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Jimmy Kimmel Backs Dana Walden as Next Disney CEO
TV & Streaming

Jimmy Kimmel Backs Dana Walden as Next Disney CEO

by jummy84 October 9, 2025
written by jummy84

The second to last question Bloomberg’s Lucas Show asked of Jimmy Kimmel in the final moments of their interview at Screentime in Los Angeles on Wednesday evening just so happened to be the million- dollar one that all of Hollywood has been asking for quite some time: Who is going to be the next CEO of Disney?

“I happen to love Dana Walden very much, and I think she’s done a great job,” Kimmel said after acknowledging that it would be “very foolish” of him to offer any response at all, which makes sense considering his status as one of the studio’s high-profile in-house talents. But he’s had a lot of dealings with Disney’s executive class as the host of ABC’s Jimmy Kimmel Live!, and a direct line to the very top in recent days amid his controversial suspension.

He factored the latter into his decision to back Walden: “I think what has happened over the last like three weeks was very unfair to my bosses at Disney. I don’t think anyone should ever be put in a position like this. It is insane, and I hope that we drew a really, really bold red line as Americans about what we will and will not accept, and really hope that that’s what comes out of all of it.”

Kimmel and Walden.

(Photo by Tommaso Boddi/Getty Images for UCLA Jonsson Cancer Center Foundation)

Kimmel’s Screentime appearance came two weeks after he returned to the airwaves on ABC’s Jimmy Kimmel Live! following a brief but monumental suspension that kicked off a debate over free speech. It all started when Kimmel delivered comments on the Sept. 15 edition of his show about Charlie Kirk’s assassin, saying, “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.”

The moment went viral and sparked backlash. Brendan Carr was among those who commented, and the FCC chair went so far as to threaten ABC’s affiliate licenses. Two days later, Disney bosses made the decision to suspend Jimmy Kimmel Live!, a suspension that lasted less than a week amid widespread backlash from Hollywood’s creative community, which turned out to support the beloved host online and in real life. His return, marked by a nearly 30-minute opening, delivered record ratings and found Kimmel expressing gratitude to his supporters, clarifying his comments about Kirk and defending free speech.

At Screentime, Kimmel elaborated on the behind-the-scenes negotiations as his show went dark. “I hate to disappoint you, but they were really good conversations. I mean, like, really good conversations,” Kimmel said of chats with Walden and current CEO Bob Iger. “These are people that I I’ve known for a long time, and who I like very much. And we all wanted this to work out best.”

That said, the firestorm did disrupt their schedules. “First of all, I ruined Dana’s weekend. It was just nonstop phone calls all weekend. But I don’t think the result would have been as positive if I hadn’t talked to Dana as much as I did, because it helped me think everything through. And it helped me understand where everyone was coming from. I can sometimes be reactionary, I can sometimes be aggressive, and I can sometimes be unpleasant. And having those days to think about it was helpful.”

Kimmel had a lot to think about Wednesday night as Shaw grilled him on the suspension, his prediction on the future of late night TV, the economics of his show, whether he plans to re-up his contract next year and what he really thinks of the Riyadh Comedy Festival. Highlights are below.

Kimmel Thought His Show Might Never Come Back

During his suspension, the veteran host thought it his run might be over. “I’m a troublemaker, just by nature,” he said in recalling his early days hosting the show at a time when the Los Angeles Lakers faced off with the Detroit Pistons in the 2004 NBA playoffs. “I said something to the effect of, ‘Well, I hope they don’t burn Detroit down.’ And everyone in Detroit was very unhappy. People were mad, and they pulled me off the air in Detroit. A guy who’s really been like my mentor at ABC, Alex Wallau, said to me, ‘You know, if we don’t have Detroit, you’re done with the show. The show’s over.’ I said, ‘Really?’ He said, ‘Yeah, you can’t go forward without a major market like that,’ which was news to me. So I went to Detroit and did the show for a week and kissed as much ass as I possibly could.”

Knowing the implications of losing one major market loomed large over the suspension that saw around 70 ABC affiliate stations owned by Sinclair Broadcast Group and Nexstar Media Group dropping the show. “Knowing that, I was like, well that’s it.” That and Kimmel added that he was not going to go along with the “list of demands” presented to him by those affiliates, which included an apology and a donation to Kirk’s Turning Point USA. “I said to my wife, ‘That’s it. It’s over.’”

