HUNTR/X’s “Golden,” from Netflix’s smash film KPop Demon Hunters, leads the Billboard Hot 100 for a sixth week — becoming the sole longest-leading No. 1 from a soundtrack this decade, and the longest-ruling such song in more than 10 years.

“Golden” surpasses Encanto ensemble anthem “We Don’t Talk About Bruno,” which led the Hot 100 for five weeks in 2022, for the most time on top among movie music this decade. No soundtrack song has led longer since “See You Again,” by Wiz Khalifa featuring Charlie Puth, from Fast & Furious 7, revved to a 12-week reign in 2015.

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The honor is the latest for “Golden,” which first crowned the Hot 100 in August, making HUNTR/X — the singing trio of EJAE, Audrey Nuna and REI AMI, in the roles of KPop Demon Hunters characters Rumi, Mira and Zoey — the first female group associated with Korean pop to reach No. 1 on the chart.

“Golden” is also the sole longest-leading hit by an animated group in the Hot 100’s 67-year history, while KPop Demon Hunters is the first soundtrack to generate four simultaneous Hot 100 top 10s. The songs rank in the region together for a fifth week, with Saja Boys’ “Soda Pop” holding at its No. 5 high and “Your Idol” down to No. 6 from its No. 4 best and HUNTR/X’s “How It’s Done” descending to No. 10 from its No. 8 peak.

Browse the full rundown of this week’s Hot 100 top 10 below.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Sept. 27, 2025) will update on Billboard.com Tuesday, Sept. 23. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

A new season of NBCUniversal Local’s Emmy-nominated series The Swift Effect — which covers Taylor Swift‘s economic and brand power — will kick off its second season on Oct. 2 on Peacock and the NBC-owned stations’ free, ad-supported streaming TV (FAST) channels with the debut episode “A New Era.”

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The show’s return will coincide with the Oct. 5 release of Swift’s upcoming album, The Life of a Showgirl, with the episode airing on the FAST channels at 10:30 p.m. and 11:30 p.m. ET and then encoring on CNBC and NBC News Now on Oct. 4, before hitting NBC-owned stations on album release day.

“We’re thrilled to present the next installment our series just as she embarks on the next phase of her groundbreaking career with her highly anticipated new album and the personal news she recently announced,” said Diane Petzke, NBCU Local V.P. of programming and partnerships and one of the series’ executive producers. “Her remarkable story as a performer, businesswoman and cultural icon continues to expand and evolve, and we’re proud to continue to explore her and her impact in a meaningful way.”

The first, four-episode season of the series was nominated for a 2025 Daytime Emmy award in the arts and popular culture programming category; the 52nd annual Daytime Emmys will be held on Oct. 17.

According to a press release, the “A New Era” episode will reveal Swift’s impact on the rise of fan-led media, as well as, “the growth of Swift-focused journalism, and the way traditional outlets now approach coverage of her work. The new episode explores how the icon has redefined the balance of power between artist, audience and the press through the lens of influencers, podcasters, established media figures and other leading experts.”

Among the experts who appear in the episode are dedicated USA Today Swift reporter Bryan West, the New York Post Page Six editorial team, the co-hosts of the Taylor Watch podcast Kelly Keegs and Gia Mariano; psychotherapist, author and commentator Dr. Robi Ludwig, Swift influencer Vinny Sonderby, author and music critic Annie Zaleski, DNY senior strategic advisor Valerie DiFebo, Billboard deputy editor Andrew Unterberger and others.

“With each new episode of The Swift Effect, we’re showcasing another layer of Taylor Swift’s influence — not just as an artist, but as a force reshaping industries,” said series producer Cody Broadway. “This next chapter continues to spotlight the ripple effects of her creativity, showing how one person’s vision can spark cultural and economic transformation on a global scale.”

Check out the scheduled for the “A New Era” episode below.

