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The Academy of Motion Picture Arts and Sciences announced a series of executive promotions as part of an organization-wide effort to unite teams on Wednesday (May 29). “As the Academy evolves, we are bringing teams together to create a better sense of shared purpose across the organization,” Academy CEO Bill Kramer said in a statement.
Amy Homma has been appointed director and president of the Academy Museum of Motion Pictures. In her new role, Homma will lead the strategic creative vision of the Academy Museum. She succeeds film scholar and TCM host Jacqueline Stewart, who is returning to her faculty position at the University of Chicago. Homma will report to the museum’s board of trustees and Academy CEO Kramer.
Homma has been with the Academy Museum for five years and is currently the museum’s chief audience officer. She previously served as the Academy Museum’s vice president of education and public engagement.
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Jennifer Davidson has been promoted to the newly-created role of chief marketing and communications officer, effective June 1. In this expanded role, she will oversee marketing and audience development, communications, digital/social and creative brand strategy for all arms of the Academy, including the Academy Foundation, Academy Museum and the Oscars.
Davidson has served as chief communications officer since December 2021.
Jenny Galante has been promoted to the newly-created role of chief revenue officer, effective June 1. In this role, Galante will drive diversified and global revenue growth for all arms of the Academy, including the Academy Foundation and Academy Museum. She will continue to oversee strategic brand partnerships, including Oscars sponsors and advertisers, and lead efforts for Academy100, a $500 million global revenue diversification and outreach campaign the Academy publicly launched in early May.
Galante, who joined the Academy staff in 2013, most recently held the position of executive vice president, revenue and business development and served as senior vice president, business development.
Matt Severson, director of the Academy’s Margaret Herrick Library, has been promoted to the newly-created position of executive vice president, Academy collection and preservation, effective July 1. He will oversee all collections, archival, preservation, registration, conservation and cataloging work of the Margaret Herrick Library, Academy Film Archive and Academy Museum. This role centers, for the first time, all collections and preservation efforts for the entire 23 million-item Academy Collection.
Severson began his Academy career in 1997 in the Photograph Archive. He became head of the Photograph Archive in 2009 before becoming the head of the Margaret Herrick Library in 2018. He recently edited the Academy Museum exhibition catalog Agnés Varda: Director’s Inspiration, published by the Academy and DelMonico Books last year.
Previously, Severson reported to Randy Haberkamp, executive vice president, Library, Archive and SciTech, who will retire from the Academy on Aug. 2 after 23 years. Haberkamp will continue in a consultant role with the Academy until next spring.
Draco Rosa and his company Phantom Vox have established an alliance with La Buena Fortuna Global, an artist management, booking and event production company with a focus on promoting Puerto Rican talent internationally, Billboard Español can announce. The agreement is aimed at expanding Rosa’s career internationally. “It is with deep emotion that I share a […]
K-pop giant HYBE sold a portion of its stake in rival South Korean music group SM Entertainment worth $50 million, or roughly 3% of the company, according to a filing made public on Tuesday (May 28). Though it sold roughly 755,500 shares worth 68.4 billion Korean won, HYBE still owns some 2.2 million shares comprising […]
On a recent trip to New York, I spoke on a panel discussing the state of the global music industry. During the Q&A, someone asked, “When will the day come that Taylor Swift isn’t the biggest artist in the world?”
Answer: She already isn’t.
Now, maybe it’s a matter of perspective. From a Western vantage point, it’s a valid question. Given Swift’s ubiquitous media coverage, it’s hard to imagine a day when she isn’t at the top of our industry. In the past year alone, she has broken records, won awards, and inspired fans. But her achievements are only one slice of the global picture.
The music industry is increasingly interconnected, with content moving across markets and access to that content expanding in ways many do not see. With that comes the opportunity to reach massive populations from emerging markets, whose focus rests on domestic artists and local language content. I think a future where the next big global star arises from somewhere other than the U.S. is barreling towards us, and they won’t be singing in English.
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My confidence here is informed by my home, the United Arab Emirates, which sits at the intersection of Asia, Africa, and Europe, and has a population representing over 200 nationalities. I am deeply embedded in this region and its music industry, and I have firsthand exposure to music’s evolution in these markets, watching the increasing dominance of local language music and recognizing how it is reshaping pop culture. That change is happening quickly across listenership, subscription growth, access to music and more.