As Kimmel Finalized Return, He Knew “Spirit” of Monologue

As the powers-that-be hashed out a plan for Kimmel’s return to the airwaves, they didn’t formalize exactly what he would say on the first night back but rather they agreed on the “spirit” of those comments. “Ultimately, I wanted to kind of cover every base if I could,” he said. “It was something really that had to come from inside me. It had to be truthful, and I had to lay it all out there and just be honest about what I was feeling and what I’d experienced. I think that it probably went about as well as it could go. I knew that it wasn’t going to be perfect. There were always going to be people that didn’t like it and didn’t accept it, but the important thing to me was that I was able to explain what I was trying to say.”

Kimmel Doesn’t Believe Economics Led to Stephen Colbert’s Cancellation

In July, CBS confirmed in a shock announcement that it was pulling the plug on The Late Show With Stephen Colbert. In the months since, much has been made about the reasons why, and Kimmel said that he doesn’t believe the reports that claim it’s because Colbert’s show was losing upward of $40 million per year. “Because it just doesn’t make any sense. I know what the budgets for these shows are. I know what I make. I know what Stephen makes. I know what the ad sales people make. I know that there are values that nobody bothers to consider, like the affiliate fees that have to get to account for a portion of that when you talk about an hour of television every night, five nights a week. I know that it’s not $40 million. Is the show losing money? That I don’t know? I can’t imagine it’s losing a lot of money, if it is.” Shaw then asked Kimmel for a “ballpark” figure of what a show like his costs to produce. “$120 million,” he confirmed. “I know that if we’re losing so much money, none of us would be on. That’s kind of all you need to know. This is not PBS, you know?”

Kimmel on The Late Show With Stephen Colbert.

Scott Kowalchyk/CBS

Late Night Can Survive — At a Cost

Amid industry-wide concerns about the future of late night, Kimmel said he doesn’t believe there’s a reason for these shows to go away entirely. “There are ways,” he said, pointing to tighter production costs. “The idea that these shows need to cost $120 million is crazy. They don’t need to cost $120 million, and somebody will figure it out…. You could still have the same format, you could still have a band, you could have all of those things and still do the show for a lot less money. It’s just that the host is not going to make as much money, and the audience isn’t going to be as big. But that’s OK, because I love seeing these things, and I love the idea that people can make a living with 200,000 viewers every day or every night. And they can talk about weirdly specific things, and those people who are really interested in those weirdly specific things have a place to take those to absorb that stuff. I think that’s great. I love the idea that a 16-year-old can have their own TV show.”

Kimmel Would’ve Said No to Riyadh Comedy Festival

In recent days, the Riyadh Comedy Festival has caused a firestorm of controversy, and the subject came up as Shaw asked Kimmel about having Aziz Ansari on his show recently to promote his new film Good Fortune. Ansari was among the 50 or so comedians who traveled to Saudi Arabia, and Shaw indicated that Kimmel’s line of questioning made it seem like he was against the event. “I wouldn’t have gone, but I wanted to hear his reasons, and I thought he had some compelling reasons,” Kimmel explained. “Nothing’s black and white. It’s not something I would do but I do understand the idea that if we close ourselves off to the world, or we isolate, that maybe it’s not good.” Kimmel continued by saying that while traveling “many of us” don’t want to be held accountable for what President Trump says. “I’m fortunate enough to be well known, and people know where I’m coming from but it would be a different situation if people didn’t know who I was. Probably the first thing I’d say as I got into every cab is, ‘I didn’t vote for him, just FYI so you know.’ I do think that kind of makes me understand [their] position better.”

October 9, 2025 0 comments
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Must Read: Rachel Tashjian Joins CNN, Vestiaire Collective CEO Exits
Fashion

Must Read: Rachel Tashjian Joins CNN, Vestiaire Collective CEO Exits

by jummy84 October 8, 2025
written by jummy84


These are the stories making headlines in fashion on Tuesday. Rachel Tashjian has joined CNN as senior style reporter, the network announced on Tuesday. In her new role, Tashjian will provide multi-platform reporting and analysis of everyday appearance and high fashion alike, and will continue …

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October 8, 2025 0 comments
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Spotify founder Daniel Ek is stepping down as CEO
Music

Spotify founder Daniel Ek is stepping down as CEO

by jummy84 September 30, 2025
written by jummy84

Spotify founder Daniel Ek has announced that he will be stepping down from the role of CEO.

Ek founded the streaming service two decades ago and has been CEO since. He announced today (Tuesday September 30) that he will be transitioning to an executive chairman role for the company on January 1, 2026.

