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Def Jam Recordings announced on Friday (March 3) a joint venture with Philadelphia-based entertainment company Stack or Starve Records. The full service label will help develop the careers of their growing roster and newest signees D Sturdy, the Philly Goats and Saadi Four.
“Def Jam is one of the greats, I want Stack or Starve to be recognized in the same vein one day. With this partnership, I want to help our artists build wealth, understand financial literacy and most importantly, I want them to be able to help others and pay it forward,” said Curtis “Boonah” Brinkley, CEO of Stack or Starve. “We aim to do this by connecting them with financial advisors and wealth coaches, building real estate portfolios and helping them diversify their assets. The strategic moves that will be put in place for our artists and team will put them in a position that began with music but elevated them in all realms of life. Personally, I want them to be able to take care of their kids and families.”
The primary focus of the venture will be empowering, teaching and expanding Stack or Starve’s roster by leveraging Def Jam’s robust resources including A&R, marketing, PR, distribution, creative, touring, management, promo and more.
Stack or Starve Records was founded by Philly natives Brinkley and Shana Sherman, Def Jam’s director of A&R. Sherman has a history of working with major labels such as RCA and BMG alongside executives like L.A. Reid and Tunji Balogun. She has also aided in breaking and developing viral artists such as Armani White and Raveena and has worked with Maxwell, K. Michelle, India.Arie, Ledisi, and more.
The company was founded with the belief of improving the lives of young people in Philadelphia and its surrounding neighborhoods. With that goal in mind, the label strives to become a global name as it seeks to grow and empower artists around the world.
“We want to change the culture of music from this era of trending and virality to a movement that’s being spurred right out of Philly,” said Sherman. “The kids on our roster have created sounds and cultural moments that cannot be duplicated; we’re working with kids who have started their own waves, built their own organic followings, and we’re helping them achieve their goals and accomplish their vision, seeing this come to life puts the fun back into my job and the joy back in music.”
Coinciding with today’s news is the announcement of D Sturdy and the Philly Goats signing with Def Jam via the Stack or Starve partnership, joining label mate Saadi Four. In 2018, D Sturdy and the Philly Goats got their start as a Philadelphia dance and music collective comprised of D Sturdy, Sou and Spence.
“We, as a team, always speak of ownership, so the joint venture was something that we all wanted from day one. In doing that, Def Jam recognized and gave us a great opportunity to come together,” said Brinkley.” “I have a great partner, Shana Sherman, and we have a team of young and dedicated individuals working extremely hard. We invested a lot of time and resources into finding and developing several hot young artists and providing them with the platform to be recognized. We are definitely building something special here, and it’s all based on the grind, hard work and great talent.”
Max Lousada, CEO of recorded music for Warner Music Group, will sit down for a keynote interview at this year’s electronic music conference IMS Ibiza. The keynote will mark Lousada’s first appearance at the annual event, which is slated for April 26-28 at Destino Pacha Ibiza Resort.
For the summit’s 14th edition, co-hosted by BBC Radio 1 broadcasters Pete Tong MBE and Jaguar, the theme will be Face the Future. Topics will range from the complexities of AI and Web3, diversity and inclusion and ageism in electronic music. Further, conversations are scheduled to explore music rights management, understanding neurodiversity, the ever-changing dynamic between agents and promoters, an analysis of music journalism and the unveiling of the IMS Business Report.
Lousada is one of the first 10 speakers announced for the 2023 conference. IMS Ibiza will also welcome TaP Music co-founder Ben Mawson, who will discuss spearheading the lawsuit that led to house legends Larry Heard and Robert Owens winning a major court battle to reclaim the rights to their back catalogs after decades of struggle.
Across the three days, there will also be a live podcast recording of Takin’ Care of Lady Busine$$ with Justice Department founder/CEO Jennifer Justice and TOKiMONSTA, who will discuss SONA, a new Web3-based music protocol she co-founded that aims to put artists in control of the culture they create.
BBC Radio 1 resident and Hooversound label boss Sherelle will be joined in conversation with Fabio & Grooverider, while DJ Fat Tony will share the journey of his rise to become a kingpin of the ’80s and ’90s club scene in London.
“IMS returns to open the Ibiza season with a powerful and diverse mix of carefully considered content focused on the key issues facing our industry today. In 2023, we no longer have the luxury of speculating about the future: AI has fully arrived, and things will move fast from this point forward,” said IMS co-founder Ben Turner in a release. “As a tidal wave of AI-generated content sweeps in, some welcome a new era of creative possibilities, while others lament the loss of another aspect of humanity in music, all while a cornucopia of unanswered questions are created concerning the control of rights. It’s time for us to collectively ‘Face the Future.’”