Evaluating a superstar from the West against a superstar from the East is not an apples-to-apples comparison. There is important context missing from the raw numbers, particularly in available streaming metrics, which fail to fully represent the consumption in the East or the potential for monetization in the years to come.
The multinational streaming platforms have thoroughly established themselves as the leaders in monetization. For example, Spotify has carved out a reputation as the market leader with over 602 million monthly active users globally, 236 million of which are paying. However, those multinational platforms are relatively new to the MENA region and other emerging markets and are still building a user base. In contrast, domestic streaming platforms in the wider region have had longer to build a strong user base (e.g., India’s Gaana boasts 200 million monthly active users), but their monetization hasn’t caught up yet.
However, if we look at the sheer market size, the opportunity in emerging markets is undeniable. The populations of the U.S. (330 million) and the U.K. (67 million) are dwarfed when compared to India (1.4 billion), MENA (489 million people), Pakistan (243 million), or Nigeria (227 million). Music consumption in some of these markets is already outpacing the West (in rate of growth) and will soon surpass the West (in volume).
The data is there. Emerging markets have been the major driver of global subscription growth since 2021, and Goldman Sachs’s 2024 Music in the Air reports their contribution is expected to reach 70% by 2030. In Luminate’s 2023 report they highlighted that India’s streaming volume increased by nearly half a trillion streams year-over-year vs. 184 billion for the U.S. At that rate, particularly as the U.S. reaches a point of saturation, we could see India surpass the U.S. in consumption this year.
You might think that the increased availability and monetization of streaming platforms in emerging markets would translate to the Taylor Swifts of the West reaching even more listeners. The truth is those listeners increasingly care more about their own domestic stars and regional music culture than what the West exports to them.
YouTube launched globally in 2005 and has long been the established service for streaming and discovering music, thereby more adequately reflecting music listening preferences in the region. If we look specifically at Swift, there is no denying she is massively popular on the platform. On YouTube’s Global Music Charts for April 19-25 (the week her latest album dropped), she sat squarely at #1. However, eight of the Top 10 songs that week were actually non-English releases by artists from around the world. How many of you know the Bhojpuri hit “Maroon Color Sadiya” (which was #3 that same week)? Expand that to the Top 40, and only eight songs are in English. This is only on YouTube; consider the impact of additional domestic streaming platforms, which are even more skewed toward local language artists in each market.
Local language matters; the era of pop music being defined as “Anglo-American” is over. Looking at streams per day in India in 2023, Statista found Hindi represented over 40% versus English’s 25% share. What’s more, vernacular language and regional music, which made up the remaining 34%, was notably the fastest-growing genre from 2020 to 2023. In its 2023 report, Luminate highlighted how the share of English language music declined by 12% globally since 2021, while the share of Hindi music has essentially doubled. Even in the U.S., the share of English language content is down 3.8% since 2021.
The global diaspora which is consuming Arabic, Hindi, and other global languages is in the West too, augmenting the shift I’m describing. The meteoric transformation of K-pop into a global phenomenon is a particularly strong example of this expansion, thanks to groups like BTS, BLACKPINK and Stray Kids. In addition to its huge following in Korea, the genre has swept the West, with Korean being the 3rd biggest language by consumption in the U.S. in 2023, according to Luminate.
So, is Taylor Swift really the biggest artist in the world? Given the change I’ve described in streaming adoption across emerging markets, the importance of domestic platforms, and the sheer fact that on a country-by-country level domestic acts reign, the answer is no. Last time I checked, India, Pakistan, the Middle East, China and most of Africa have their own superstars — and they represent most of the populated world. There’s no telling how high those local artists will climb before their stars eclipse the likes of Swift in ways that become much more obvious to the rest of us.
Spek is the founder/CEO of PopArabia & ESMAA and the executive vp of international & emerging markets at Reservoir. He was recently named to Billboard’s International Power Players 2024 list, having previously appeared on the list in 2021, 2022, and 2023.
