Jimmy Kimmel Live! is returning to the airwaves after a brief suspension, as announced by ABC on Monday (Sept. 22).

The news comes just five days after the network temporarily shut down the late-night program in light of comments host Jimmy Kimmel made about the assassination of conservative commentator Charlie Kirk. As parent company Disney worded it in a statement Monday, “We made the decision to suspend production on the show to avoid further inflaming a tense situation at an emotional moment for our country.”

“It is a decision we made because we felt some of the comments were ill-timed and thus insensitive,” the statement continued before revealing details of Kimmel‘s reinstation. “We have spent the last days having thoughtful conversations with Jimmy, and after those conversations, we reached the decision to return the show on Tuesday.”

It’s hard to overstate just how controversial the move to remove Kimmel from airwaves was. In the days that followed the decision, numerous stars spoke up in the comedian’s defense, while SAG-AFTRA condemned ABC in a statement reading, “Suppression of free speech and retaliation for speaking out on significant issues of public concern run counter to the fundamental rights we all rely on.”

Also on Monday morning, just a few hours before Kimmel was restored, Selena Gomez, Olivia Rodrigo, Cyndi Lauper, Lin-Manuel Miranda and Sheryl Crow joined more than 400 other entertainers in signing an ACLU letter protesting the suspension.

“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,” the letter read. “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.”

Donald Trump, however, sang a different tune throughout the debacle, celebrating the news of Kimmel’s show being put on pause — which happened only after the president’s own FCC chairman Brendan Carr threatened to revoke the licenses of ABC affiliates who chose to continue running the program — on Truth Social. “Congratulations to ABC for finally having the courage to do what had to be done,” Trump wrote on Sept. 17. “That leaves Jimmy (Fallon) and Seth, two total losers, on Fake News NBC. Their ratings are also horrible. Do it NBC!!!”

Though Kimmel is now back in production with its return episode set for Tuesday night (Sept. 23), affiliates such as Nexstar and Sinclair — both of which decided to pre-empt the show in lieu of Kimmel’s comments — are still free to decide not to run it on local airwaves.

And if you’re still wondering what it was that sparked such outrage in the first place, the host’s remark on Kirk’s death was as follows: “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.”

Plans to convert New York’s The Rooftop at Pier 17 into a year-round venue have been cancelled.

In December, Live Nation officials announced plans to debut a custom-designed glass structure atop the Manhattan venue for winter concerts starting in late 2025. Now that’s no longer happening, a spokesperson from Seaport Entertainment Group announced Monday (Sept. 22).

“After careful consideration, The Rooftop at Pier 17 will not be hosting enclosed events this winter,” the statement reads. “We’re committed to delivering best-in-class events and experiences for our guests, but due to several factors we feel it is in our and our partners’ best interests not to move forward. We look forward to continuing our work on future programming for the 2026 season as our commitment to bringing one-of-a-kind performances and events to NYC’s most scenic stage during the outdoor season remains unchanged.”

It’s unclear why plans changed, but sources tell Billboard that supply chain issues and delays made the project unsustainable for the current winter season. Rather than risk additional delays, officials decided earlier this month not to move forward with the enclosure project.

The enclosure conversion at The Rooftop at Pier 17 was supposed to create a climate-controlled, indoor venue while preserving its renowned views of the iconic lower Manhattan skyline and Brooklyn Bridge backdrop through floor-to-ceiling glass sidings. Reportedly able to hold up to 3,000 fans, the project was supposed to expand the concerts on the rooftop to 25 additional dates. In December, Live Nation inked a five-year extension of its partnership with Seaport Entertainment Group to program the waterfront venue.

Saweetie boasts high-charting hits, high-profile collaborations and a high-energy presence that dominates music, fashion, and culture. Beyond the various accomplishments and Icy Girl persona, however, Saweetie is still navigating the pressures, doubts and personal growth that come with life in the spotlight.

Her latest EP, HELLA PRESSURE, finds the California rapper leaning fully into her bold, unapologetic energy. The five-track project features production from LunchMoney Lewis, P2J, and Grammy winner J. White, and is led by “Boffum” and highlighted by the vibrant TWICE collaboration “Superstars.” Bright, colorful, and bouncy, “Superstars” showcases Saweetie’s knack for blending genres while expanding her reach, introducing TWICE to the American hip-hop scene and connecting Saweetie with a global K-pop fanbase. Across the EP, she experiments with new sounds, flexes her creative versatility and offers fans a snapshot of her artistic evolution.

From reflecting on the changing persona —from the breakout “ICY GIRL” to the diamond-hard resilience of today — to exploring how she channels pressure into purpose, Saweetie shares the story behind HELLA PRESSURE, her creative process, and what it means to make music that connects with her fans on a deeper level.

