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III Points Founder on Learning From His Mistakes and Looking For Those “F–king God’ Moments Ahead of 10th Anniversary Show

When David Sinopoli answers the phone, he’s at his Miami nightclub Jolene, rolling joints.

Sinopoli, along with member of his staff, are prepping roughly 1,000 joints as part of the gift bags artists will be getting at III Points, the festival Sinopoli co-founded in 2013, which launches its 2023 edition on Friday (Oct. 20) at Miami’s Mana Wynwood center and its adjacent blocks. Other goodie bag items include crystals and magic mushrooms. (But not too many, as in past years, a few artists got so high that they had trouble getting onstage.)

“It’s become [a tradition] where we can all get together, eat some food, everyone plays music,” Sinopoli says of this annual rolling session. “It’s really nice, fun and quite wholesome.”

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It’s also one of the personal touches that have made III Points a standout on the U.S. electronic festival circuit over the last decade, while also elevating Miami one of the crown jewels cities in the country’s electronic scene. It’s founders grew up in Miami, and the lineup is 60% local acts — Coffintexts, Jonny From Space, Nick León — along with 2023 headliners including Skrillex, Fred again.., Iggy Pop, Caroline Polacheck, Grimes and Black Coffee. The food vendors and visual artists are also all from the city, as are many of the 50,000 people who attend over its two days.

“I think it’s just very authentically Miami, and a real time capsule of Miami sonically and visually right now,” Sinopoli says of putting on a festival with an identify and real personality. “I think people feel that when they come.”

III Points is able to rep the city so well because Sinopoli and his team — “they’re connected here 365” — know it so intimately. Sinopoli is also the co-owner of Space, the city’s 24-hour bacchanal of a nightclub that he, along with Davide Danese and Coloma Kaboomsky, took over in 2016. He’s also the owner and operator of Factory Town, a 190,000-square foot arts and nightlife complex built in a World War II-era mattress factory, as well as the cocktail bar Floyd and Jolene, the intimate “sound room” where Sinopoli and his some staff are rolling Js.

David Sinopoli

David Sinopoli

Giano Currie

Born in New Jersey, Sinopoli relocated to Fort Myers with his family when he was 15. He was diagnosed with cancer while in high school, once spending five months in isolation at a Durham Children’s Hospital. A bone marrow transplant from his brother eventually brought him back to good health, and after he finished high school, Sinopoli went to college in Gainesville. He rose through that city’s nightlife scene then making a name for himself in South Florida, where he founded III Points in 2013 with his business partner Erica Freshman. Their statement-making debut lineup featured James Murphy, Jamie xx and DJ Shadow, a crew that was 180 degrees away from the big-name EDM DJs dominating the city’s club scene in that era.

Carving out a place for underground and indie-leaning electronic music, and getting acts to town that might otherwise never play there, “is part of the reason I started III Points,” Sinopoli says.

Routing a tour to Miami has long been financially challenging for artists, with many acts just skipping the city altogether. “To play Miami and be supported by Orlando and Tampa on the way down almost doesn’t make sense [for artists],” Sinopoli says. “A lot of time Orlando and Tampa don’t support the same things Miami does. Miami is in Florida, but it’s not f–king Florida.”

III Points has also been embraced within the industry for booking new acts agents are excited about, but who don’t often yet have major name recognition. Sinopoli says while such signings “maybe are not making the most sense financially,” they payoff is in fresh lineups, industry goodwill and the opportunity to break artists and grow along with them.

As the festival has expanded Sinopoli says many agents now just block off the weekend in advance then look for an offer from III Points. This is easier given the fest happens in the fall, the opposite side of the year from Miami’s other major electronic music festival, Ultra. While there’s some lineup overlap, each largely does its own thing, with Ultra driving loads of business at Space, Factory Town and Floyd each March.

Business was also shored up when III Points partnered with electronic festival behemoth Insomniac Events in 2019. The company took an ownership stake in Space and became partners in all of Sinopoli’s business ventures. “They sat with us for a long time before they stepped in in some of the areas we really needed them,” he says. “They let us make mistakes first, before they were like, ‘We can help you with that.’”

“I’m not even 40 yet,” he continues, “so I’m learning so much by mistake, and sometimes you can’t afford to keep making mistakes, because it will put you out of business.”