Irish rock band The Script signed a global deal with BMG. Managed by Simon Moran and Martin Hall at Hall or Nothing, the group now consists of Danny O’Donoghue and Glen Power following the death of their bandmate Mark Sheehan last year. According to a press release, the band’s global streaming tally stands at 10 billion.
Stockholm, Sweden-based, Venezuelan-born singer-songwriter Omar Rudberg signed to Elektra Records and released his major label debut single, “Red Light,” on May 17. Rudberg was previously in the Scandinavian boy band FO&O before going solo. He’s also known for starring in the Netflix series Young Royals.
TMWRK signed three artists to its management roster: ††† (Crosses), Wavves and Noeline Hofman. The company’s founder, Andrew McInnes, manages ††† (Crosses) alongside Ben Matusow, who also manages Wavves. Hofman, an Americana artist, is managed by senior vp of management Paddy Scace and executive vp/partner Nick Palmacci.
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Singer-songwriter Cameron Whitcomb (“The Devil I’ve Seen”) signed with Atlantic Records, which released his latest single, “Rocking Chair,” on May 17. Whitcomb is managed by Todd Dunsmore and John Caton at Fifthline and booked by Matt Runner and Jonathan Insogna at Wasserman.
MNRK Heavy signed Colorado-based hardcore group Fox Lake to its roster for the release of the band’s upcoming album. The group is managed and booked by Travis Porter at Forthright Booking.
“Hard house” producer and DJ Ben Keen, a.k.a. BK, signed to Hannah Laing‘s doof, which released his latest single, “No Fool,” on May 17. BK is managed by Lee Haslam at LGRP and booked by Josh Haygarth at Active Talent Agency.
North Carolina-based country singer Wesko signed to Warner Records/Underscore Works Recordings, which released his debut EP, Lost Boys, on Friday (May 24). He’s managed by Charly Salvatore and Becca Campbell at underscore works.
Mahogany, the music brand and record label behind the Mahogany Sessions video channel, launched digital distribution and artist service platform Mahogany Songs, with Dom Wallace aboard as label & marketing manager. The first signing for the new entity is singer-songwriter Áine Deane. Mahogany Songs will release Deane’s new EP, tales of a twenty something, later this year.
Boston-based indie rock-funk band Bermuda Search Party signed to Nettwerk, which released the group’s new song, “Asking 4 A Friend,” on May 17. The band is managed by Zoe Salvucci at Seven Hills Management and booked by Kameron Salek at Bandit Booking.
BBR Music Group/BMG Nashville signed duo Ryan and Rory. The band, which includes Nashville native Ryan Follesé and North Carolina native Rory John Zak, released its single “Pour Decisions” on Friday (May 24). Ryan and Rory’s self-titled debut EP will release July 26. – Jessica Nicholson
As the subscription streaming music model raises public performance royalties, the big collective management organizations are seeing their best years ever. On May 28, just hours after the Swedish CMO STIM announced a 14.2% increase in revenue, the UK CMP PRS for Music announced that in 2023 it took in £1.08 billion ($1.34 billion based on the 2023 average pound-to-dollar conversion rate), breaking the billion-pound barrier with a 12% increase. It also paid out a record £943.6 million ($1.17 billion).
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PRS also brought its cost to income ratio down to 9.2%, a particular focus for CEO Andrea Czapary Martin, who wants to keep it below 10%. Last year it was 9.3%.
Over the last decade, PRS has more than doubled its revenue, which went up by 111% since 2014. That’s an astonishing run for the organization, which turns 100 this year. Its membership also grew by 10,000, an unprecedented rise.
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“Our remarkable performance in 2023 is a testament to the team’s hard work behind the scenes of the music industry,” Martin said. “We’re not just surpassing financial milestones at the lowest cost-to-income ratio amongst our peers; we’re orchestrating a significant shift in the music business.
Like some of its counterparts, PRS received the most revenue from online licensing — £366.5 million ($455.5), up 8.5%; the distribution was £360.3 million ($447.8 million), up 23.2. Next came international, which generated £339.3 million ($421.7 million), up 25.9%. Public performance royalties, traditionally the core of a PRO, accounted for £251.7 million ($312.8 million), up 10%.