Additional speakers include Femme House founder and music director for W Hotels LP Giobbi, manager Cristiana Simon of Alegria Agency, Wasserman music partner Tom Schroeder, iii Points founder David Sinopoli and artist Yellow Squares.
Check out a full list of events and speakers here.
This content was created in partnership with Ascend Agency.
Viral TikTok star Bryce Hall has become an investor and partner in Dog For Dog, a cause-based dog food and products company founded by Ryan Kavanaugh, Snoop Dogg, and Michael Bublé in 2011. In celebration of the partnership, Dog For Dog has launched a new dedicated site called “Bryce’s Dog House,” at BrycesDogHouse.com, which will offer special products, giveaways, and offerings only available to fans and followers of Bryce through the partnership site, BrycesDogHouse.com.
Dog For Dog is the first one-for-one cause-based dog food company that specializes in high-quality, natural dog food, treats, and supplements, among other products in key categories. The company is committed to providing the best possible products for dogs, and now it is taking that commitment further by donating a significant portion of its net sales to help dogs in need.
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Dog For Dog’s primary products include “DogsFood,” “Dogsbutter” (an all-natural line of peanut butter made especially for dogs), “Dogstreats,” “Dogsbars,” these products were developed using innovative ingredients with the goal of improving and extending the health of dogs.
“Dog For Dog is not just a company but a movement,” said Ryan Kavanaugh, founder of Dog For Dog. “When we created Dog For Dog, we realized there is a huge need in the market for dog products that use the newest breakthroughs in medicine, pharmaceuticals, nutraceuticals, nutrition, and advancements in genetics to help extend both the quality and lifespan of dogs. That is our goal,” said Kavanaugh.
“We are thrilled to add Bryce as an investor and partner, and to launch ‘Bryce’s Dog House’ to help bring the best dog products to first-time dog owners and help educate people on the importance of helping dogs in need,” said Tamoor Shafi, CEO & Managing Partner of DogForDog.com. To date, Dog for Dog has donated more than one million pounds of dog food, and the company aims to donate four million pounds in the near future, fueled by its mission to get shelters to “zero kill”. “We are incredibly grateful for our loyal customer base and partners who share our values and support both our mission and the products we offer,” remarked Shafi.
Initially, for every product sold, the company donated a meal to a dog in a shelter or rescue organization. It has since upgraded the program to providing resources for organizations like Labelle to reach even more dogs in need. The program is designed to help provide much-needed nutrition to dogs who may not otherwise have access to high-quality food.
“I have always loved dogs,” said Bryce Hall. “I feel it is my generation’s responsibility to end the idea of any dogs being killed in a pound or shelter because they can’t be fed or can’t find a home, which is why I put my time and money behind such a worthy company. To stand side by side with industry titans like Snoop, Michael, and Ryan is an honor, and I have agreed to take on the responsibility of making sure my generation understands the importance of helping shelter dogs.”
Bryce Hall is passionate about ending the needless killings of dogs in shelters and is committed to educating his generation on the importance of helping shelter dogs. “I feel it is my generation’s responsibility to end the idea of any dogs being killed in a pound or shelter because they can’t be fed or can’t find a home, which is why I put my time and money behind such a worthy company,” said Hall.
Dog for Dog is not just a business but a movement to help stop the millions of dogs euthanized in pounds around the world. The company’s commitment to using only the highest quality, natural ingredients in its products and providing exceptional customer service has earned it prestigious awards, such as “best in show.”
Snoop Dogg and Michael Bublé, both founders of the company, are both passionate dog lovers, and share the same commitment to providing the best possible care for their own pets. This commitment is reflected in the quality of the products they offer through Dog for Dog. “Michael and I believe in giving our own dogs the best possible nutrition, and we wanted to extend that same quality to all dogs,” said Snoop Dogg. “We’re proud to offer high-quality, natural products through Dog for Dog, and to give back to dogs in shelters in need.”
For more information about Dogfordog.com and its products, please visit the new website at www.dogfordog.com.
The T.J. Martell Foundation for Cancer Research, which is in the midst of rebuilding after the organization’s former executive vp/GM Melissa Goodwin was found to have embezzled $4 million from the music industry-supported charity, has named Warner Music Group chairman emeritus John “Espo” Esposito the new chairman of the board of trustees.
“We got the double whammy of the COVID pandemic and somebody being a bad actor,” says Esposito, who stepped down as chairman/CEO of Warner Music Nashville on Dec. 31 and wanted to devote some of his newfound time to good works. “I felt qualified with my knowledge of the organization and passion for them to do what I could to help get us back on track.”