What does “pressure” mean to you in this stage of your career?

I think Hella Pressure is symbolic of all the challenges and triumphs that brought me to this point. I truly do excel under pressure because it makes me rise to the occasion. It’s a culmination of all my experiences, and I feel like with pressure you’re either gonna bend, break, or shine like a diamond. And my name is Diamonté, so I’m gonna do that naturally.

 And you’re also icy, so it works. 

Absolutely. I’m happy you bring that up because when all of this comes together and we’re brainstorming and actually talking about it, the fact that my name is Diamonté — which means “diamond” in English, I’m the Icy Girl, the project is Hella Pressure. I think it’s a special time in my career, and I can’t wait to further tell my story about this project. We have a lot of cool content captures coming up.

Sonically, HELLA PRESSURE has a lot of different moods. What kind of sounds or influences were you most excited to explore this time around?

It was really fun exploring with “Pressure.” That beat was created from scratch by me and Deputy — shout-out to him, he produced that record. I really wanted to pay homage to myself and the raps I would do in the car.

The beat starts off intense, then graduates and evolves into something more fun and upbeat, but I’m still popping my shit. It was just really fun in the studio exploring those sounds and seeing what I liked. Deputy was very cool, very easy to collaborate with, and we went through a plethora of songs to figure out which one really matched the energy. I think that’s my most experiential song to date.

Is there a particular track on HELLA PRESSURE that best captures where you are right now as an artist?

I feel like they all do, but there is one song that stands out in particular that really taps into my truest energy. The reason I say this is because when people meet me, they expect me to act like “Tap In,” “My Type,” “Best Friend” — you know, my lit songs. And I think that’s a sliver of my personality, but I don’t think it’s Saweetie or Diamonté in totality.

The song that really captures my essence is “I Need Some Info,” because I’m very chill, very calm, very relaxed. It takes a lot to get that energy out of me, but I do it for my shows and for my fans. Day-to-day though, my energy is pretty chill.

 Would you say that your persona, and who you are as a person, are two different things?

“Persona” is such an interesting word, because I feel like persona lacks authenticity. When I hear persona, I think people are putting on a show. I don’t put on a show. I feel like what the public gets is an extreme version of a piece of my personality. Don’t get me wrong, when I’m at a family function or with my homegirls, that’s how I act. When I’m having fun, when I’m lit, that’s me. But when I wake up in the morning, when I’m running errands, when I’m on the phone or cooking, I’m very chill.

When you were creating this project, what kind of pressures — industry, personal, or both — were you channeling into the music?

I think the number one pressure right now is this album. I haven’t dropped it yet, even though I’ve been able to build such a massive following and gain massive opportunities with brands.

I’ve done so much that people assume I’ve already dropped an album when I haven’t, and that’s a pressure in itself. With this EP, I created a foundation for sounds I want to explore, because I don’t think my hits really portray my overall self, my spirit, my mind, everything that comes with being human. I really want my album to showcase that.

I didn’t intentionally do it, the hits are the hits, and people like what they like. But I want to show other sides of myself, because what the world has seen so far is not everything.

You’ve said before that you’re a confident woman, but you’ve also dealt with insecurity as an artist. How do those two versions of you coexist, and how did that tension shape HELLA PRESSURE?

It’s such an interesting juxtaposition to be a confident woman but an insecure artist, and I think that came from being thrown into the industry so quickly. I didn’t know “ICY Girl” was going to take off the way it did. Although it was a blessing, the challenges that came with it were very difficult, because I had a hot song but was being thrown on stage with no artist development. While I was just happy to be there, the first time I hit those stages I was getting torn apart online. I was like, wait, hold on—”I’m just happy to be here, let me get there.”

Especially with the times we’re in, people may not realize they’re really affecting your mental health. They’re just trying to get a hit tweet or create a humorous moment, but it can really impact a young person’s mind. When I first started, I was confused. Even though I had made it, the success didn’t come with the emotions I thought was attached to it. I expected to be happier, more fulfilled, but instead it left me feeling very empty because I didn’t feel respected.

 We’re at a place in time where the Internet is helpful and also hurtful. 

No, it threw me off. But one thing I will pat myself on the back for is that I never backed down from a challenge. So if anything, it just made me mentally tough.

It gave me a lot of mental strength. Now, when I see things, it just brushes off my shoulder. I’m happy that I never brought those emotions to Twitter or Instagram, oh my gosh, I would be a mess. I do deal with those struggles and challenges internally, but I really just alchemize it.

I turn negatives into positives and build myself up to be a stronger woman.

 How do you feel like new artists should use the Internet?

Honestly, I feel like with any new artist coming in, it’s all about connecting with your fans, talking to them, and building a real relationship because that’s all they want, they just want to get to know you. Shout out to those new artists and shout out to the doors being opened.