Peacock:
Oct. 2 at 12:00 a.m. ET
NBC-Owned Stations FAST Channels:
Oct. 2
10:30 p.m. ET / 7:30 p.m. PT
11:30 p.m. ET / 8:30 p.m. PT
CNBC:
Oct. 4 at 10 p.m. ET
NBC News Now:
Saturday, Oct. 4 at 11 a.m. ET
Sunday, Oct. 5 at 10:30 p.m. ET
NBC-Owned Stations:
Oct. 5
NBC 7 San Diego, NBC 4 Los Angeles, NBC Bay Area: 11 a.m. PT
NBC 5 Dallas-Fort Worth, NBC 5 Chicago: 1 p.m. CT
NBC6 South Florida: 12:30 p.m. ET
NBC4 Washington, NBC Connecticut: 1 p.m. ET
NBC10 Philadelphia: 1:30 p.m. ET
NBC 10 Boston, NBC 4 New York: 2 p.m. ET


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It sounds like Donna Kelce is ready for Travis Kelce and Taylor Swift to have 10 kids and teach them how to dream.

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On the latest episode of New Heights posted Monday (Sept. 22), Jason Kelce revealed that his mom is turning up the “pressure” on her younger son to start a family following the Kansas City Chiefs tight end’s engagement to the pop star. The topic first came up as the two brothers were talking to Deion Sanders, who joked about how he keeps a running ranking of his children.

In response, the former Philadelphia Eagles center said of Donna, “Mom’s always had Travis [at] No. 1.”

Travis, however, thinks that the ranking has been reversed ever since his older brother started having children. Jason is a dad of four girls, sharing 5-year-old Wyatt, 4-year-old Elliotte, 2-year-old Bennett and 5-month-old Finn with Kylie Kelce.

“Listen, right now, Mom has Jason No. 1, because he has kids,” the Happy Gilmore 2 star told Sanders, to which Jason replied, “That is true, she has made that comment.”

“She’s put some pressure on him,” Jason added of his little brother, to whom Sanders then joked, “What are you waiting for?”

Though Travis and Swift may not be starting a family just yet, the couple did recently make a major step in that direction by announcing their engagement in August. Sharing photos of the pop star’s sparkly new ring and the football player down on one knee, they wrote at the time, “Your English teacher and your gym teacher are getting married.”

The people in the couple’s lives have had nothing but kind things to say in the aftermath, with Donna changing her Facebook banner to show side-by-side childhood photos of her youngest son and Swift. Jason congratulated his baby brother on “the proposal heard ’round the world” in a solo New Heights segment, while Kylie later told Good Morning America that her daughters were “thrilled” to welcome Swift into the family.

“They’re so excited they’re getting another aunt,” the podcaster added at the time. “And we could not be more excited for them and what the future holds. We love love, and we love Taylor and Trav.”

Watch the full new episode of New Heights below.


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In the wake of today’s (Sept. 22) announcement of Sylvia Rhone‘s departure as chairwoman/CEO of Epic Records at the end of this month, Billboard has obtained two letters that Rhone wrote to her Sony and Epic families.

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Rhone exits Epic after 11 years, coming on board as president of the company in 2014 before being elevated to chair/CEO in 2019. Her trailblazing career has seen her become the first Black executive and first woman to chair a major record company, having been appointed to oversee Elektra Entertainment Group in 1994.

Over the course of her five-decade career, the pioneering executive has been honored with such accolades as the City of Hope’s Spirit of Life Award, the Black Music Collective’s Recording Academy Global Impact Award, the Black Music Action Coalition’s BMAC Clarence Avant Trailblazer Award and the Vanguard Award at the inaugural Black Women in Music dinner last year. In 2023, she was named Billboard’s Women in Music executive of the year, where she was feted as “a force, an alchemist, a savant of creative artistry and an inspiration to all women for the glass ceilings you have conquered.”

Read both of Rhone’s notes in full below.

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TO MY EPIC FAMILY,

As I step away from this role that has defined so much of my journey, I am filled with pride in the extraordinary tapestry we’ve created together. From Future to Travis Scott to 21 Savage, Meghan Trainor, Tyla, Madison Beer, Giveon, Zara Larsson, Mariah the Scientist, Absolutely, ScarLip, BIA, UMI, Real Boston Richie, Eddie Benjamin, the late, great Ozzy Osbourne and more.