Taking his place as co-CEOs will be Spotify co-presidents Alex Norström and Gustav Söderström. The former currently serves as the company’s chief business officer, while Söderström leads Spotify’s product and technology unit.

“As Executive Chairman, I will spend more of my time on the long arc: strategy, capital allocation, regulatory efforts, and the calls that will shape the next decade for Spotify,” Ek said in his statement. “Gustav and Alex will continue to report to me, and we will work closely together with our Board of Directors.”

He added that the move has been made to allow him to shift his focus towards other businesses.

“A personal note on what’s next for me. I am often asked, ‘How do we build more Spotifys out of Europe?’ That’s why several years ago, I announced my intention to help create more of these supercompanies — companies that are developing new technologies to tackle some of the biggest challenges of our time,” he added.

An update from me 👇 pic.twitter.com/xc0w3BWWAO

— Daniel Ek (@eldsjal) September 30, 2025

One of the businesses outside of Spotify that Ek is involved in is his investment company, Prima Materia. Over the summer, the brand led a €600million (£524million) investment into Helsing – a Munich-based company creating drones and artificial intelligence for military operations.

The move led to a number of high profile artists to pull their music from Spotify, including King Gizzard & The Lizard Wizard, in a bid to “put pressure on these Dr. Evil tech bros to do better”.

Those joining them in the boycott was Xiu Xiu, who shared plans to remove their music from the platform over Ek’s “investment in AI war drones”, Deerhoof, who said they didn’t “want our success being tied to AI battle tech”, and Wu Lyf, who took down their latest single ‘A New Life Is Coming’ from the streaming service.

Ek has said that his new role in Spotify will reflect a European set-up, and that he will continue to have a hands-on approach with the company. Spotify board director Woody Marshall added that the leadership changes had been in motion for years.

“We have tremendous confidence in Alex and Gustav as they step into these roles,” Marshall said (via The Verge). “They each have more than 15 years with the company and have been instrumental in driving our success and enabling Spotify to lead our industry.”

Controversy around Spotify and Daniel Ek extends beyond his ties to Helsing. In 2024, Ek sparked backlash for his comments relating to the cost of “creating content”, with countless users and musicians describing him as “out of touch”.

Today, with the cost of creating content being close to zero, people can share an incredible amount of content. This has sparked my curiosity about the concept of long shelf life versus short shelf life. While much of what we see and hear quickly becomes obsolete, there are…

— Daniel Ek (@eldsjal) May 29, 2024

He would later walk back on his comments, saying that he had no intention of dismissing the struggles faced by musicians and using the “reductive” label of “content”.

Around that same time, the CEO came under fire as it was reported that Spotify had made profits of over €1billion (£860million), but at the expense of staff being laid off, artists struggling to make any income from streaming, and subscription prices rising.

It became even harder for artists to make money from the platform last year, when Spotify officially demonetised all songs on the platform with less than 1,000 streams. The policy was launched on April 1 2024, but had been planned by the platform for some time. It was quickly criticised for making it harder for artists to generate royalties and restricting new artists looking to crack the music industry.

Kate Nash was one of the many artists shedding light on the lack of pay-off, launching her “bum on the back of a fire truck” protest, heading to the London office of Spotify, and saying, via megaphone: “Artists are paid 0.003 of a penny per stream whilst [Spotify] demonetised 80 per cent of music on the platform.”

Primal Scream bassist Simone Marie Butler also spoke out against the platform, saying that Ek was “sitting on his yacht laughing at your Spotify top five while he cashes in on music he had nothing to do with, calls it ‘content’ and artists still get £0.04 per stream.”

Others to criticise the platform and its impact on the music industry have included Anthrax drummer Charlie Benante, who described streaming as the place “where music goes to die”, and Cradle Of Filth frontman Dani Filth, who said he “owes it” to other musicians not to have an account.

Kate Nash, 2024 CREDIT: @emilymarcovecchio

Nine Inch Nails’ Trent Reznor also shared how streaming has “mortally wounded” many artists, while James Blake claimed that “the brainwashing worked and now people think music is free”.

Last December, a site parodying Spotify Wrapped was taken down at the request of Spotify‘s legal team, after it calculated the amount users pay in subscription fees compared the royalties paid to the artists throughout the year.

At the start of 2025, nominees for the Songwriter Of The Year category at this year’s Grammy Awards boycotted Spotify’s party in retaliation to its treatment of songwriters.“After some thought, I couldn’t in good conscience support this initiative given their approach to bundling royalties,” said Jessie Jo Dillon, one of the artists boycotting. “It is very nice to be individually honoured, but it is better for me and my entire songwriter community to be paid fairly for our art. There are no songs without songwriters.”