Esposito’s initial term is for two years. He succeeds Universal Music Group general counsel and executive vp Jeffrey Harleston, who will now serve as executive chairman.
Esposito, who has served as a T.J. Martell Foundation trustee since 2006 but has supported the organization since 1997, adds, “Obviously, I’m not going to do that single-handedly, but I felt like I could use my leadership skills to help us in so many ways.”
Former consultant Lynn-Anne Huck, who took over as acting CEO in 2020 after initially conducting the review that unearthed Goodwin’s improprieties, is now the permanent CEO of the Nashville-based organization.
Courtesy of T.J. Martell Foundation
Formed by record executive Tony Martell in 1975 following the death of his son, T.J., from leukemia, T.J. Martell holds multiple annual charitable events, auctions and campaigns in tandem with the music community in Los Angeles, New York, Nashville, Miami and other cities. It has raised more than $280 million in support of medical research grants at leading U.S. institutions and helped secure more than $1 billion in additional research funding.
T.J. Martell is additionally preparing for its 45th annual New York Honors Gala, the organization’s first since 2019. Held at Cipriani 42nd Street, the June 13 event will honor Warner Records co-chairman and CEO Tom Corson with the Lifetime Music Industry award, Def Jam Recordings chief creative officer and executive vp Archie Davis with the Rising Music Superstar Award and songwriter Shane McAnally with the Spirit of Music Award.
Esposito takes over a charity that was roiled by Goodwin’s actions. According to federal charging documents, from July 2018 to April 2020, she used a company credit card to purchase approximately $3.96 million in concert and sporting event tickets, including for Lady Gaga, Celine Dion and the Super Bowl. She also bought plane tickets, alcohol and hotel stays. Goodwin turned some of the items over to the owner of a charity auction business to resell but kept the money instead of turning it over to the charity.
Prosecutors also say she falsified credit card statements, created fake expense reports and replaced the ticket expenses with other vendor names to make the charges appear to be legitimate foundation expenses. Goodwin, who cooperated with federal prosecutors, pled guilty to wire fraud and was sentenced to four years in prison in August. The Foundation is the plaintiff in four other suits relating to Goodwin’s malfeasance — including one against its former accounting firm — that are all in the discovery stage.
Under Harleston and Huck, the organization put safeguards in place to assure supporters and donors that what happened under Goodwin won’t happen again. “Lynn-Anne created a 28-page policies and procedures manual for financial transactions,” Esposito says. “We’re probably going above and beyond on a consistent basis.”
“If you go to our website,” Huck says, “you’re going to find more information than almost any other non-profit. We are absolutely transparent with everything.” The website includes IRS 990 Forms going back to 2017, as well as independent audit reports.
According to its latest 990 form, T.J. Martell, a registered 501 (c) corporation, ended 2021 with net assets of $1.045 million. Like many organizations, it took a hit during the pandemic; its net assets on its 2019 990 form were listed as $3.35 million. Despite that drop as well as Goodwin’s actions, Huck says the organization was able to fulfill all of its 2019 promised grants going into 2020 before the pandemic hit. It will resume grant-giving this year.
Esposito, Huck and the trustees have also done outreach to rebuild trust brick by brick. “To get people back in the boat, every quarter I had a list of about 250 donors and friends, and either myself or [other key T.J. Martell board members] would just get on the phone and answer questions,” Huck says. “’What are we doing?’ ‘How are we going to make sure this never happens again?’ So by the time [Goodwin] was charged last year, everybody knew. We kept them in the light all along.”
T.J. Martell’s first event in 2023 occurred during Grammy Week in Los Angeles when it held its Best Cellars dinner. Similar events to be held in Nashville, Napa, Atlanta, Houston, Washington, D.C. and Cleveland this year will pair a four-course gourmet meal with wines provided by some of the country’s most distinguished wine collectors. The Los Angeles event, which was held Feb. 2, netted $600,000 for the organization, far beyond its original budget of a “few hundred thousand,” Esposito says.
“The love in that room and the enthusiasm in that room, it was like we were back in 1999. It was a great feeling,” Esposito says. “So, I’m feeling very confident that as long as we take all the right steps, we’re going to build this thing to a really good place.”
The organization is also looking at ways to broaden its outreach by spreading into other areas — part of a strategy to cut down on the number of events it holds each year. In 2018, T.J. Martell held 32 events that raised over $4 million. With this year’s seven Best Cellars dinners, it hopes to raise $3 million. Ideas include creating marathon teams that raise money for T.J. Martell, as well as increasing planned giving by individuals and estates and increasing branding and sponsorship possibilities. “It’s tapping into cash that makes the events far more productive and our not being so dependent on 30 events in a year,” Esposito says.