At this pivotal time in music history, your voices have not just survived; they have soared. Your creativity doesn’t just fill rooms and bottom lines — it fills the spaces between heartbeats, just when the world needs reminding that the soul of music still exists.

Together, we’ve scored the soundtrack to countless lives. We’ve given voice to the voiceless and rhythm to the restless. Your contributions haven’t just shaped our catalog — they’ve shaped culture itself. Every late night in the studio, every “what if we tried this,” every moment you pushed past the comfortable into the extraordinary — these are the building blocks of our legacy.

Thank you for trusting me with your brilliance. Thank you for making every day feel like the first-time music was invented. Your voices make a difference. Your creativity makes a difference.

You make a difference.

The stage is yours now. Make it sing.

Sylvia ❤️

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TO MY SONY FAMILY,

It’s been an extraordinary journey: eleven years since my promotion to President of Epic Records and six years since my appointment as Chairwoman and CEO. This role at Epic represents the third time in my career that I’ve been the first woman and first Black person to serve as CEO of a major record label owned by a Fortune 500 company.

And today, I am moving on from this historic role at Epic and I’m very excited about the future.

I’ve always been surrounded by excellent teams, but our current one at Epic is extraordinary. Spanning multiple generations, our team understands music’s history, finds meaning in complex data, and anticipates emerging trends. From Travis Scott, Future and 21 Savage, to Meghan Trainor, Tyla and Madison Beer, Zara Larsson to Giveon and Mariah The Scientist, Q-Tip to Andre 3000 and the late, great Ozzy Osbourne…Epic artists thrive through bespoke campaigns that honor their unique voices and goals. While helping artists maintain authentic fan connections, our team guides them through partnerships in video, fashion, gaming, and content innovation. We’re proud of leading Sony Music’s 2020 “Your Voice, Your Power, Your Vote” campaign and fostering a workplace culture that reflects our values: 62% women and 57% people of color. From day one, we set out to build something special at Epic — and we have.

This moment of my transition invites reflection on a journey that has been wide-ranging in its scope and impact.

Following my graduation from The Wharton School, I started as a secretary at Buddha Records and after working my way up through radio promotions, I was privileged to be appointed SVP of Black Music at Atlantic Records.  Those times feel like yesterday, working with Roberta Flack, Donny Hathaway, En Vogue, LeVert, Brandy, Adina Howard, Troop, DAS EFX, Snow, MC Lyte, Kwamé, Miki Howard, Gerald Albright, The System and Ice Cube’s Lynch Mob and Yo-Yo.  Through our Ruthless Records deal, we also released The D.O.C., JJ Fad, Michel’le, and Easy-E.

In July 1994, I was appointed Chairwoman of Elektra Records, where we orchestrated a cultural renaissance that still resonates today. There, we became guardians of musical diversity, nurturing the power of AC/DC and Metallica alongside the genius of Missy Elliott and Busta Rhymes. From Pantera’s intensity to Phish’s improvisational spirit, from Tracy Chapman’s truths and Anita Baker’s soul to Tamia’s powerful vocals — each artist flourished on their own frequency. Third Eye Blind, Yolanda Adams, Silk, Ol’ Dirty Bastard, Gerald LeVert, Keith Sweat, Natalie Merchant, The Cure, Björk, Staind, Better Than Ezra, The Afghan Whigs, and Jason Mraz all found their home in our musical family, creating moments that transcended mere entertainment.

Then came my chapter at Motown, where the label’s iconic history and its future converged under my leadership as Chairwoman and CEO. It was an honor to record Stevie Wonder’s last full-length studio album while simultaneously collaborating with artists like Nelly, Erykah Badu, Kid Cudi, and Akon. We also extended hip-hop’s global reach by distributing Cash Money Records’ roster — elevating Baby, Lil Wayne, Nicki Minaj, and Drake.