Insomniac has been especially helpful in training him and his team in marketing and budget management. “We would think we made money or only lost that much money,” he says, “then the real report would come out and it’d be like, a swift kick in the stomach. They helped us understand that you start with this budget, then every 30 days you cut it down, then cut it down again.”

The partnership was especially stabilizing in the pandemic and its aftermath. In 2020, III Points moved its dates four times: “It was [Insomniac’s] backing that allowed us to do it,” Sinopoli says. “If it was up to us, we would have cashed in and walked away.”

III Points 2022

Adina Yev

The peace of mind of solvency allows for a focus on music and experiences. When assembling lineups, the team first considers who hasn’t been to Miami in awhile, and who’s never been at all. Sinopoli also dreams up the moments and vibes he’d like to create, then plugs in the artists mostly likely to conjure them. This worked especially well in 2017, when The xx played the mainstage with a glowing light on the festival’s giant disco ball (“the largest disco ball on the southeast!”) that gently twinkled on the side of the warehouse wall.

“It almost looked like raindrops, then all sudden this cold drizzle of rain started coming down on the crowd.” Sinopoli looked next to him and saw his production manager was crying. “Because it wasn’t something we could have planned,” he says. “It was like this f–king God moment.”

This weekend will, fingers crossed, deliver other such magic. III Points’ six stages will host the aforementioned headliners, along with Explosions In The Sky, Bone Thugs N Harmony, Totally Enormous Extinct Dinosaurs, Alice Glass, SBTRKT, Unknown Mortal Orchestra, Moscoman & Whitesquare and many other stars and up and comers culled from both around the world and around the block.

Sinopoli laughs when asked if he feels like he runs the city’s electronic scene. “No! No, no,” he insists, listing a dozen names of people on his staff that help make it all possible. He’s been having a lot of big-picture conversations about the festival’s ten-year anniversary, but his days are more about details, like lights on the disco ball and joints rolled with love.

“We’re so deep in the bubble that I don’t really even grab on to any outside significance of it,” he says. “It’s really just about the next show.”

Bad Bunny Is Exhausted But Grateful to Be Hosting ‘Saturday Night Live’: ‘I Need to Sleep’

Bad Bunny is burning the candle at both ends as he prepares to host and perform on Saturday Night Live Oct. 21 — and when it’s all over, he’s ready for a nap.

The Latin music titan stopped by The Tonight Show on Thursday night (Oct. 19), two days ahead of his hosting debut, and confirmed that the week-long process of putting together the weekend live show is just as exhausting as it sounds. “I need to sleep,” he joked to Jimmy Fallon, who understood completely an SNL alum himself.

“I’ve been enjoying the process, all the cast and the producers,” continued the “WHERE SHE GOES” musician. “The vibe is very cool. I’m grateful and I’m very excited about this Saturday.”

He didn’t give up any details about the sketches he and the SNL cast have planned for Saturday, but he did say: “Va estar bueno,” which translates to, “It’s going to be good.”

Bunny’s Tonight Show visit comes a day after SNL shared a hilarious promo video starring the three-time Grammy winner. In the clip, Benito squares up against his own clone, trading insults in both English and Spanish. The comedy show also posted a compilation of teasers featuring Benito schooling cast member Heidi Gardner on how to correctly pronounce the name of his homeland, “Puerto Rico.”

In other Bad Bunny news, the global superstar recently surprise-dropped his album Nadie Sabe Lo Que Va A Pasar Mañana, which earned him the record for Spotify’s most-streamed LP in a single day. On Thursday (Oct. 19), he announced plans to embark on a tour next year.

Earlier in their interview, Fallon asked Benito about how it feels to perform at award shows now that he’s such a big star, with other A-list artists like Taylor Swift dancing along to his sets. “Taylor Swift just likes to dance to everybody’s music,” he shrugged. “So I know she’s gonna be hopping.”

Watch Bad Bunny on The Tonight Show above.

NCT 127 Lands Fourth No. 1 on Album Sales Chart With ‘Fact Check’

NCT 127 lands its fourth No. 1 on Billboard’s Top Album Sales chart (dated Oct. 21) as the Korean pop ensemble’s new release, Fact Check: The Fifth Album, starts atop the list with 29,000 copies sold in the U.S. in the week ending Oct. 12, according to Luminate.