By relying less on staff-intensive events, Esposito and Huck hope to keep their personnel numbers down. In 2019, T.J. Martell had 25 full-time employees but now has only three. As the organization revs back up, they say they will judiciously hire more staffers based on need.
As Esposito delves into his role, he says the two words he uses to sum up T.J. Martell 2.0 are “transparency and enthusiasm… I yearn for us to be transparent on a profound level. And every philanthropic organization relies on enthusiasm, and 2023 is the year we’re building enthusiasm back and I’m thrilled that I’m already feeling it,” he says. “I can only imagine as we start getting events like the gala under our belt that people will be saying, ‘They’re back and better than ever.’”
Downtown Music Services has inked a global distribution, creative marketing and synch licensing deal with Natanael Cano‘s record imprint, Los CT, it was announced Monday (Feb. 27). The label’s current roster includes Gabito Ballesteros, Alejandro Buelna, Tyan G and more.
Under the deal, Downtown Music Services will be responsible for all aspects of global distribution, creative marketing and synch for Los CT. This includes providing listeners with access to new music releases, securing strategic marketing and synch opportunities and ensuring that Los CT artist releases are available on all major digital streaming platforms.
Cano launched Los CT last year amid a public dispute with his former label, Rancho Humilde, as an opportunity to continue broadening the Mexican music style he’s been actively internationalizing.
“I am always very happy to work with people who supported me from the beginning,” Cano said in a press release. “Now being able to distribute my music with some of the same people who always believed in me, I am extremely grateful and motivated to continue giving my all alongside the Downtown Music Services team.”
Downtown Music Services vp of A&R Latin, Ray Tapia, worked side by side with Cano’s manager, Ramon Emilio Hernández, to make this partnership a reality. A subsidiary of Downtown Music Holdings, Downtown Music Services offers bespoke distribution, publishing administration, creative marketing and finance solutions to entrepreneurial creators and their partners.
Tapia said, “We are thrilled to partner with Natanael Cano and the Los CT record label team. The Mexican music scene is undergoing a transformation with an increasing number of collaborations and a growing number of artists attracting millions of monthly listeners. This genre remains one of if not the most independent, and we are super excited to have the opportunity to contribute to its success. ¡Ánimo!“
“We have been working on this for a minute and I am really excited about this partnership and how we are helping put this new era of the culture out there,” added Hernández. “There is so much promising talent in this space and we look forward to working with some of these artists and the team at Downtown Music. They really knew the genre, the music and understood our goals from the beginning.”
This year, Cano has achieved three entries on the Billboard Global 200 chart, including “AMG” with Gabito Bastelleros and Peso Pluma which hit No. 35 on the tally. He’s also scored two entries on the Billboard Hot 100.
The Recording Academy has appointed Nzinga “Zing” Shaw as chief DEI officer. She reports directly to Academy CEO Harvey Mason jr., while vp of DEI Ryan Butler reports to her.
Shaw oversees diversity, equity and inclusion efforts across all areas of the Recording Academy, including internal and external programs, organizational and staff culture, membership, awards and related initiatives.
“I am thrilled to introduce Zing to the Recording Academy as our Chief DEI Officer,” Mason said in a statement. “Her groundbreaking work in the DEI field speaks for itself and we are excited to see how she’ll amplify the Academy’s commitment to fostering a diverse and inclusive environment and drive positive change throughout the organization.”
“I am proud to join the Recording Academy and work with a talented team of leaders to cultivate a culture of inclusion that fosters different points of view and empowers diverse colleagues,” Shaw said in a statement. “The organization has made incredible strides in diversity, equity and inclusion over the last few years, and I look forward to being part of the Academy’s continued commitment to supporting both our internal stakeholders and the music community at large.”
With direct support from Butler and Ricky Lyon, manager of DEI, Shaw is responsible for ensuring that diversity and inclusion are core business values and those standards are demonstrated throughout the organization.
Shaw is known for her pioneering DEI work with the NBA’s Atlanta Hawks, launching the MOSAIC symposium (Model of Shaping Atlanta through Inclusive Conversations), and making the Hawks the first professional sports team to celebrate the LGBTQIA+ community. Additionally, Shaw was the first chief DEI officer at three top organizations: Edelman, Starbucks and the National Basketball Association.
In addition to serving on the board of trustees of Fisk University, the board of directors of ColorComm, and the board of advisors of Arctos Sports Partners, Shaw was appointed by former President Jimmy Carter to serve a six-year term on the board of councilors of the Carter Center.
