It’s hard to imagine a universe where Missy Elliott, Pantera, 21 Savage, En Vogue, and Camila Cabello have much in common, but here’s one way they all did: All were among the many artists whose careers were fostered and launched by Sylvia Rhone, the pioneering executive whose career spanned decades and genres. Today, Rhone announced she was stepping down from Epic Records, where she had been president since 2014 and chair and CEO since 2019.
Rhone’s accomplishments are many: She was the first Black woman to head a major label, she stressed much-needed diversity in the business and its signings, and she is credited with helping foster the careers of many women in hip-hop, from Elliott and MC Lyte to Nicki Minaj and Rah Digga.
Never one to downplay the impact of Black music on the culture at large, Rhone has promoted artists of color throughout her career, emphasizing the importance of artist development and talent curation in the major label system. In 2018, she urged attendees of the Culture Creators gala to monitor the quality of urban and hip-hop entertainment offerings “so it continues to rise and have significant impact,” she said at the time. “If we’re not careful to curate really closely, it will start to dilute the importance of what we built since the ‘80s, and what they just discovered in 2018. … I started in hip-hop in the early and mid ‘80s — it was from my heart and the people working around you, and now it’s an analytical decision. This is an important turning point.”
In an internal memo to Epic staff seen by Rolling Stone, Rhone wrote, “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.”
Rhone’s long and distinguished career in the music business began in 1974, when she landed a secretary job at Buddha Records (where Gladys Knight and the Pips emerged as a major act). In 1986, Rhone became vice president of Atlantic; four years later, she was named CEO and president of the company’s EastWest label, making her the first Black woman to head a major record company. There, she worked with artists from En Vogue and Gerald Levert to Dream Theater and the Rembrandts.
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In 1994, Rhone was named chair and CEO of the Elektra Entertainment Group, where she worked with Elliott, Busta Rhymes, and many more. “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,” Rhone wrote in a note that encapsulated the wide range of her music interests and accomplishments. Her tenure at Elektra was also marked by a public dispute with Mötley Crüe, chronicled in The Dirt, in which the band fought — and succeeded — to retain their master rights.
Rhone then ascended to president of Universal Motown and followed that role by becoming chairman of the Universal Motown Records group, where, thanks to a deal with Cash Money, she fostered a new generation of hip-hop artists, including Lil Wayne, Drake, and Nicki Minaj. Rhone later moved over to Epic, first as president and then CEO. As Rhone wrote to her staff, “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.”
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In 2019, Rhone received an honorary doctorate from the Berklee College of Music for her achievements in the business. “Her journey is more than just a list of accomplishments,” wrote Sony Music Group chairman Rob Stringer in a note to employees obtained by Rolling Stone. “In an industry defined by its constant evolution, Sylvia has adapted and embraced change, time and time again. She is a trailblazing executive with a distinguished background and unwavering commitment to supporting artists.”
Read Rhone’s note in its entirety 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.
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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