I am blessed to have worked with some of the most brilliant and influential artists in the history of recorded music. And I’ve discovered this: when we channel our strength and creativity in service of a vision, and collaborate with artists who do the same, we create music that reflects our world, questions our assumptions, and uplifts our spirits. This is a kind of magic, a deeply human connection. Right now, when music’s DNA is being reimagined, when artists face existential challenges, and when all of us are building the future in real time, there is little that is more profound.

Looking back on my Epic era fills me with great pride. To my team of creative champions, you now hold the reins, and I know your best work lies ahead. I’m grateful for Zeke Lewis, Rick Sackheim, Sandra Aflorei, Tyler Pittman, John Shoup, Dave Bell, Lisa Kasha, Shannon Mingal, Margeaux Watson, Justin Duran, Chelsea Donnarumma, Brooke Marcimo, Mez Tara, Gina Harrell, Melissa Victor, Traci Adams, Scott Dimig, Dontay Thompson, Jennifer Goicoechea, Patrick Afeku, John Kirkpatrick, Michael Petullo, Max Sholl, Hector Rosario and the countless other executives who made Epic Records home.

I thank my daughter Quinn for her unconditional love and my late parents Marie and Bob Rhone for their heroic support. And I am forever grateful for my prior teammates from over the years. Not only did we work great music, but we also created an amazing network of advocacy and goodwill! Thanks to Rob Stringer for his trust and camaraderie and to Doug Morris for empowering me to shatter the glass ceiling.

I have worked in our industry since vinyl ruled, and women were rarely if ever in line for C-level or even vice-presidential roles. I am proud of my achievements, and of my commitment to those who take inspiration from them. The many individual honors I’ve received — from Billboard, Fortune Magazine’s Most Powerful Women, Essence, Variety, Ms. Magazine’s Woman of the Year, and the recent honorary doctorate from Berklee College of Music — serve as grace notes on my years of dedication. But they pale beside what we’ve all built together. They pale beside the glory of our musical culture.

Onward and upward,

Sylvia

Mike Tyson has settled a lawsuit claiming he illegally used the Jay-Z, DMX and Ja Rule song “Murdergram” an Instagram video promoting his boxing match against Jake Paul.

The deal, filed in court Monday, will resolve a case filed last month against the boxing legend by Ty Fyffe, a producer and co-writer of the 1998 track who claimed that Tyson had willfully infringed his copyrights by using the song in a training video ahead of his much-hyped fight with Paul.

The terms of the settlement were not disclosed in court filings, and neither side immediately returned requests for comment on Monday. Jay-Z (Shawn Carter), DMX (Earl Simmons) and Ja Rule (Jeffrey Atkins) were not involved in the case.

“Murdergram” was recorded by Jay-Z, with DMX and Ja Rule featured, as part of the soundtrack to the star’s 1998 film Streets Is Watching. Fyffe, a veteran hip-hop producer with a long list of prominent credits, says he served as a producer and co-writer on the song and owns a portion of the copyright.

Fyffe sued in August over a 33-second video Tyson posted to his 33 million Instagram followers in November 2024, just weeks before the bout with Paul. The video allegedly showed Tyson training for the fight – and visibly mouthing along to the hard-nosed lyrics of the song.

When it comes to music, social media has increasingly become a legal minefield. TikTok, Instagram and other services provide their users with huge libraries of fully licensed songs to play over their videos, but those tracks are strictly for personal use and cannot be used for commercial videos. That kind of content requires a separate “synch” license, just like any conventional advertisement on TV.

Fyffe claimed that by using the song in a video hyping his fight with Paul, Tyson was making that kind of commercial use of “Murdergram.” He cited reports that Tyson was paid more than $20 million for the fight, which was watched live by more than 100 million people and broke Netflix viewing records.

“Neither plaintiff nor any of his representatives granted defendant Tyson permission to use the song title ‘Murdergram’ to promote his boxing match with Jake Paul,” the producer wrote in his lawsuit, which argued that he was entitled to both royalties and a cut of Tyson’s profits from the fight. “Defendant Tyson’s conduct was intentional, willful and with full knowledge of plaintiff’s copyright in the song.”