Shaw holds a bachelor’s degree from Spelman College and a master’s from the University of Pennsylvania. She was a study abroad scholar at Oxford University in the U.K.
The Lyric Capital Group says it raised over $800 million in new financing, closing its second fund that will be deployed in music asset investments through its publishing arm, the Spirit Music Group. The company further said that the new funding breaks out about 50/50 between equity and debt, with $410 million in equity commitments coming from existing and new institutional investors.
Overall, the company said the funding exceeded its target.
“I couldn’t be more excited about completing our latest fundraise with the participation of existing and new investors which validates our unique and collaborative approach to acquiring high-quality assets from recording artists and songwriters,” Lyric Capital co-founder/managing partner and Spirit Music Group chairman Jon Singer said in a statement. “Thanks to our relationships and proven reputation as good stewards of legendary song catalogs and recordings, we have a robust pipeline of proprietary opportunities and the capital to pursue them.”
Lyric Capital Group was formed in late 2018/early 2019 when Singer and then-Spirit vp of acquisitions and business development Ross Cameron led a buyout and recapitalization of Spirit Music.
“Since inception, Lyric Capital has transacted on over $800 million to develop outstanding catalogs of music, in partnership with artists and songwriters,” said Cameron, a Lyric Capital partner and co-founder. “Our disciplined investment approach is informed by our ownership of Spirit Music Group and supported by 25 years of proprietary music royalty data providing us with an unmatched insight when acquiring and managing copyrights. We are very pleased to close our second fund and thank our investors for their continued support of our unique platform.”
The company said it now owns and manages over 100,000 copyrights with both publishing and master recordings a part of the mix. Its catalog includes hits by The Who, Ed Sheeran, John Legend, Chicago, the Go-Go’s, Faith Hill, Tim McGraw, Camilla Cabello, Jay-Z, Ricky Martin, Brad Paisley, Toto, Madonna, Jason Aldean, Graham Nash, T.Rex, Charles Mingus, Carrie Underwood, Taylor Swift, Billy Squier, Chaka Khan, Whitney Houston, Eminem, Elvis, Frank Sinatra, Eminem, Salt-N-Pepa, Electric Light Orchestra, Tom Petty, The Traveling Wilburys and Lou Christie.
Eaton Partners served as the exclusive placement agent on the equity while Truist and Pinnacle led the debt consortium; and Ropes & Gray LLP served as legal counsel.
BERLIN, Germany — The German music market is doing wunderbar. It grew 6.1% in 2022 over the previous year, to 2.07 billion Euros ($2.19 billion), according to the BVMI, the country’s recorded music trade organization. That’s the fourth consecutive year of growth for the market, as well as the first time in 20 years that the business – valued on retail revenue, including VAT – exceeded two billion Euros.
Although Germany came late to streaming, which didn’t overtake the country’s physical sales until 2018, digital accounted for a full 80.3% of retail revenue in 2022, and streaming came in at 73.3%. Total physical sales accounted for 19.7% of revenue.
The CD is still much healthier here than in most other markets, accounting for a full 12.9% of revenue, which makes it the industry’s second most important product after streaming.
Downloads, which never took off in Germany to the extent that they did in most other European markets, accounted for just 2.2%. Other digital revenue, including video streaming, added up to 4.8% of revenue.
Streaming is gaining fast, too: it grew by 14% compared to 2021, while CD sales declined 17.1%.
Within the physical market, vinyl still lags behind CDs, at an even 6%. That’s a significant difference from the U.S., where vinyl sales revenue long since surpassed that of CDs. (Music DVDs and Blu-ray videos accounted for half a percent of revenue, while other physical products accounted for 0.3%.) As in the U.S., vinyl sales are still growing — they were up 6% by revenue — but not as much as in 2021, when they grew 20.1%.
“The fact that the German music industry has taken the 2 billion Euro mark for the first time in two decades is good news of far more than symbolic value,” said BVMI chairman and CEO Florian Drücke. “Looking at streaming, it will be exciting to see how the price increases we have seen recently from the first providers will now play out in the wider market and also how short form videos will be able to monetize even more.”
The process of collecting public performance royalties from DJ sets has long been a tricky one in the United States, with uneven data collection processes often obscuring what songs are played at dance festivals. That makes it difficult for artists with the rights to the music to get paid what they’re due.
But one music market with a firm grasp on the performance royalties collection and distribution process as it relates to the dance world is The Netherlands, where electronic music is deeply woven into the country’s social fabric.