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Also in the top 10 of the new Top Album Sales chart, the latest releases from (G)I-DLE, Sufjan Stevens, Van Halen, Drake, Reba McEntire and Roger Waters all debut.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

(G)I-DLE notches its third top 10-charting effort on Top Album Sales, and its highest charting set yet, as Heat bows at No. 2 with 20,000 sold. Sufjan Stevens also logs his highest charting album, and fourth top 10, as Javelin pierces the chart at No. 3 with 14,000 sold. Olivia Rodrigo’s former No. 1 Guts dips 2-4 with 13,000 (down 13%). Van Halen’s boxed set The Collection II starts at No. 5 with 11,000 sold. The package contains remastered editions of the band’s four Sammy Hagar-era studio albums, along with a disc of rarities.

Drake’s For All the Dogs starts at No. 6 with 10,000 sold, Reba McEntire’s Not That Fancy flies in at No. 7 with 9,000 and Taylor Swift’s former leader Lover rises 12-8 with 8,500.

Roger Waters’ The Dark Side of the Moon Redux debuts at No. 9 with just over 8,000 sold. It’s a cover of Pink Floyd’s The Dark Side of the Moon, with additional lyrics. Rounding out the top 10 is Swift’s chart-topping Midnights, rising 15-10 with 8,000 sold (up 5%).

In the week ending Oct. 12, there were 1.671 million albums sold in the U.S. (down 1.4% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.355 million (down 1%) and digital albums comprised 316,000 (down 3.2%).

There were 598,000 CD albums sold in the week ending Oct. 12 (up 4.3% week-over-week) and 747,000 vinyl albums sold (down 4.8%). Year-to-date CD album sales stand at 26.758 million (up less than 1% compared to the same time frame a year ago) and year-to-date vinyl album sales total 35.629 million (up 18.6%).

Overall year-to-date album sales total 77.191 million (up 5.5% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 62.802 million (up 9.8%) and digital album sales total 14.388 million (down 9.8%).

Maria Becerra Sells Out River Plate Stadium in Record Time: ‘I Was Overflowing With Happiness’

Maria Becerra had a hunch she’d sell out the Estadio River Plate because of the “hype” surrounding the show — she just didn’t know that it would sell out in record time. According to the singer-songwriter’s team, with more than 500 tickets sold per minute on Wednesday (Oct. 18), the 23-year-old artist will become the first Argentine woman to pack the Nuñez stadium on March 23, 2024. 

Ticketing company DF Entertainment’s All Access also confirmed in a social media post that Becerra sold out the venue in less than 90 minutes, noting that she made history in doing so.

“When I found out the sold out I was shocked, I was overflowing with happiness. I’m a calm person,” Becerra told Billboard Español. “But they told me, ‘You’re about to sell out,’ and it had only been an hour. And throughout the day I started to fall in the event that it implied.”

The venue has a capacity of nearly 65,000; other artists who have performed at that venue include The Rolling Stones, Coldplay, Guns N’ Roses, Harry Styles and Michael Jackson, among others.

“That night I had a hard time falling asleep, I kept talking about River, we went to dinner with my choreographer, my managers, my team, all thinking about the ideas we have been thinking about for a long time but now it is a reality and we will start working for a show that is not the end of La Nena de Argentina Tour but something designed for River, something that people will not expect and that they will be amazed with,” assures Becerra.

Fourteen thousand tickets were sold during the Oct. 17 presale, explains José Levy, who is part of Becerra’s management team. Then, a day later during the general sale, 50,000 tickets were sold in an hour and a half. “The first [Argentine] to sing in River and with a career that started in October 2019, this means a lot and gives her a very strong international projection that will make her go down in history as the first artist who at 23 years old reached this enormous achievement.”

What went into the strategy and promotion of the show was also key. Levy cites three major things that led to the sellout. Besides having a good amount of songs, the tickets were also affordable. “Tickets ranged from $10 because the idea was to offer affordable prices in a country that has a very punished economy and at election time with proposals of presidents that do not allow us to visualize if we could later sustain a ticket accessible to all social classes.” He adds, “The third was the marketing strategy, very focused on social media, which is where Maria comes from, playing with TikTok polls, reels with images of other concerts, appealing to the emotions that the public experiences on all platforms.”