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Have you ever asked yourself, “Am I the drama?” If so, Cardi B’s latest merch drop at Hot Topic is for you.

The “Press” rapper just launched a T-shirt at the retailer in support of her new album, Am I the Drama?, which was released on Sept. 19. The 23-track album marks Cardi’s full-length return after a seven-year gap following her 2018 album Invasion of Privacy, which took the music world by storm. For fans eager to rep the star and her long-awaited new album, Cardi’s Drama T-shirt is currently available to shop at Hot Topic in store and online. The best part? It’s currently 20% off.

Retailing for $21.52, the unisex tee comes in sizes XS through 3X and depicts a graphic of the rapper’s face on the front in muted hues above the album’s title in bold white lettering. The black tee is made of breathable and easy-to-clean 100% cotton and comes in a standard, slightly baggy fit.

Cardi B's 'Am I the Drama?' Shirt: Where to Buy

Cardi B Drama T-Shirt

$21.52 $26.90 20% off

Buy Now at hot topic

A black T-shirt with Cardi B’s face on it.


It’s a simple style that we can see getting a lot of use, especially if you’re looking for something subtle. Versatile pieces like this are easy to style alongside everyday basics such as baggy jeans or even sweatpants if you’re in the mood for something comfy. All this to say that you’ll want to act fast and take advantage of this deal before the shirt is gone for good.

To celebrate the launch of her tee and her vinyl in store, Hot Topic hosted a meet-and-greet for fans on Sept. 21 held at Queens Center mall in New York. Fans who pre-purchased Cardi’s new album via Hot Topic received wristbands for entry. The event was first-come, first-served, and gave fans the opportunity to meet and chat with the performer, if only briefly.

Am I the Drama? has already received a Platinum certification by the Recording Industry Association of America. The project features a host of features from top artists including Megan Thee Stallion, Selena Gomez, Kehlani, Summer Walker, Lizzo, Cash Cobain, Lourdiz, Janet Jackson and Tyla. Previously released singles WAP and Up are also featured on this new offering.

“Since then, I’ve experienced a lot. The good and bad of fame, the hate, jealousy, drama, balancing my career with my personal life and growing up and maturing,” Cardi told Billboard in her cover story. “I’ve learned to control my emotions and understand how life works and how to play chess better.”

With just a few more days until its official release date, SEVENTEEN spin-off group CxM — comprised of members S.COUPS and MINGYU — provided a preview of their upcoming debut mini album, HYPE VIBES, on Monday morning (Sept. 22). The sneak peek at the six-track mini album due out on Friday (Sept. 29) came in the form of a three-minute mash-up of visuals for the songs from the K-pop boy band’s members.

The wild ride kicks off with the flute-looping hip-hop track “Fiesta,” in which the men take a road trip and party on the beach with some of their pals, before dipping into the more pop-oriented, “5, 4, 3 (Pretty Woman)” featuring Lay Bankz. That track rides on a bouncy Chic-like disco vibe while interpolating the chorus from Roy Orbison’s signature 1964 Billboard Hot 100 No. 1 hit, “Oh, Pretty Woman.”

Next up is “Worth it,” a Bieber-esque Korean-English language pop banger and the breezy “For You,” in which the duo take a run, cook a meal, play corn hole and frolic on the beach with adorable puppy. The reel ends with the sweeping ballad “Young Again,” accompanied by footage of the pair diving into the ocean from a yacht, surfing and lamenting that they’ll never “be this young again,” and “Earth,” a jittery EDM track with glitchy vocals to match the flickering visuals.

Both members of the 13-man South Korean boy band are credited with songwriting and composition on all six tracks from the upcoming EP. In the meantime, the whole group, which also features members — JEONGHAN, JOSHUA, JUN, HOSHI, WONWOO, WOOZI, THE 8, DK, SEUNGKWAN, VERNON and DINO — will hit U.S. shores next month for their SEVENTEEN WORLD TOUR [NEW_] IN U.S. The nine-show run will kick off on Oct. 11 at the Tacoma Dome in Tacoma, Wash., and feature stops in Los Angeles, Austin, Texas, Sunrise, Fla. and two gigs at Capital One Arena in Washington, D.C. on Oct. 29-30.