Buma/Stemra, one of the world’s most progressive collective management organizations (CMOs) for electronic music producers, operates within a live music market that generated 34 million euros ($36 million) in public performance royalties in 2022. Of this revenue, 7.2 million euros ($7.6 million) came from dance festivals, with roughly 1 million euros ($1.1 million) from clubs, making dance music comprises a quarter of the Netherlands’ total performance royalties
Since dance music incorporates so much different music from different artists in a set, that leaves a lot of rights holders to be identified. For this, Buma/Stemra uses audio fingerprinting technology that monitors and identifies songs played during sets.
“In the Netherlands, we have such a wide range of successful DJs with worldwide success,” says Juliette Tetteroo, accounts manager of dance events at Buma/Stemra. “As Buma/Stemra, that’s also why we find it really important to be at the front of developments like fingerprinting technology.”
For its fingerprinting, Buma/Stemra primarily uses Amsterdam-based DJ Monitor, an electronic music monitoring technology. DJ Monitor functions much like Apple-owned audio-recognition mobile app Shazam, identifying tracks within its library — a database of roughly 100 million songs submitted to DJ Monitor by global performance rights organizations (PROs) — and creating set lists for any given set with 93% accuracy, the company reports. (Billboard‘s recently published lists of the top 50 tracks and the top 50 artists played at Dutch dance festivals in 2022 was made with data collected by DJ Monitor.)
DJ Monitor is one of a number of music recognition technologies, including Pioneer’s KUVO, that can make the monitoring and reporting of DJ sets easier and more accurate. Buma/Stemra says that DJ Monitor has the highest identifying rates of all audio fingerprinting technology.
DJ Monitor is currently employed by CMOs in France, Germany, Finland, Belgium, Australia, New Zealand, the U.K. and The Netherlands, where it fingerprints 70% of all festivals. (Another fingerprinting company, Soundware, is also used by some Dutch events.)
Buma/Stemra’s work collecting performance royalties from a given event begins well before any tracks are even played. The CMO begins by determining licensing fees for any given event; for festivals with revenue lower than 110,000 euros ($116,000), the festival organizer pays the standard 7% licensing rate for events. This percentage is based on the assumption that more than two-thirds of songs played during the course of a given event are in Buma/Stemra’s repertoire. (If the event organizer provides a setlist showing that less than two-thirds of the music played was Buma/Stemra repertoire, the licensing fee drops to between 3% and 5%.)
For festivals with revenue higher than 110,000 euros, the event organizer provides Buma/Stemra with audio from the events to be fingerprinted. The festival can submit the audio manually, or upload it to the Buma/Stemra server, where it is then fingerprinted by DJ Monitor. The festival can also let DJ Monitor monitor audio during live performances, in which case DJ Monitor tech is implemented at every stage at the festival.
For bigger events, Buma/Stemra pays for fingerprinting costs, as, they say, it serves their goal of paying royalties on every song played at a given event.
“Our goal is to work towards one-on-one collection and distribution,” says Tetteroo. “It is all about the quality of what we do. [Paying for fingerprinting costs] also helps in encouraging organizers to pay, because they know that the money they pay goes to the composers and their publishers of the songs that have been paid. This is why we happily invest in technology that points in this direction.”
Buma/Stemra receives hundreds of songs from any given festival, given that most events host multiple stages and often run for three days. DJ Monitor typically identifies between 80% to 90% of this music (more than 80% if monitoring electronic music; 90% if monitoring open format/pop music) and sends formatted lists of the data to Buma/Stemra. Buma/Stemra imports this data, 60% to 70% of which is typically imported automatically — given that roughly that amount of music from any given event is recognized as something already in the Buma/Stemra database.
The percentage that’s not automatically recognized goes to an outsourced supplier in India that works to manually identify it. Money collected from a festival is then divided and paid out based on a system that assigns points to songs.
Given that a certain percentage of songs aren’t recognized, hundreds of hours of unclaimed music aggregates over the year because, says Buma/Stemra’s music processing manager Rob van den Reek, “we have a real lot of festivals here in the Netherlands.”
Buma/Stemra publishes this unclaimed music on their website, where artists can find and claim their songs. Artists are able to make a claim for up to three years after the song is posted online. If no one has claimed it after three years, the money owed to all unclaimed music is divided between rightsholders included in what’s called a “reference repertoire” — or a Buma/Stemra-compiled sample of common songs played at festivals. Introduced four years ago, this claiming system adds another layer of transparency — and more opportunity for creators to get the money they’re owed.
“Transparency is one of the benefits that stands out the most from the way we work,” says Buma/Stemra marketing manager Annabel Heijen. “That’s where we’ve made the most progress.”
