: Backstreet Boys: Into the Millennium (Buy tickets here or here)
January 2026:
Jan 1 – 30: The Wizard of Oz Movie (Buy tickets here or here)
Jan 2 -3: Backstreet Boys: Into the Millennium (Buy tickets here or here)
Jan 9 – 17: Zac Brown Band (Buy tickets here or here)
Jan 23 – 31: The Eagles at Sphere (Buy tickets here or here)
February 2026:
Feb 5 – 15: Backstreet Boys: Into the Millennium (Buy tickets here or here)
Feb 20 – 28: The Eagles at Sphere (Buy tickets here or here)
March 2026:
March 5 – 14: ILLENIUM presents ODYSSEY (Buy tickets here or here)
April 2026:
April 2 – 4: ILLENIUM presents ODYSSEY (Buy tickets here or here)
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-10-14 18:40:112025-10-14 18:40:11A Complete List of Current Sphere Residencies in Las Vegas
Girls Make Beats — a non-profit empowering the next generation of female producers, DJs and engineers — hosted a summit for local middle- and high-school girls at Paramount Pictures in Los Angeles on Friday (Oct. 10) in honor of International Day of the Girl.
Approximately 500 students from L.A., Compton and Inglewood spoke with executives and creatives such as Rochelle Balogun, senior hip-hop & Afro programmer at Amazon Music; Qiana Conley Akinro, senior executive director of the Recording Academy LA Chapter; producer/songwriter Trinity; and songwriter Whitney Phillips during speed mentor sessions. The girls also practiced DJing through virtual reality with Tribe XR and with Serato through TEC Leimert, a Black-owned non-profit dedicated to helping communities of color to keep pace with technological innovations in an effort to bridge a growing digital divide. Other activations at the Girls Make Beats Summit included jamming with pink and purple Girls Make Beats branded guitars in the Plug and Play area, learning about the audio pitch modification tool Melodyne with the musical software company Celemony, and checking out Mobile Sessions, a mobile recording/mix/live production studio built inside of an RV.
The girls later filed into the Paramount Theatre, where they were treated to a performance of “Big Screen” by Girls Make Beats event producer Stichiz and Janice & The JAC Trio, and greeted by host Kaiya Nyasha. Randy Spendlove, president of worldwide music and publishing at Paramount Pictures, Recording Academy CEO Harvey Mason Jr. and Phylicia Fant, global head of music industry and culture collaborations, delivered more remarks. Later, the girls tuned into the “What Is Sync Licensing?” workshop with Racquelle Proctor, senior manager of creative music strategy at Paramount, and the “How to Make a Beat” masterclass with Girls Make Beats founder Tiffany Miranda. And three students won the $1,700 You Glow Girl scholarship.
Girls Make Beats was also honored by Janelle Monáe at Songwriters of North America’s fifth annual Warrior Awards on Sunday evening (Oct. 12).
See some of the best photos from the Girls Make Beats Summit below:
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-10-14 18:40:112025-10-14 18:40:11Girls Make Beats Summit 2025 Celebrates International Day of the Girl: Best Photos
Kylie Jenner can add recording artist to her list of titles after the reality star-turned-beauty mogul released her first song on Tuesday (Oct. 14).
Reviving Jenner’s King Kylie alter ego, she teamed up with pop duo Terror Jr for “Fourth Strike.” The electro-pop track closes the loop on a decade-long journey from “Third Strike,” which was a song by Terror Jr used in a Kylie Cosmetics ad in the mid-2010s, which many initially thought featured Jenner, but that wasn’t the case.
“One strike, two strike, let me get the mood right/ Do it on purpose just to see how it ends,” she softly sings on the new song. Jenner even shouts out her King Kylie moniker to close out “Fourth Strike.”
It’s a kick of nostalgia for Jenner, as she prepared to unleash the King Kylie Collection of cosmetics. She’s also relaunching plenty of signature Kylie Cosmetics products from about a decade ago, which fans couldn’t get enough of at the time, turning her business into a billion-dollar company when Coty valued Kylie Cosmetics at $1.2 billion after purchasing 51 percent of the brand in 2019.
The 28-year-old celebrated the arrival of “Fourth Strike” with a photo dump to Instagram featuring footage of her in the studio.
“AHHHHHH!!!!!! FOURTH STRIKE!!! terror jr ft KING KYLIE!!!!! OUT NOW EVERYWHERE! what is happening!!!” she wrote. “There was a little rumor 10 years ago that I was the one actually singing on 3 strikes! it wasn’t me (wish it was) so I had the idea to come together for fourth strike and it would actually be ME FEATURED!”
However, it’s not the first time Kylie Jenner has gone viral for her vocal performance, as she was turned into a meme for singing “Rise and Shine” to wake up her sleeping daughter Stormi in a 2019 episode of Keeping Up With the Kardashians.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-10-14 18:40:102025-10-14 18:40:10Kylie Jenner Makes Her Music Debut as King Kylie With ‘Fourth Strike’: Listen