Since breaking out in 2019, Becerra has cemented herself as one to watch thanks to her magnetism and versatility. Her mix of pop, cumbia villera, bachata and reggaeton, with lyrics that speak of love, heartbreak and female empowerment, has resonated with audiences both in Argentina and abroad. In 2021, she was nominated for a Latin Grammy for best new artist. To date, she has had three entries on Billboard‘s Hot Latin Songs chart, including her hit with “Qué Más Pues?” with J Balvin, as well as two top 10 hits on Latin Airplay (the No. 1 hit “Te espero” with Prince Royce, and “Éxtasis” with Manuel Turizo at No. 9) and five entries on Latin Rhythm Airplay. Most recently, she collaborated with Enrique Iglesias for a sweet bachata “Así Es La Vida”.

“The other day I was looking at a picture of the women who had filled River in the history of the stadium and it was Tina Turner, Madonna, Miley Cyrus, Lady Gaga, Taylor Swift and me. Seeing myself next to great figures like them gives me goosebumps. And as the days go by, I realize what it is, what it means, not only for me, but for women in the Argentine industry,” Becerra reflects. “I am honored. Of course I feel the pressure to live up to all of them. But people have to know that the show is going to be up to par, that it’s going to be at that level because we are aware of how big it is.”

Becerra is currently in her La Nena de Argentina Tour in South America, with upcoming performances in Uruguay, Colombia and, next year, in Chile at the Viña del Mar Festival.

Nirvana’s Dave Grohl, Krist Novoselic Tell Conan O’Brien About Band’s Disorienting Rise to Fame: ‘We Were Kids’ — Exclusive

Going from the underground to Michael Jackson-level fame overnight is mind-melting for anyone. But for the scruffy 20-something punk rockers in Nirvana it was even more disorienting, and life-changing than they could have ever imagined.

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In an exclusive Billboard preview of next week’s episode of the Conan O’Brien Needs a Friend podcast, the former late night talker sits down with living Nirvana members drummer Dave Grohl and bassist Krist Novoselic to discuss the effects of going from touring in a van to topping the charts.

O’Brien notes that there was just a three-day gap between when Nirvana’s second, and final, major label album, In Utero, dropped in September 1993 and the kick-off of his original late night talk show on NBC, Late Night With Conan O’Brien. “I remembered the music on the album — because I was such a huge fan — being background music to the terror and the weirdness of me starting a late night show from complete obscurity,” says O’Brien, who is also joined by In Utero producer/engineer Steve Albini for the chat celebrating the album’s 30th anniversary.

“That’s similar to the Nirvana experience I would imagine,” says Grohl, who recalls that he was just 21 when the band suddenly became massive in 1991 upon the release of their axis-tilting major label debut, Nevermind; Novoselic was 25, Cobain was 24. “We were kids and so when you talk about the amount of time that’s gone by to me it’s not even so much about the years, it’s about the experiences that just kind of led, one after another, going from three kids that were basically living or touring out of a van to then becoming a huge band.”

Grohl says that the divisive 1993 follow-up turned into the “uncomfortable soundtrack” to that transition from obscurity to intense scrutiny, with the band living in a totally “different world” during the sessions for that album than they were just 16 months earlier.

Trying to put the leap into perspective, Novoselic says that Geffen Records had such modest expectations for Nevermind that it initially printed only 50,000 CD copies. O’Brien adds that he spoke to someone who worked at the label at the time who noted that when the album with “Smells Like Teen Spirit” as its lead single blew up Geffen had to stop printing copies of titles by all its other artists to go full-born on Nevermind.

The three-year period between when Nevermind dropped and singer Kurt Cobain‘s death by suicide in April 1994 felt like “10 years,” according to Novoselic, with Albini putting a button on the chaotic whirlwind by describing how Nirvana went from being “couch surfers to being the biggest band ever in the world” in a span of 18 months.