Although it’s hard to compare CMOs directly, PRS has had some strong years, and its cost to income ratio is enviable. For much of the last decade, it was above 10%. Over the last two years, it has been below that, partly because it can share some costs with the ICE joint venture it runs with GEMA and STIM.
STIM, the Swedish collective management organization (CMO) turned 100 last fall — and its results for 2023 are giving it another reason to celebrate. The organization took in a record-high 3.095 billion Swedish Krona (SEK) ($291.9 million, based on a 2023 average krona-dollar conversion rate), up 14.2% from the previous year, the CMO announced May […]
When the United Kingdom votes on July 4 to elect its next government, business leaders around the world will be closely monitoring the outcome to see what it means for them. For the music industry, the upcoming general election — announced by Prime Minister Rishi Sunak on Wednesday (May 22) — could also lead to major change depending on who wins.
According to the latest opinion polls, the Labour Party is more than 20 points ahead of the ruling Conservative Party, which has been in power for 14 years. Unless Sunak achieves an extraordinary turnaround in the next six weeks, Labour leader Keir Starmer is widely expected to be the next resident of Number 10 Downing Street, most likely with a big majority of Parliamentary seats.
Should that happen, Starmer has said he plans to make a number of reforms that will impact the world’s third-largest recorded music market, touring and regulation of the tech industry, all of which will reverberate beyond the United Kingdom’s borders.
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Tougher Rules for Ticket Resale Platforms and Prospect of Future Arena Tickets Tax
In March, Starmer announced that a future Labour government will cap the resale prices of concert tickets and introduce tougher regulations for secondary ticketing platforms such as Viagogo, which has already been subject to numerous investigations and inquiries in the United Kingdom.
The Labour policy would limit the number of tickets individual resellers could sell on resale platforms and give the U.K. competition watchdog greater powers to take “swift” action against services and scalpers who break the rules, Starmer said.
Any change at Number 10 could also have big implications for the global touring business. Earlier this month, a Parliamentary committee called for a new voluntary levy to be added to arena and stadium tickets sold in the United Kingdom to support struggling grassroots music venues.
To stem the tide of small venue closures, the Culture, Media and Sport (CMS) Committee said the voluntary levy should be introduced “no later” than September. If progress is not made, the government should set up a statutory levy, advised the committee, which also called for a cut in sales tax (VAT) on tickets for grassroots music shows.
Whichever political party wins on July 4, it will be expected to respond to the CMS committee report on the grassroots music sector. As for the committees themselves, they all cease to exist after Parliament is dissolved on May 30, although a new bunch will be formed after the election made up of a cross-party selection of MPs. They can pick new topics or industries to investigate — or can choose to build upon the work of their predecessors, meaning Parliamentary interest in the music business is unlikely to go away.
Given the huge contribution the U.K. music industry makes to the country’s economy — £6.7 billion ($8.2 billion) in music sales, concerts, recording studios, touring and music tourism in 2022, according to trade organization UK Music — government leaders will be keen to be seen doing all they can to protect the sector.
Regulating AI and Big Tech
Following the general election, the hot issue of regulating the use of artificial intelligence (AI) is likely to be near the top of the legislative agenda and will continue to be a source of heavy lobbying from the tech and music industries.
The current Conservative government has spent the past several years consulting on the topic but has yet to deliver any firm plans and has generally pursued a light touch “pro-innovation” approach to the regulation of AI.
In 2023, the government quietly shelved a proposal by The Intellectual Property Office (IPO) for a new text and data mining (TDM) exception that would have allowed AI developers to freely use copyright-protected works for commercial purposes (albeit with certain restrictions) following fierce criticism from the music industry.
Since then, there have been repeated calls from music trade groups like labels trade body BPI for the government to follow the European Union’s lead and defend creators, musicians and rights holders from the potential risks of generative AI models.
Earlier this month, the All-Party Parliamentary Group (APPG) on Music called for a comprehensive “pro-creative industries” AI bill that protects the music business from the “threats” posed by the technology. Among its recommendations were banning AI developers from using copyright-protected music for training purposes without consent, as well as the requirement for tech companies to clearly label all AI-generated content.
If Sunak retains power, music executives will be keen to see him urgently press ahead with U.K.-specific legislation around AI and ensure the United Kingdom doesn’t fall behind other countries and markets in regulating the sector.