There is one fault with the Buma/Stemra system that’s in the process of being addressed. Currently Buma/Stemra pays out based on the length of a full song that’s registered — not how much of it was actually played in a DJ set. If a song was registered at a length of three minutes, but only played for two minutes, Buma/Stemra pays based on that full, original timestamp. Buma/Stemra is currently building a new system that will pay out against the real timestamp identified during DJ sets that the organization expects to release by the end of 2023 or early 2024.
Max Cutler, Spotify‘s head of audio talk shows and partnerships, is departing to “return to his entrepreneurial roots,” according to the company. His exit is part of a broader reorganization at the streaming company’s podcast division, where Julie McNamara has been appointed to lead licensed exclusives in addition to her oversight of Spotify’s global podcast studios. Additionally, Bryan Thoensen will continue overseeing content partnerships for third-party creators while expanding both those efforts and his team, while Bill Simmons will now report to podcasting head Sahar Elhabashi; in addition to continuing to lead The Ringer, Simmons will partner with vp/global head of ads business & platform Lee Brown on podcast monetization across the Spotify portfolio. No layoffs are connected to these shifts, according to the company.
Stacey Tang and Glyn Aikins were named co-presidents of RCA UK; both have worked at the label since 2018, with Tang most recently serving as executive vp while Aikins was co-president of Sony Music’s Since 93, a label partnership with RCA. Tang was named to Billboard‘s International Power Players list last year.
Robin Godfrey-Cass joined Primary Wave Music to focus on catalog acquisitions for the publishing giant. Godfrey Cass has over 40 years of experience in the music industry, including as managing director at Warner/Chappell Music UK and Round Hill Carlin UK; founder of Crosstown Songs; and co-founder of Perfect Storm, which eventually sold to Reservoir.
Cathy Bauer was appointed to the newly created role of head of physical sales & marketing at ADA Worldwide. In the role, she will manage ADA’s global physical sales and marketing division “with a focus on growing partners’ businesses and establishing efficient and standardized processes,” according to a press release. Bauer will additionally be tasked with identifying growth and innovation opportunities for ADA’s artists and partners, including through direct-to-consumer initiatives. She reports to ADA Worldwide president Cat Kreidich. Bauer joins ADA from ABKCO Music & Records, where she served as vp of sales & marketing for nearly five years.
Concord promoted 12 staff members to vp and senior vp roles across multiple business areas: Carol Boldish to vp of production, Concord Label Group (Nashville); Tom Frank to vp of sync marketing, Concord Label Group (London); David Geer to vp of music & publications, Concord Theatricals (New York); Shane Guitar to vp of operations, Fearless Records (Los Angeles); Randy Linsey to vp of international marketing & sales, Craft Recordings (Los Angeles); Clare Maxwell to vp of marketing, Concord Label Group (London); Elysha Miracle to senior vp of rights data management (Nashville); Meredith O’Leary to vp of sync marketing, Concord Label Group (New York); Gary Paczosa to senior vp of A&R, Rounder Records (Nashville); Stephen Phillips to vp of sync, Concord Music Publishing (London); Kelly Voigt to senior vp of corporate communications (Nashville); and Marty Willard to senior vp of business & legal affairs (remote).
Parlophone Records announced several key promotions and hires, chiefly Jack Melhuish, who has been named GM. He will continue to oversee and develop campaigns for Parlophone’s roster while also taking on wider responsibilities at the label. Additionally, Arina Logacheva, Molly McNulty and Seb Smith have been hired as senior A&R managers while Jason Ngimbi was hired as junior A&R manager. Logacheva joins from Universal Music, McNulty comes from Kobalt Music Publishing, Smith comes from Believe Music and Ngimbi joins from BMG. Lastly, Grace O’Neill was promoted to head of radio while Sam Palm was promoted to head of the newly created insight department, where he will extend the work he’s been doing as streaming head by incorporating more robust audience data.
Marcus Wise was appointed CEO for the European region at Wise Music Group. Previously global head of media, the London-based executive will lead the company’s music publishing and recorded music interests across the continent. Additionally, Dave Holley was named Wise Music Group COO, also based in London.
Alexander Brose, former executive director and CEO of The Tianjin Juilliard School in China, will succeed Dr. Peter Simon as president/CEO of The Royal Conservatory of Music upon Simon’s retirement on Aug. 31, 2024. The transition will begin on Sept. 1, 2023, when Brose will assume the role of president designate and work closely alongside Simon leading up to his departure.
Allison Smith was promoted to vp of promotion at Big Machine/John Varvatos Records; she was previously national director of promotion. In her new role, Smith will continue cultivating relationships between rock radio and the Varvatos imprint’s roster, which includes Badflower, Ayron Jones, Starcrawler, The Struts and Violet Saturn. She can be reached at allison.smith@bmlg.net.