The problem, O’Brien posits, is that Nirvana came out of the punk scene, where he suggests that flossy displays of wealth and success were considered anathema to the ethos of the DIY culture. Albini, however, pushes back against what he says is a notion often espoused by those outside the scene that punks consider success to be “bad and evil.” It’s worth noting that Cobain was an avowed admirer of he Beatles and that the retro video for the Nevermind single “In Bloom” was an homage to Beatlemania.

“I have never experienced that genuinely from anybody in the punk scene that wasn’t purely an expression of jealousy,” Albini says, adding that, for the most part, Nirvana’s fans wanted them to become successful and beloved. O’Brien clarifies that he was thinking more of the immense pride the band had in topping the charts — Nevermind went from selling 6,000 copies in its first week to hitting No. 1 on the Billboard 200 album chart in January 1992, pushing Michael Jackson’s Bad from the top spot — combined with a WTF? feeling from the band at their historic ascent.

“Before we made the record Nevermind we were pretty much living in squalor,” says Grohl, describing the tiny “f—ing disgusting” apartment he shared with Cobain that was covered in corndog sticks and cigarettes. “I would have done anything to have my own apartment and to be able to do that through making music.”

And, to be fair, the Foo Fighters frontman says he didn’t have $1 million in his bank account overnight when success came, but rather suddenly his per diem was a lordly $15 per day, enough for two packs of cigarettes. Grohl also says he didn’t feel conflicted or harbor any shame in helping to pay off his mother’s house or buying her a car with his newfound cashflow.

“I think the reason why I didn’t feel personally conflicted was because I knew the band hadn’t done anything outside of our true selves to get there,” Grohl says.

The full interview with the trio will debut on Monday (Oct. 23) on the Conan O’Brien Needs a Friend podcast, with an extended version including music slated to debut that same day at 6 p.m. ET on SiriusXm’s Lithium (channel 34); additional broadcasts (all ET) will take place on Oct. 23 at 9 p.m.; Oct. 24 at 10 a.m.; Oct. 25 at 12 a.m. and 1 p.m.; Oct. 26 at 5 p.m.; Oct. 27 at 8 a.m. and 8 p.m.; Oct. 28 at 2 p.m. and Oct. 29 at 6 a.m. and 6 p.m. 

Watch the preview of Grohl, Novoselic and Albini on Conan O’Brien Needs a Friend below.



Lauryn Hill Leaves It All on the Stage at ‘Miseducation’ 25th Anniversary Concert in Brooklyn

“Thank you for your grace and patience,” Ms. Lauryn Hill gushed. “I’m ’bout to sing my voice out, but that’s okay because I’m in BK!” Ms. Hill — armed with both an admirable air of gratitude and a motivation to quell the controversy caused by her tardiness at her Oct. 17 Newark opening show — mounted a glorious celebration of her seminal Miseducation album, the Fugees’ legacy, hip-hop’s 50th anniversary, Black innovation, and family, both blood and chosen, at Barclays Center in Brooklyn, NY, on Thursday night (Oct. 17).

Considering that she’s selling scores of tickets off the back of a 25-year-old album and no new material, it should be clear that Ms. Hill has nothing to prove. Yet, with a seemingly ever-deteriorating reputation as a punctual performer — fresh with new grumbles following Tuesday night’s show — Lauryn Hill did, in fact, have something to prove. Gracing the stage around 9:40 p.m., the Grammy-winner battled and conquered a slew of technical issues, holding on dearly to the two constants that have kept her such an alluring cultural figure for nearly three decades: music and family.

Donning a stunning white pantsuit complete with an oversized bow on the back, Ms. Hill opened the show with “Everything Is Everything” — a subtle nod to the ways in which the show would track the interconnectedness and cyclical nature of Black music and Ms. Hill’s approach to her art.

The Miseducation of Lauryn Hill, Ms. Hill’s debut solo album, arrived on Aug. 25, 1998. The album debuted atop the Billboard 200, making her the first solo female rapper to reach No. 1 on the chart. The record, which was certified Diamond by the RIAA in 2021, spawned three Billboard Hot 100 top 40 singles: “Doo Wop (That Thing)” (No. 1, two weeks), “Ex-Factor” (No. 21) and “Everything Is Everything” (No. 35). Miseducation won Hill five Grammys in one night, making her the first woman to do so; her album is also the first hip-hop record to receive the Grammy for album of the year. Hill’s debut solo studio album — which remains her only studio LP as a solo artist — was added to the Library of Congress in 2015.