Labour’s position on AI, as outlined by Starmer last summer, is that they will bring in stronger regulations than the Conservatives, although details are thin on the ground and the party’s stance does appear to have softened in recent months as it attempts to court business leaders and tech executives by presenting itself as a “pro-innovation” government-in-waiting. Labour had been working on an AI strategy document ahead of the general election announcement, which it was expected to launch this month.
Addressing Artists’ and Songwriters’ Discontent Over Streaming Terms
Over the past four years, the United Kingdom has led the way in addressing artist discontent over low payments from music streaming. Since 2020, when the pandemic-enforced shutdown of the live industry brought the issue to the fore, there have been numerous Parliament-led inquiries into the record business, including a review of the major labels’ market dominance by the U.K. competition watchdog.
In December 2021, a bill was debated in Parliament that would have required record companies to pay musicians and songwriters a bigger cut of streaming revenue. It was defeated at the first stage, but the prospect of government intervention in the U.K. music business has seen record companies beef up their public policy teams and divert a huge amount of time and resources into dealing with the various probes.
The heightened scrutiny of the music industry has yet to result in any law changes, but it has increased pressure on labels to improve artist terms and contracts. A government-led working group focusing on creator remuneration recently launched (which insiders say is likely to continue post-election) and the noise around low streaming royalties for many artists is unlikely to die down anytime soon.
Last month, the Culture, Media and Sport (CMS) Committee published a report calling for government ministers to “do more to make sure music makers are paid fairly” and to press ahead with a package of sweeping copyright reforms. The committee’s recommendations included overhauling the revenue split between recording and publishing rights from music streaming, currently set at around 55% for recording and 15% for publishing, to better reward songwriters.
“It’s vital that any incoming administration ensures we deliver on recommendations made by the Culture Select Committee to reset the streaming market and support grassroots live touring,” says Annabella Coldrick, chief executive of the U.K. Music Managers Forum (MMF).
“More broadly, we need a government that values British music, puts it at the forefront of U.K. growth policy, and backs it with a credible music strategy to maximize our industry’s potential both domestically and internationally,” Coldrick adds.
Whether that responsibility falls to Sunak or Starmer will be determined by the British public on July 4. If Labour does win the general election, there’s a chance that two high-profile figures from the music world could join them in government. Dave Rowntree, the drummer for Blur, is running as the Labour candidate for the Conservative-held Mid Sussex seat, while Tom Gray, co-founder of indie rock band Gomez and chair of songwriters and composers body the Ivors Academy, is the party’s chosen candidate for the Brighton Pavilion constituency.
It’s time for another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. We also have a weekly interview series spotlighting a single executive, if that’s your thing.
Sony Hall, a tech-forward concert venue in midtown Manhattan, introduced a new booking team made up of senior talent buyer Jack McFadden, talent buyer Alli Vega and junior talent buyer Niko Murray. McFadden’s career arc spans three cities — Chicago, NYC and Austin — and several venues and festivals (Union Hall, Austin City Limits and others) where he helped book early shows for an indie rock murders’ row including The National, The Walkmen, St. Vincent, Fleet Foxes and Vampire Weekend, among others. No slouch, Vega spent years booking D.C. venues Songbyrd and DC9 before making the move to NYC, where she joined the team at Bowery Presents. Murray, meanwhile, hails from NYU and has already cultivated experience at the Cara Lewis Group and Sony Music. Blue Note Entertainment Group operates Sony Hall, which officially opened in 2018 but began life in 1938 as the legendary Diamond Horseshoe nightclub. The venue, which retains much of its original design and decor while incorporating the latest Sony technology, is located inside the historic Paramount Hotel.
“This is an exciting moment for Sony Hall and Blue Note Entertainment Group as we strengthen and bolster our booking program, further introducing this iconic New York City venue to the live music industry,” said BNEG president Steven Bensusan. “Jack, Alli and Niko each have different and diverse backgrounds within the industry to complement and enrich our talent buying team.”