Samantha Steel was named COO at Triple 8 Management, where she will oversee operations, promote a positive company culture and vision and develop solutions for internal communications as well as growth potential for employees and clients. Steel first joined Triple 8 in 2017, when Good Time Inc., where she served as GM, was acquired by the company. She can be reached at Sam@Triple8Mgmt.com.
JukeJoint Foundation, a nonprofit designed to empower women of color in the music business, was launched by Fresh ‘N Sassy Productions and ENCORE Music Tech Solutions founder Janishia Jones out of Los Angeles. Current board members include Live Out L!ve CEO Candace Newman, Exceleration Music head of data strategy Britnee Foreman, Jammcard operations manager Katrina Lee and Mass Appeal head of finance Daphnee Pierre. The Foundation will help women of color forge key professional connections by providing access to music industry events, scholarships to assist in repaying student loan debt and grants to aid the launch of their own music businesses. It plans to open additional chapters in New York, Atlanta and Nashville.
Gail Berger was named senior vp and GM of automotive partnerships at SiriusXM, succeeding Rodney Pickett, who will retire at the end of the month. Reporting to chief commercial officer Joe Verbrugge, Berger will oversee the company’s automotive partnerships, automotive remarketing and automotive field operations teams responsible for growing SiriusXM’s presence in new and used vehicles. Berger, who has been with SiriusXM since 2012, was most recently senior vp of automotive remarketing.
Bryce Sherlow was promoted to A&R manager at Warner Chappell Music in Nashville, while Benji Amaefule was hired in the same role. Amaefule joins from media platform Country Central, where he served as head of artist and label partnerships; he also interviews Nashville artists and writers and reviews new music via his brand TheBenjiChord.
Drive Agency president/CEO Jessy Tolkan was appointed as chairperson of the board of directors at HeadCount, the nonpartisan, nonprofit voter registration organization that harnesses music, culture and digital media to increase voter turnout. She succeeds Peter Shapiro, who recently finished out his four-year term as chair but will keep a seat on the board.
Mary Beth O’Toole launched The Conduit Collaborative, a boutique public relations firm with locations in Los Angeles and Sacramento, Calif. The firm specializes in finding non-traditional pitch angles for clients, ranging from music artists to Washington lobbying firms. It offers a range of PR services, including tour press and red carpet services, and has already worked with the Janis Joplin estate, Universal Music and L.A. Live, among other clients. O’Toole can be reached at info@conduitcollab.com.
Sound Future Foundation, which harnesses the influence of the live event industry to further climate innovation, announced its new board of directors, including board chair Terah Lyons, who previously served as policy advisor to U.S. chief technology officer Megan Smith in President Obama’s Office of Science and Technology Policy and founding executive director of the global nonprofit Partnership on AI. The remainder of the new board includes treasurer Kelci Zile (sustainability partner, Madrona Ventura Labs); secretary Adam Brunner (senior planner & counsel, Wildstar Partners); Brandy Schultz (co-founder/chief marketing officer, Sound Future and founder of Adventure Nannies); Ashley O’Winter (co-founder/COO, Sound Future); Wesley Schultz (songwriter-producer-lead singer of The Lumineers); Sara Full (tour manager); Joe Atamian (senior vp, Wasserman Music); and Alex Bruford (founder/CEO/agent, ATC Live).
ASM Global appointed Leonie Patrick of the San Francisco Travel Association as GM for its San Francisco convention center the Moscone Center. “Her focus will be to actively create an international destination while driving a great value for live meetings and events that drive action within their communities,” said ASM Global executive vp of convention centers Dan Hoffend in a statement.
TAIT — a global group of designers, fabricators, engineers and innovators for live and location-based experiences — promoted Gemma Hodgson to chief commercial officer. Additionally, Jess Chalifoux has joined the company as vp of global business development. Chalifoux reports to Hodgson, who can be reached at gemma.guy@taittowers.com.
Sander Shalinsky was named legal counsel at SRG/ILS Group. In music, Shalinsky is best known for his work with The Weeknd and producer Bob Ezrin, among many other record labels, artists, publishers, managers and music executives.
Singer-songwriter Jewel co-founded Innerworld, a mental health platform that aims to “build the largest community in the metaverse for mental health support,” according to a press release. Jewel will serve as chief strategy officer, while founder Noah Robinson will serve as CEO.
CrossBorderWorks founder/CEO Vickie Nauman joined the advisory board of Web3 company Pixelynx, which develops new formats of music and experiences for the metaverse.