All this is to say that few albums can sit in the same space as Miseducation, and that’s part of the reason why a tour of this nature can exist and excel. Despite delivering some of the most recognizable couplets and hooks in late-20th century pop music on Miseducation, Ms. Hill opted to perform reimagined arrangements of each track, nearly seamlessly executed by a sprawling live band featuring a hearty brass section, a standout guitarist, and background singers that, at times, assisted the crowd in singing Ms. Hill’s biggest hits with their original melodies.

More often than not, the new arrangements functioned as an extension of the Miseducation universe. During a lively rendition of “Final Hour,” she interpolated The LOX, DMX and Lil’ Kim’s “Money, Power & Respect” — a move that contextualized Miseducation with other hip-hop classics of its time and ilk. While singing “When It Hurts So Bad,” however, Ms. Hill beckoned the audience to re-contextualize that song with a montage of Tina Turner’s live performances playing on the jumbotron. Ms. Hill’s goal for the night was not to simply rest on the laurels of Miseducation, but to continue to imagine where else she can take the album 25 years after release.

Ms. Hill repeatedly spoke about writing and recording much of the album while she was in her 20s, and with motherhood and family informing so much of her introspection throughout the night’s show, she laid bare why it makes sense for her to never release another studio album. Towards the end of the set, she flashed a self-attributed quote on the screen that read: “This life is a process of learning.” Her (mis)education will never end. And, for what it’s worth, the new arrangements were terrific: a gospel-informed outro to “Superstar” was particularly moving, even while she was visibly voicing her frustration with the sound team because she was apparently unable to hear herself onstage. The new arrangements also allowed Ms. Hill to find new pockets, providing the foundation for some truly virtuosic rapping to complement the rasp and physicality that bookmarked her singing.

“To Zion” was the obvious peak of the night; Barclays Center may never feel that small and intimate again. With a montage of home videos playing in the background, Ms. Hill fought through tears to deliver a downright magnificent performance of one of her most personal and beloved songs. Zion himself took a break from his stage duties to hug and console his mother, eventually returning to the spotlight to give a brief message of world peace and love. Zion Marley was far from the only Marley present onstage on Thursday night: Ms. Hill brought out her former partner Rohan Marley for a trip down memory lane as they recounted the making of Miseducation (as well as the making of their five children), and her son Joshua Omaru Marley performed in the middle of “Doo Wop (That Thing),” effectively killing the crowd’s already dwindling energy considering how late the night was getting. Outside of her blood family, Ms. Hill also took some time to celebrate the original members of her band and tour crew who are still with her 25 years later.

Following an action-packed solo set — at one point, she stopped the show to make sure security could attend to a fan in need of assistance — Wyclef Jean and Pras joined Ms. Hill onstage to herald the beginning of the Fugees set in celebration of The Score’s 27th anniversary. By the time the trio got into the meat of their set, the crowd — most of which looked like they experienced the height of Miseducation and The Score in real-time — didn’t have the energy Wyclef was looking for. Nonetheless, their set was just as exhilarating as Ms. Hill’s solo showcase. Between breathless renditions of “Vocab,” “Nappy Heads,” and hits like “Killing Me Softly” and “Ready or Not,” Fugees’ dynamic performance was yet another example of the old heads outclassing the new school in terms assembling an engaging and consistent live show.

Ms. Hill’s penchant for new arrangements also permeated Fugees’ set, with a drill remix of “Fu-Gee-La” drawing Wyclef into the center of the crowd as the track morphed to include snippets of Bobby Shmurda’s “Hot N—a.” Wyclef also delivered some standout solo moments, including a tender cover of Bob Marley’s classic “No Woman, No Cry” and a bombastic rendition of “911.” Given Brooklyn’s rich history of West Indian-American culture, it was a particularly rich site for Fugees to commemorate The Score, and that much was felt as Wyclef and Pras gushed about their love of Kings County, from Flatsbush Avenue to the parkway.

An intensely emotional and physical show that highlighted the multitudes of blessings music can bring in this life, The Miseducation of Lauryn Hill 25th Anniversary Tour‘s stop in Brooklyn made for a challenging but triumphant night for two musical acts who the industry is still desperately trying to catch up to.