September 30, 2025 0 comments
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A2IM Appoints Ian Harrison as CEO, Succeeding Richard James Burgess
Music

A2IM Appoints Ian Harrison as CEO, Succeeding Richard James Burgess

by jummy84 September 29, 2025
written by jummy84

The American Association of Independent Music (A2IM) has announced that Ian Harrison, executive vp at Hopeless Records, will become the organization’s next CEO as of Oct. 1. Harrison — who has spent more than 20 years at Hopeless — takes over for Richard James Burgess, who is stepping down at the end of this year after a 10-year period as A2IM CEO.

Related

Harrison has been a key figure in the development of Hopeless, which celebrated its 30th anniversary last year with a retrospective exhibit at Indie Week highlighting its work with All Time Low, Avenged Sevenfold, Yellowcard, Taking Back Sunday and many more. He’s also been an advocate for the indie community at large, having been involved in A2IM since 2012 and served on the boards of the Worldwide Independent Network and Music Business Association; he was a Billboard Indie Power Players honoree for each of the past two years, and has helped the Hopeless Foundation raise more than $3.5 million for mental health and music-related charities.

“The independent community is stronger and more dynamic than ever, yet also facing accelerating challenges that will test our resilience and adaptability. A2IM exists to ensure our members can grow independently in the face of these changes and thrive on their own terms,” Harrison said in a statement about his new role. “I am grateful to the A2IM Board for their trust as I step into the CEO role at such a pivotal moment. I take on this responsibility with a deep commitment to serving our community. I am especially grateful to Dr. Richard James Burgess for a decade of exceptional leadership that established A2IM as a vital voice in our industry, and to [A2IM GM] Lisa Hresko and the entire A2IM team whose dedication makes our work so impactful. This includes remembering our colleague Alex Machurov, whose contributions and spirit will remain part of A2IM’s legacy.

“I also want to thank Louis Posen and my colleagues at Hopeless Records, where I spent the past two decades, for shaping me as a leader and deepening my commitment to this community,” Harrison continued. “Independent music has been my life’s work, and I am excited to serve in this new capacity. I look forward to working closely with our members, the global trade organization community, commercial partners and policymakers to ensure independent voices remain at the center of the music industry’s future.”

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Hopeless Records

Burgess, who ends his tenure after a decade in the role, oversaw significant growth for the organization, which now boasts more than 700 indie labels in its membership, and helped further develop and expand both A2IM’s Indie Week conference and the related Libera Awards, honoring the best in indie music each year. He also helped define A2IM’s role as an advocate in Washington on behalf of the indie community, helping shore up and bolster lobbying efforts in the capital amid a period of great upheaval and consolidation.

“I am honored to have served this extraordinary community for the past decade, and I could not be more pleased to welcome Ian Harrison as A2IM’s next CEO,” Burgess said in a statement. “Ian’s deep experience and lifelong commitment to independent music position him perfectly to guide A2IM into its next chapter. I look forward to supporting a seamless transition and to watching him take the organization, and the indie community it represents, to new heights.”

Related

2025 Indie Power Players

While Harrison will officially take on his new role this Wednesday, Burgess will remain as part of A2IM through the end of the year to see out the transition.

“I’m thrilled to welcome Ian Harrison as our new CEO,” Beggars Group president and A2IM’s executive committee chair Nabil Ayers said in a statement. “Ian has spent his entire career championing independent music, and now he’ll bring that same passion and energy to serving the entire community of independent labels. I’m confident he will build on the incredible foundation Richard James Burgess established over the past decade and skillfully lead A2IM into its next chapter of growth and advocacy.”


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September 29, 2025 0 comments
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Lyrical Media New CEO: Jonathan Faust
TV & Streaming

Lyrical Media New CEO: Jonathan Faust

by jummy84 September 26, 2025
written by jummy84

Lyrical Media has brought on The North Road Company exec Jonathan Faust as its new chief financial officer.

In his position, Faust will oversee Lyrical’s financing workflow across film, television, video games, animation, graphic novels and venture investing. Per Lyrical, Faust “will play a key role in evaluating and sourcing new opportunities, building out new strategic verticals, supporting Lyrical’s financial planning and operations, and managing ongoing projects and investments in conjunction with the company’s leadership.”