Watch the Hype Vibes Flow video below.


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Selena Gomez, Olivia Rodrigo and hundreds of other artists are speaking up after Jimmy Kimmel Live! was pulled from the airwaves.

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In an ACLU letter signed by more than 400 entertainers, some of the most famous names in pop culture rallied together to show support for Jimmy Kimmel following the suspension of his late-night program on ABC. “We the people must never accept government threats to our freedom of speech,” the letter reads.

“Last week, Jimmy Kimmel was taken off the air after the government threatened a private company with retaliation, marking a dark moment for freedom of speech in our nation,” it continues. “In an attempt to silence its critics, our government has resorted to threatening the livelihoods of journalists, talk show hosts, artists, creatives and entertainers across the board.”

Ben Platt, Cyndi Lauper, Debbi Gibson, Joe Keery, Lin-Manuel Miranda, Rufus Wainwright, Sheryl Crow and Tom Morello were also among the musicians who signed the letter, which ended with a call to action to “fight to defend and preserve our constitutionally protected rights,” regardless of political affiliation. Actors such as Meryl Streep, Joaquin Phoenix, Florence Pugh, Adam Scott, Ben Stiller, Jennifer Aniston, Lena Dunham, Mark Ruffalo and Natalie Portman also added their names.

The letter comes less than a week after ABC announced that it was indefinitely suspending Jimmy Kimmel Live! following pressure from the Federal Communications Commission. (The Walt Disney Co. owns ABC, Hulu and ESPN, among other media properties.) Brendan Carr, the FCC’s chairman, had threatened to revoke the licenses of the network’s affiliates who continued to air Kimmel’s program in light of comments the host made about the fatal shooting of conservative commentator Charlie Kirk earlier in September.

“We hit some new lows over the weekend with the MAGA gang desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it,” Kimmel had said on the program.

Rodrigo — who appeared on Kimmel in 2021 and 2023 and teamed up with the program to surprise trick-or-treaters last year — shared her own personal statement denouncing the suspension on Instagram Stories shortly afterward. “So upset over this blatant censorship and abuse of power,” the pop star wrote Sept. 20. “I stand with Jimmy Kimmel and I stand for freedom of speech.”

See the ACLU letter and its list of signees in full below.


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Sylvia Rhone, the first Black industry executive and woman to chair a major record company, is exiting her post as chairwoman/CEO of Epic Records. Effective at the end of this month, Rhone’s departure comes six years after she was promoted to chair/CEO in 2019. Prior to that, Rhone had served as Epic’s president since 2014.

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In a statement to global Sony Music employees obtained by Billboard, Sony Music Group chairman Rob Stringer said, “Today, I want to take a moment to reflect on the extraordinary career of Sylvia Rhone. In an industry defined by its constant evolution, Sylvia has adapted and embraced change, time and time again. Her journey is more than just a list of accomplishments. She is a trailblazing executive with a distinguished background and unwavering commitment to supporting artists.

“She has made history including becoming the first woman to be named Chair of a major record company and guided some of the biggest artists in our business across every genre. Sylvia’s influence is rooted in an understanding of music’s power to connect with people. 

“And as Chairwoman and CEO of our Epic Records, she has shepherded No. 1 chart successes with 21 Savage, Future, Travis Scott and Tyla among others. It has been our honor to work with a true icon and our collective responsibility to continue to build on her work at Epic Records. Thank you, Sylvia, for your leadership and inspiration.”

In a letter obtained by Billboard that Rhone addressed to “My Sony Family,” she said in part, “It’s been an extraordinary journey: 11 years since my promotion to President of Epic Records and six years since my appointment as chairwoman and CEO. This role at Epic represents the third time in my career that I’ve been the first woman and first Black person to serve as CEO of a major record label owned by a Fortune 500 company.

