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

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.

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.”

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.

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.

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.”

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.

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.”

President Donald Trump is expected to approve a long-sought deal to keep TikTok open for business in the United States, according to reports from The Wall Street Journal and Reuters. The deal, which will reportedly be formalized through an executive order later this week, aims to satisfy national security concerns by transferring TikTok’s U.S. assets from Chinese parent ByteDance to a still-unclear American ownership group.

The agreement follows months of U.S.-China negotiations and is seen as a key moment in broader trade discussions. Under the proposed terms, TikTok’s algorithm will be secured and operated within the U.S., outside of ByteDance’s control. All data from American users will be stored on Oracle-run cloud infrastructure, ensuring compliance with U.S. cybersecurity standards.

A new entity will be created to manage TikTok’s U.S. operations, with a board composed mostly of Americans with national security credentials, Reuters reported. Existing investors and new American partners — including Oracle, Dell Technologies and private equity firm Silver Lake — would collectively own about 80% of the company, the WSJ reported. ByteDance’s stake would fall below 20%.

Over the weekend, Trump named several prominent business figures as potential participants in the deal, including Rupert Murdoch, his son Lachlan Murdoch, Michael Dell and Oracle founder Larry Ellison. Trump praised them as “American patriots” — he is suing the elder Murdoch over the Wall Street Journal’s reporting on his close friendship with Jeffrey Epstein — and expressed confidence in their ability to manage the platform.

The president also revealed that he discussed the TikTok deal directly with President Xi Jinping of China during a recent call. The two governments have until Dec. 16 to finalize the agreement, following the latest deadline extension by Trump.

TikTok has faced scrutiny from U.S. lawmakers over concerns that its algorithm could be manipulated by Chinese authorities to influence content. Congress previously passed legislation — signed by President Joe Biden — calling for a ban on TikTok starting in January, but Trump has repeatedly delayed enforcement while negotiations continue.

Trump has acknowledged his initial bias against TikTok but credited the platform with helping him win over young voters, saying slain conservative activist Charlie Kirk had urged him to embrace it as a powerful tool for engagement.

Although the deal appears to be progressing, key details remain unclear as representatives for Ellison, Dell, and the Murdochs have not commented publicly, and TikTok has yet to issue a formal response.