Most recently, Faust served as vice president of business development and operations at Peter Chernin’s The North Road Company, where he co-led growth initiatives and strategic planning across the company’s portfolio. Prior to that role, Faust was director of financial planning and analysis at North Road. Faust has previously held executive role at Words + Pictures and Skydance Media.

Founded by CEO Alexander Black in 2021, Lyrical Media’s upcoming slate of films and TV series includes Adam Wingard’s “Onslaught” and Michael Sarnoski’s “The Death of Robin Hood” starring Hugh Jackman, Jodie Comer, and Bill Skarsgård, both of which will be distributed by A24, and Neon co-production “The Young People,” directed by Osgood Perkins and starring Lola Tung and Nico Parker, as well as adaptations of Emily Henry’s “Funny Story,” Brynne Weaver’s “Butcher & Blackbird,” and Lauren Roberts’ “Powerless.”

In addition to its robust film and TV slate, Lyrical Media recently launched Lyrical Games, a new privately funded game publisher with a commitment to empowering creators of high-quality indie games.

“Jonathan brings a rare combination of strategic insight, operational expertise, and deep knowledge of media finance that will be critical as we continue to expand our multi-platform vision,” Black said. “He’s exactly the kind of leader we need to help us scale responsibly while maintaining the creative agility that sets Lyrical apart. I’m thrilled to have him on board as we continue to grow and push the boundaries of storytelling across film, television, games, and beyond.”

“I’ve always admired Lyrical’s ability to back bold, original voices and bring them to the screen with real scale,” Faust added. “My goal is to ensure financial strategies, partnerships, and infrastructure are all aligned so the team can keep taking big swings and delivering stories that surprise and resonate with audiences across every platform. Joining Lyrical now is a unique opportunity to build on what they’ve already achieved and help fuel the next chapter of ambitious, creator-driven storytelling.”

September 26, 2025 0 comments
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Must Read: L'Oréal Names New CEO, Maison Kitsuné Names New Creative Director
Fashion

Must Read: L'Oréal Names New CEO, Maison Kitsuné Names New Creative Director

by jummy84 September 25, 2025
written by jummy84


These are the stories making headlines in fashion on Thursday. L’Oréal appointed Alexis Perakis-Valat as L’Oréal USA’s new CEO and president of North America. Perakis-Valat succeeds David Greenberg, who has been named chairman of L’Oréal USA, a new position. The …

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September 25, 2025 0 comments
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Sylvia Rhone Steps Down As CEO Of Epic Records
Music

Sylvia Rhone Steps Down As CEO Of Epic Records

by jummy84 September 23, 2025
written by jummy84

Sylvia Rhone, the CEO and chair of Epic Records, announced on Monday (Sept. 21) that she is stepping down from the role.

First named chair and CEO back in 2019 following a five-year stint as President of Epic, Rhone is one of the industry’s most prolific executives, having been the first woman and the first Black woman to be named CEO of a major record label. Her successor has yet to be named.

She shared the news via an internal memo.

“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,” the 73-year-old wrote.

Rhone reflected on her historic journey, having worked with the likes of Missy Elliott, Travis Scott, Future, 21 Savage, Tyla, GIVĒON, Mariah The Scientist, Q-Tip, Andre 3000 and more.

Sony Music Group chairman Rob Stringer, who appointed Rhone to her CEO role back in 2019, said in his own statement: “It’s been our honor to work with a true icon,” describing it “our collective responsibility to continue to build on her work at Epic Records.”

Stringer added, “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 […] Sylvia’s influence is rooted in an understanding of music’s power to connect with people.”

Read Rhone’s full memo below:

To My Sony Music 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, Donnie 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.

September 23, 2025 0 comments
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Must Read: Victoria Beckham Covers 'Elle,' Gucci Confirms New CEO
Fashion

Must Read: Victoria Beckham Covers 'Elle,' Gucci Confirms New CEO

by jummy84 September 18, 2025
written by jummy84


These are the stories making headlines in fashion on Thursday. Victoria Beckham is Elle’s October 2025 cover star. Photographed by Dan Jackson and styled by Alex White, Beckham wears a Tom Ford coat, skirt and pumps on the cover. In the cover story written by Véronique Hyland, …

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September 18, 2025 0 comments
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Must Read: Unpacking Hedi Slimane's Celine Beef, François-Henri Pinault Reflects on His Tenure as Kering's CEO
Fashion