Mariska Hargitay Gushes Over Taylor Swift’s Impact on Kids: ‘She’s Pure Magic’

Mariska Hargitay is a Swiftie for life. The Law & Order: Special Victims Unit star — whose character, Olivia Benson, is the namesake of one of Taylor Swift‘s cats — gushed about her admiration for the “Anti-Hero” singer.

“She’s pure magic,” Hargitay told Entertainment Tonight Thursday (Oct. 19) at the WMC Women’s Media Awards in New York City. “There’s nothing she can’t do. It’s been so beautiful to reconnect to that innocence, you know? I think Taylor gives such a beautiful message to kids and unlocks these girls’ emotions.”

The actress attended multiple Eras Tour shows around the country, and walked the red carpet with her 12-year-old daughter, Amaya, at the pop star’s concert film premiere earlier this month. “I see how it affects my daughter and she cries and just opens up like a flower,” Hargitay noted of Swift’s impact. “And [I see] how meaningful it is, and I’m grateful to be part of it and watch that journey.”

“It’s been so beautiful [to see] how she gracefully walked through her journey and allowed herself to evolve and truly step into her power pose, her talent and all of her glory,” she added. “And she’s got quite a bit of it … I think she is a magicmaker.”

Hargitay has been pals with Swift since the two became friendly at an Ingrid Michaelson concert in 2014, and the “Karma” musician even cast her in the 2015 music video for “Bad Blood.” The SVU star appeared side by side with Ellen Pompeo, whose Grey’s Anatomy character, Meredith Grey, is the namesake of another of Swift’s cats. Later that year, she walked the stage with the 12-time Grammy winner at a 1989 Tour show.

Swift’s Eras Tour film was a box office success before it even premiered Oct. 11, with AMC Theaters reporting an unprecedented demand for tickets. It grossed $92.8 million in its first weekend, becoming the top music concert film of all time.

“I’ve always had fun doing this,” Swift said at the project’s world premiere in Los Angeles. “I can’t believe I get to do music as a career. That’s crazy. I’ve always had so much fun doing it. I’ve never had this much fun in my life as I have had on The Eras Tour. It is far and away just the most electric experience of my life.”

Nicki Minaj Freestyles Over Drake & Chief Keef’s ‘All the Parties’: Listen

Pink Friday 2, the sequel to Nicki Minaj’s blockbuster 2010 debut studio album, arrives on Nov. 17, and the Head Barb has yet another special Pink Friday surprise for her Barbz. On Friday morning (Oct. 20), the “Last Time I Saw You” rapper took to her official YouTube account to upload a freestyle over Drake and Chief Keef’s “All the Parties.”

“These b—–s don’t want beef, chef, hold the steak/ These b—–s don’t want smoke, say ‘no’ to vape/ I get these b—–s scramblin’ when I throw the bait/ One sub kill five b—–s, OceanGate,” she spits before referencing her still-unreleased “Big Difference” track, which she teased during her performance at the 2023 MTV Video Music Awards with the line “Like three hunnids blue.” Minaj tackles the crisp beat after letting Drake’s original first verse and Chief Keef’s chorus play in full.

“All the Parties” is from Drake’s For All the Dogs, which recently became hits 13th No. 1 title on the Billboard 200 and spawned the Billboard Hot 100 No. 1 single “First Person Shooter” (with J. Cole). Minaj was originally set to appear on the album, according to an announcement from Drake himself during his July 8 It’s All a Blur tour stop. “I’m gonna give away one thing for you tonight because I got a lot of love for Detroit,” he said on stage. “So I’m gonna have to tell you that me and Nicki Minaj did our first song together in, like, a really long time. I got a lot of love for her.”

Nonetheless, when the 23-song set arrived on Oct. 6, Minaj was absent from the tracklist. Through “For All the Barbz,” YMCMB fans can find some solace and celebrate a new unofficial collaboration between the Harajuku Barbie and the 6 God.

On Oct. 12, Minaj posted a Twitter poll for her fans to decide what the next Pink Friday surprise would be. Although she eventually ended up releasing a Pink Friday 2 reject called “Bahm Bahm,” Minaj initially joked, “Ion feel like doing no freestyle right now my G!!!! ?? Go vote yall!” when she saw the freestyle option winning the poll.