Yes, the internet comes with a lot of negativity, but it also comes with a lot of positives. It’s allowed so many artists who probably wouldn’t have had the opportunity otherwise. I’m hoping for the best in their careers, but connecting with your fans is really important because those are the people who are going to support you throughout your career.

When you were writing and recording, were there moments you felt like you were pushing yourself out of your comfort zone creatively?

When I was writing music to rap in my car, there was no stress, no pressure. The flow of creativity and energy was so fluid, and I wasn’t worried about proving myself or comparing myself to anything. It was just fun, doing it for the sake of it.

But through the waves of the industry, it’s easy to get into a mindset of constantly trying to prove yourself. That can steal the joy out of writing when it becomes too heavy. Healthy challenges are important, but when writing stops being fun, it sucks the art out of the reason why you’re dong it.

There have been highs and lows in my writing, but I’ve learned it’s easiest when I’m being honest and just having fun. I prefer to write by myself at home, I don’t like writing in a studio. I’ve tried and been successful there, but because I grew up writing poetry in my room or dorm, in safe spaces where I could feel free, that’s where I write the best. 

Where do you make music to be listened to? Do you think it’s best for the car? Best for headphones? Or best for the crib?

I think my music is best served when my icy boys and icy girls need inspiration. From the feedback I get, they’re listening to it while applying for college, getting over a bad breakup, at the gym, doing their makeup, or on the way to the club. So I think it’s subjective, depending on the vibe you’re going for and the inspiration you need.

 So what I’m hearing is that your music is like more for empowerment.

It definitely is. And when I hear those stories, I know I’ve served my purpose, because that’s what I’m here for. “ICY GIRL” really set the tone, it was inspirational and aspirational, basically a list of manifestations that came true.

When you think about “pressure,” is it more about proving something to the industry—or proving something to yourself?

That’s a good question. I believe being under pressure was really about proving to myself that I could do it. I’ve reinvented myself so many times, dropped so many EPs, yet there’s no album. I wanted to prove to myself that I could show up for myself, that I could write these songs, collaborate, and still feel inspired. That’s where “I Need Some Inspo” came from.

I was lacking creativity and inspiration, I wasn’t feeling fulfilled with anything. But, as I began to just live life and explore the simple things that make me happy, I found inspiration in that.

How do you balance the confident Saweetie that the world sees with the more vulnerable parts of yourself that fans might not always see?

For me, dealing with confidence comes down to working hard, going to the gym, taking vocal lessons, attending dance rehearsals. I believe if I put in the work, it’ll pay off. That’s my healthiest regimen, and I have to be really disciplined in that.

Discipline sounds easier than it is. You can say it, but are you really going to do it? That’s what I have to tell myself. Sometimes, if it’s the third day of rehearsal and I feel confident, on the fourth day I’m like “Do I really want to go?” And it’s like, “no b—ch, go to rehearsal.”

I have these conversations with myself in the car, in the mirror, I really have to talk to my inner child who’s like, “okay, I got it. Time to go have fun.” While the more mature side of me is like, “No, you have a goal. Stick to this regimen so it’ll pay off.”

Do you ever feel like the industry tries to box you in because of how you look or your image? How do you fight back against that?

I think the best way to fight against being put in a box, others may have different opinions, is to avoid being in too many camps. When people don’t really know you, they can’t bring out your best art.

Right now, I’m happy to say I’ve found a selective group of people I really want to work with when it comes to music. The best way to take yourself out of a box is to create a safe environment in the studio so you can explore different lanes authentically. I feel like when you see a lot of great artists, the formula is working with people who know them really well.

Looking back at “ICY GRL” and now at HELLA PRESSURE, what do you think has been your biggest personal transformation as an artist?

I think it’s the evolution of an Icy Girl becoming a Diamond Woman. The world and my fans have literally seen me grow up in my music career, I was the Icy Girl. But through the wins, losses, and lessons, I’ve taken those experiences of being under pressure. And what does a diamond do under pressure? She shines.

What lessons about resilience and self-confidence came directly out of the process of making this project?

The biggest thing I learned from Hella Pressure and resilience is just showing up for yourself. It so simple, but in those moments when you want to stay home, cancel your day, or you just wanna say “I’ll do that later,” if you build a routine of showing up for yourself, it becomes habitual.

For me, that’s the premise of being resilient. It’s the little things that matter, they eventually add up to you achieving your goals and capturing whatever success looks like in your own mind. Just show up for yourself.

Has there ever been a moment when you felt the pressure was too much?

There was a moment where the pressure was a lot. It was a very lonely phase in my life and career. I wasn’t getting the results I wanted, and I felt like no one really understood me. There were so many simultaneous conflicts I was dealing with.

 You know, when you just don’t wanna talk about what you’re going through because it, just really like adds a problem?