“And today, I am moving on from this historic role at Epic and I’m very excited about the future. I’ve always been surrounded by excellent teams, but our current one at Epic is extraordinary. Spanning multiple generations, our team understands music’s history, finds meaning in complex data, and anticipates emerging trends. From Travis Scott, Future and 21 Savage, to Meghan Trainor, Tyla and Madison Beer, Zara Larsson to Giveon and Mariah The Scientist,  Q-Tip to Andre 3000 and the late, great Ozzy Osbourne, Epic artists thrive through bespoke campaigns that honor their unique voices and goals … From day one, we set out to build something special at Epic — and we have.

“This moment of my transition invites reflection on a journey that has been wide-ranging in its scope and impact … I am blessed to have worked with some of the most brilliant and influential artists in the history of recorded music. And I’ve discovered this: when we channel our strength and creativity in service of a vision, and collaborate with artists who do the same, we create music that reflects our world, questions our assumptions and uplifts our spirits. This is a kind of magic, a deeply human connection. Right now, when music’s DNA is being reimagined, when artists face existential challenges, and when all of us are building the future in real time, there is little that is more profound.

“I am forever grateful for my prior teammates from over the years. Not only did we work great music, but we also created an amazing network of advocacy and goodwill! Thanks to Rob Stringer for his trust and camaraderie and to Doug Morris for empowering me to shatter the glass ceiling … I have worked in our industry since vinyl ruled, and women were rarely if ever in line for C-level or even vice-presidential roles. I am proud of my achievements, and of my commitment to those who take inspiration from them.”

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There is no word at this time as to who will succeed Rhone, whose exit further illuminates the underrepresentation of women and people of color in music’s top C-suite echelon. Her departure follows in the wake of three other label chair/CEO exits: Capitol Music Group’s Michelle Jubelirer and Atlantic Music Group’s chair/CEO Julie Greenwald — both in 2024 — and UMG Nashville’s Cindy Mabe earlier this year. Former Motown chair/CEO Ethiopia Habtemariam left that post at the end of 2022.

Currently the only woman chair/CEO in the major label system is Taylor Lindsey at Sony Music Nashville, who joined the label at the top of 2025. And Def Jam Recordings’ Tunji Balogun is now the only Black chair/CEO heading a major record label.

Over the course of her 11-year tenure at Epic, Rhone helmed a diverse global roster of established and rising stars such as Future, Travis Scott, 21 Savage, Tyla, Andre 3000, Camila Cabello, GIVEON, Mariah the Scientist, Meghan Trainor, Judas Priest and the late Ozzy Osbourne. Over the last two years, the label has scored chart wins by Future (a trio of Billboard 200 No. 1s with We Don’t Trust You, We Still Don’t Trust You and Mixtape Pluto), 21 Savage (American Dream) and Travis Scott (UTOPIA) as well as the top 10 Hot 100 mega-hit “Water” by South African artist Tyla, who won the first-ever Grammy for best African music performance in 2024.

A division of Sony Music Entertainment — along with sister frontline labels Columbia Records, RCA Records, Alamo Records and Sony Music Nashville — Epic registered a significant gain in year-end 2024 current U.S. market share, jumping to 2.59% from 2.31% to secure eighth place. And in terms of year-end 2024 overall market share, the label claimed eighth place with 2.67%. Currently, Epic stands at 1.66% for 2025.

Rhone’s trailblazing, five-decade career evolution from record label secretary to chairwoman/CEO in the still overwhelmingly male-dominated music business has inspired generations of women pursuing C-suite roles in the industry. The music-loving Harlem, NY native and Wharton School graduate’s ascension dates back to 1974 when she eschewed a banking career for an entry-level secretarial job with independent label Buddah Records. Subsequent learn-the-ropes jobs with labels including ABC Records and Ariola Records led to Rhone being hired by Elektra Records as northeast regional promotions manager of special markets in 1981.