Check out Nicki Minaj’s new freestyle below:



Maluma & His Girlfriend Are Expecting a Baby: Watch the Reveal in ‘Procura’ Music Video

Maluma is going to be a dad!  The Colombian artist revealed that he and his girlfriend, Susana Gomez, are expecting their first child together via a new music video posted at midnight on Friday (Oct. 20). 

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Titled “Procura,” the song is an edgy bachata-urban fusion about two people who are crazy for each other and have an unforgettable romance. At the beginning, Maluma is giving a speech at one of his previous concerts and shouting out his girlfriend: “I love you. So many years looking for love elsewhere and I didn’t realize it was next to me.”

The four-minute video documents the couple’s relationship with never-before-seen clips, the heartfelt moment they found out they were going to be parents and the lavish sex reveal, when they found out they will be having a girl. The couple also revealed she will be named Paris. 

The “Hawái” singer first made the big reveal during his Don Juan tour stop in Washington, D.C., on Thursday (Oct. 19). 

“Music is the only way I can talk to my fans and I wanted to let them know that I’m having a baby,” he said in an interview with NPR Music‘s Alt.Latino. “It’s perfect timing with all of the things that I’m living. I’m looking for more personal experiences too […] I also want to grow as a human being, not only as an artist. This makes me feel so human, but at the same time, the more human I feel, the more artist I get.”

He’s always dreamt of fatherhood, he admitted. “Paris, our beautiful daughter, is growing inside her mom’s belly and she gives me many reasons to keep dreaming. She made a reset in my mind. She’s everything for me right now. My days are brighter than ever,” he expressed.

Listen to Maluma’s new single and watch the sweet baby announcement above. 

Kanye West Not Running For President in 2024

While a herd of GOP candidates are trying to overcome seemingly insurmountable odds to unseat Donald Trump as the Republican who will take on President Joe Biden in next year’s election, there is now at least one no-chance campaign you can scratch off the list.

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Kanye West‘s personal attorney, Bruce Marks, told Rolling Stone on Thursday (Oct. 19) that the rapper who now goes by just Ye will not throw his hat in the ring a second time. “He’s not a candidate for office in 2024,” said Marks, who is reportedly working on winding down the rapper’s campaign, seemingly before it even got started.

An October Federal Election Commission filing by Ye’s Kanye 2020 political committee showed that the campaign had allocated zero dollars for primary expenditures in all 50 states and U.S. territories in the most recent reporting period from January to September of this year; it also appeared to show that the campaign raised zero dollars in the most recent reporting period and had less than $25,000 cash-on-hand.

At press time Marks had not returned Billboard‘s request for comment on the winding-down of Ye’s presidential bid.

West’s once formidable music and fashion career melted down last year after the rapper went on a hateful string of antisemitic rants. He has kept a low profile since then and the news of his halted second bid for the White House is not surprising giving the anemic showing of his first run.

Ye announced the launch of his long-shot presidential campaign under the “Birthday Party” banner on July 4, 2020, so late in the game that he managed to get on the ballot in just 12 states. With only one campaign appearance and two 11th hour video ads, despite what could have been a major pop culture megaphone and built-in audience of millions, West’s vote totals in the election between one-term president Donald Trump and President Joe Biden resulted in a grand total of 60,000 votes after the rapper reportedly pumped $9 million of his own money into the failed bid.

The most recent Ye presidential campaign got off to a rocky start in May when British right-wing political commentator Milo Yiannopoulos proclaimed that he was the “director of political operations” for the “YE24” campaign; RS reported that Yiannopoulos — whom the Anti Defamation League has dubbed a “misogynistic, racist, xenophobic, transphobic troll” — is no longer on Ye’s political payroll. The magazine also reported that there were serious questions raised earlier this year about whether it was even legal to hire a foreign national to work in a decision-making role in an American political campaign.

An unnamed source also reportedly told the magazine that the unpredictable MC could change him mind, but that “there’s no plan to do that… there’s no campaign structure or anything along those lines in place,” dubbing chances of a possible reboot of the campaign as “beyond remote.”

At press time it did not appear as if Ye had commented on the report about his reportedly scotched bid.