Yeah.

I just internalized so many events that were affecting me in a negative way, and I just didn’t express myself because I didn’t wanna continue to relive those moments.

Do you think the pressures you’ve faced have made you stronger, or do they sometimes come at the expense of joy?

I think that we go through pressure at the expense of joy if we don’t have a village. I think anything is possible with a team or a village of people who love you, who you can trust.

There were moments in my career where I did have to talk to my mom or my dad, and after I talked to them, I just felt so much better. I think that finding your group, finding your community, is really important when pursuing anything in life. Life has its challenges, but it’s not really about the challenge, it’s about how we show up and how we overcome those things.

Villages are really important, and I feel like as long as you have a support system, the expense is not that expensive.

You’ve been in the game for seven years and continue to make cultural waves. What does longevity mean to you, and how do you measure success now versus when you first started?

It’s the ability to be relevant over a period of time, consistently.

The most gratifying thing for me is being able to see my influence even when I’m not on the scene. Even in moments where I didn’t feel seen, I was being seen through other people, through brands, through rollouts, and through content pieces. I’m just like, “you know what girl? You are doing your job even if you’re not at work.”

Beyond this project, how are you continuing to transform pressure into purpose in your life and career?

One of my challenges in life and in my career is that I’ve always looked for external fulfillment in my creativity, because I’d be unsure of myself. And that creates pressure, both internally and externally, because if I can’t fulfill myself and I’m looking for it in other places, it’s very dissatisfying.

I relate this to the character in the book: The Alchemist. When this Alchemist  is on a journey looking for a treasure, constantly looking. When he finally finds it, he realizes that what he was looking for, he always had. That’s where I am in my career. Instead of seeking validation or approval from anything else, just doing it for myself because that’s when I wrote “ICY GIRL.”

I was in a room with no furniture, just a mattress and a loveseat my mom gave me. I was writing something I liked, and that’s where pressure turns into purpose. Pressure can be used in a healthy way if you alchemize it into purpose. Pressure can also make you crazy, can have you questing yourself like, “Am I supposed to be doing this?” But if you approach challenges with the spirt of “I’m going to turn this into something positive,” because that’s what an alchemist does, they transmute things into things of value.

Being an artist is weird. You create music for yourself, but the music you create for yourself is also for others to enjoy—because if they don’t like it, you can’t really progress.

What’s interesting is that as long as you stay true to you, you’ll slowly build up that fan base that identifies with you. Eventually, that moment comes when the artist explodes. It’s really  imperative for artists to make music for themselves because their people will find them. 

Chasing a hit, which I’ve done — I don’t think that’s authentic. That’s what dilutes the art and creates cookie-cutter songs where everyone starts sounding like each other. I’m proud of this EP because I got to explore sounds that I didn’t have a chance to, because I didn’t wanna take that risk. And that’s what I did with EP, I took risks.

Architects’ “Everything Ends” rises two spots to No. 1 on Billboard’s Mainstream Rock Airplay chart dated Sept. 27, becoming the band’s maiden ruler on the tally — or any songs-based ranking.

The quartet, which formed in Brighton, England, in 2004, first reached Mainstream Rock Airplay with “Animals,” which peaked at No. 5 in 2021.

Prior to “Everything Ends,” the rockers notched three other entries, paced by the No. 18-peaking “Dead Butterflies,” also in 2021.

Architects are the ninth act to reach No. 1 on Mainstream Rock Airplay for the first time in 2025 and the fourth to do so as a lead act, following Sleep Theory, Evanescence and Deftones. That’s the most maiden No. 1s for a lead act since 2022, when Nita Strauss, Muse, Motionless in White and Jelly Roll achieved the feat.

On the all-rock-format, audience-based Rock & Alternative Airplay chart, “Everything Ends” jumps 21-16 with 2.1 million audience impressions in the week ending Sept. 18, up 21%, according to Luminate. The song is the group’s highest-charting on the list, having surpassed the No. 24 peak of “Animals.”
“Everything Ends” also spent a week at No. 16 on the multimetric Hot Hard Rock Songs chart in March upon its debut.

The track is the lead single from The Sky, the Earth & All Between, Architects’ 11th studio album, which debuted at No. 7 on the Top Hard Rock Albums chart in March and has earned 74,000 equivalent album units to date.

All Billboard charts dated Sept. 27 will update on Billboard.com on Tuesday, Sept. 23.

It’s free Billboard charts month! Through Sept. 30, subscribers to Billboard’s Chart Beat newsletter, emailed each Friday, can unlock access to Billboard’s weekly and historical charts, artist chart histories and all Chart Beat stories simply by visiting the newly redesigned Billboard.com through any story link in the newsletter. Not a Chart Beat subscriber? Sign up for free here.