Five years later in 1986, Rhone was promoted from her then-post as Atlantic Records’ director of national Black music promotions to vp/gm of Black music operations at Atlantic. Two years later, in 1988, she was elevated to senior vp of Atlantic’s Black music division. During her Atlantic tenure, Rhone guided the careers of, among others, LeVert, En Vogue and Brandy. As an early champion of hip-hop, she also brought artists such as MC Lyte, The D.O.C., Yo-Yo and Kwame to the forefront.

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When Atlantic established East West Records America in 1990, Rhone broke music’s executive glass ceiling for the first time when she was named the new label’s chairman in 1990. Its roster ran the gamut from rockers Pantera and AC/DC to pop/soul band Simply Red and hip-hop duo Das EFX.

Rhone shattered the glass ceiling once more when she made history as the first Black woman to be appointed chairman and CEO of a major record company — Elektra Entertainment Group (EEG) — in 1994. Piloting the merger of Elektra, East West and Sire Records into EEG, Rhone developed a diverse roster that included Missy Elliott, Busta Rhymes, Metallica, Yolanda Adams, Anita Baker, Tracy Chapman, Phish, Natalie Merchant and Jason Mraz.

Exiting Elektra after a 10-year tenure in 2004, Rhone was named president of Universal Motown Records, executive vp of Universal Records and chairman of the Universal Motown Record Group that same year. Two years later, the Universal group was split into two labels, Universal Republic Records and Universal Motown Records. Named president of the latter label, Rhone released key projects via both Cash Money Records (Lil Wayne, Drake, Nicki Minaj) and Motown (Kelly Rowland, Erykah Badu, Akon, Kid Cudi). A year after leaving Universal Motown in 2011, Rhone established her own boutique label, Vested In Culture, in partnership with Epic Records. Two years later in 2014, she began her 11-year tenure with Epic — first as its president then as chair/CEO.

Over the course of her pioneering career, Rhone has won a host of accolades, including the City of Hope’s Spirit of Life Award, the Black Music Collective’s Recording Academy Global Impact Award, the Black Music Action Coalition’s BMAC Clarence Avant Trailblazer Award and the Vanguard Award at the inaugural Black Women in Music dinner last year. Named Billboard’s Women in Music executive of the year in 2023, Rhone was saluted as “a force, an alchemist, a savant of creative artistry and an inspiration to all women for the glass ceilings you have conquered.”

We don’t know yet who Jazz McKenzie will choose to be her coach on Monday night’s (Sept. 19) The Voice season 28 premiere, but we know who she can’t choose, thanks to Reba McEntire‘s diabolical block.

The Birmingham, Alabama, singer got everyone on her side with a joyful rendition of Tina Turner‘s “What’s Love Got to Do With It,” a three-week No. 1 smash on the Billboard Hot 100 in 1984. In fact, all four coaches turned their chairs for the blind audition — with McEntire the first to turn.

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But while Snoop Dogg cluelessly sang along with McKenzie, what he didn’t realize was that McEntire had used her block to keep Snoop from landing the in-demand contestant.

“You are so sought-after, Jazz, that I believe Reba McEntire used her one and only block to stop Snoop Dogg from getting you,” fellow coach Michael Bublé informed the singer — and Snoop himself.

“He just realized that,” McEntire said of Snoop. “I kind of want a bigger response over me blocking you!”

“I’m sitting over here thinking that mine’s just red,” Snoop said of the words in front of his chair being lit in red, as the audience laughed. “I did not read it.”

Niall Horan helped his fellow coach decipher the message in front of him: “No, it says ‘B-L-O-C-K-E-D.’”

There were no hard feelings for Snoop, who said to McKenzie: “I’m just gonna give you a hug ’cause I can’t coach you. You deserve to be here.”

In addition to McEntire’s block, Bublé also pulled out all the stops by channeling “the luck of the Irish” with a troupe of Irish step dancers, who came out to dance to Bublé’s Adult Contemporary-charting 2003 cover of “Sway.”

But who will McKenzie choose in the end? You’ll have to tune in to the season 28 premiere of The Voice — airing at 8 p.m. ET Monday night on NBC and streaming on Peacock — to find out, but you can watch her audition below now.