Must Read: Unpacking Hedi Slimane's Celine Beef, François-Henri Pinault Reflects on His Tenure as Kering's CEO

by jummy84 September 9, 2025
written by jummy84


These are the stories making headlines in fashion on Tuesday. Against a backdrop of the news of Giorgio Armani’s death, Hedi Slimane posted on his personal Instagram account that he hoped Celine would “brilliantly reinvent its advertising campaigns as well as its corporate image” so that it …

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September 9, 2025 0 comments
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Event Industry News
Events

Abigail Pogson announced as new Barbican Centre CEO

by jummy84 September 5, 2025
written by jummy84

Chief Executive of The Glasshouse International Centre for Music, Abigail Pogson, has been announced as the new CEO of the Barbican Centre, following a competitive international recruitment process. She will take up the role on Monday 5 January 2026.  

Abigail brings a wealth of experience, passion, and a deep commitment to nurturing community and artistic excellence. 

Her appointment comes at a pivotal moment as the Barbican enters an exciting new chapter with an ambitious Renewal programme to restore and revitalise the iconic Grade II listed venue for future generations. This coincides with a renewed artistic vision that includes seasonal, cross-arts programming and an enhanced civic focus.

Abigail’s values-led leadership and proven dedication to broadening access to the arts sits at the heart of the Centre’s vision, and will drive its work further, helping shape an inclusive, sustainable, and globally relevant Barbican. 

Speaking about her new role, Abigail said: 

“The Barbican is one of the world’s most iconic cultural destinations, and I’m beyond delighted to be joining at such a critical and exciting time in its history.

“I believe deeply in the power of art and creativity to enrich lives and communities, and I look forward to working with the talented team at the Barbican and its many fabulous partners to bring exceptional, relevant, and joyful cultural experiences to as many people as possible.”

Abigail’s appointment underscores the City Corporation’s goal of making the Square Mile a cultural powerhouse, and reaffirms the Barbican’s role as a global arts, conference and events leader, grounded in its communities, and committed to creativity, innovation, and access to all. 

The City Corporation is the owner, founder, and principal funder of the Barbican Centre. 

City of London Corporation Policy Chairman, Chris Hayward, said: 

“We are thrilled to welcome Abigail to the Barbican. Her track record of dynamic, inclusive leadership makes her the ideal person to lead the Centre through this new chapter and beyond.  

“Her arrival comes as the Barbican Renewal programme drives forward – a landmark £191 million investment by the City Corporation to secure the Centre’s future. 

“This transformation will support our Destination City ambitions by attracting new and diverse audiences to the Square Mile and reinforcing London’s reputation as a global cultural capital.” 

Sir William Russell, Chair of the City Corporation’s Barbican Centre Board, added: 

“Abigail’s appointment marks another big moment for the Barbican. She brings both strategic vision and a real passion for supporting artistic talent and the audiences who engage with it. I know she will lead this organisation with skill and imagination as we continue to evolve and connect.

“I give my deepest thanks to David Farnsworth, Managing Director of the City Bridge Foundation, who has served as Interim CEO of the Barbican for the past year on secondment. His inspiring leadership, warmth and tireless commitment during a period of transition have been invaluable. David has played a crucial role in strengthening the organisation and laying important foundations for its future.” 

Jackie Boughton, Director of Commercial, Barbican Centre, added:

“Abigail’s appointment signals an exciting next phase for the Barbican’s commercial events offering. Under her leadership, and alongside our Renewal programme, we will elevate how brands, associations and creative businesses use our iconic venue spaces. Every event here directly supports our arts and learning programme, so the success of our commercial offering helps us welcome more people to extraordinary cultural experiences.

This announcement follows the submission of applications this summer for planning permission and listed building consent for Phase 1 of Barbican Renewal. Earlier this year the proposals for the Centre’s foyers, lakeside, catering block and conservatory received over 90% approval in public consultations. In addition to the initial investment from the City Corporation, the Centre is undertaking extensive fundraising to complete Phase 1 and beyond.   

The Programme is one of several transformative projects being delivered by the City Corporation, including the Salisbury Square Development, which will house the new City of London Police HQ and multi-courts complex, and the new London Museum at Smithfield.

The City Corporation is one of the largest funders of heritage and cultural activities in the UK, investing over £130m every year. It manages a range of world-class cultural and heritage institutions, including Tower Bridge, Guildhall School of Music & Drama, Guildhall Art Gallery and London’s Roman Amphitheatre, The London Archives, and Keats House.

It also supports the new London Museum and is the principal funder of the London Symphony Orchestra, based at the Barbican Centre.  

September 5, 2025 0 comments
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