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Meanwhile…
Loeb & Loeb hired Monika Tashman in the firm’s Nashville office, as partner in the Entertainment department. Tashman joins Loeb & Loeb from Manatt, Phelps & Phillips, LLP. Her expertise includes representing music talent in genres ranging from rock, pop, reggae, bachata and metalcore, as well as representing labels, entertainment-focused businesses and music production companies. She’ll also continue her New York-based practice out of Loeb’s Nashville office. –Jessica Nicholson
Galaxy Label Group, founded by country duo LOCASH, solidified its promotions team with the hiring of four. Joining the label, a partnership with Studio2Bee Entertainment with distribution by BBR Music Group/BMG Nashville, are Kerry Wolfe as vp of promotion, Cheryl Broz as the head of national field promotion, Kristen Brust to handle national promotion strategies, and John Lessard — who is LOCASH’s tour manager — lending his expertise on GLG’s promotion and touring work. All new hires are effective immediately. LOCASH, comprised of Preston Brust and Chris Lucas, is Galaxy’s first signed act.
BMI promoted Gabriella Natali to senior manager of media relations, an elevated role in which she’ll continue to spearhead PR efforts across most music genres (we’re talking pop, rock, hip-hop, gospel, classical, jazz and others). Natali is based out of BMI’s NYC headquarters and reports directly to Jodie Thomas, the PRO’s executive director of corporate communications and media relations. In addition to working on messaging for numerous marquee events, including BMI’s various award shows, songwriter showcases and dedicated stages at festivals like Lollapalooza and SXSW, Natali works with Thomas on PR efforts for BMI’s licensing and industry relations departments. Prior to joining BMI in April 2022 as a media relations manager, Natali spent two years as a publicist at boutique agency Big Picture Media, also in New York.
Lucy Pullin and Virgil Thomas joined UTA as agents in its music crossover division, which works with clients on projects that expand their careers to other mediums. Pullin, previously of ie: entertainment ltd, will be based out of the London office and Thomas, an Endeavor alum, is in Los Angeles. Recent wins by the crossover division include Post Malone’s dip into acting (Road House) and comic book writing, and Recording Academy chief Harvey Mason jr.’s behind-the-scenes work on biopics about Bob Marley and Michael Jackson.
NASHVILLE NOTES: Opry Entertainment Group promoted Anna Lemme to marketing manager for the Grand Ole Opry. In the new role, the Massachusetts native will plan marketing and promotional strategies to continue growing the Grand Ole Opry brand. Lemme has been with the company for five years, most recently serving as an artist & label strategy manager for Opry Entertainment Group … Leadership Music communications and events administrator Lindsay Doheney will leave the post on May 28 to join her husband in a job-related relocation. The organization is seeking a replacement for Doheney … Group Projects welcomed Emma Kiefer as director of A&R, working closely with co-founders Anthony Manker and Cooper Anstett on publishing and management business. She most recently served as A&R manager at Boom Music Group.
Buchalter beefed up its presence in Nashville, adding eight attorneys to its office in Music City — “a vibrant and dynamic legal market,” said Adam Bass, the firm’s president and CEO. Joining Buchalter are Lauren Spahn, Jay Bowen and Lauren Kilgore, from Shackelford, Bowen, McKinley and Norton, along with Rebekah Shulman, Jim Zumwalt, Jacob Clabo, Aaron Steinberg and John Baxter. The Laurens are regulars in Billboard‘s annual list of top music lawyers, and both handle a wide swath of legal and business transactional matters for artists, publishers, writers, labels and more. Shulman, Steinberg, Clabo and Baxter specialize in intellectual property issues, while Bowen’s experience is in high-stakes litigation. Finally Zumwalt represents entertainment clients on a variety of matters. “Jay, Lauren, and Lauren, along with their teams bring a wealth of experience, expertise, and dedication to our firm,” said Bass. “Together, we are poised to make a significant impact in Nashville’s legal landscape and beyond.”
Dom Wallace is the new label and marketing manager at Mahogany, where he’ll oversee release strategy for its label Mahogany Records and its flagship video channel, Mahogany Sessions. His appointment coincides with the launch of Mahogany Songs, the company’s new digital distribution and services platform. Wallace was most recently a senior editor at Spotify, where he helped launch several taste-making playlists, including “Our Generation” and “Fresh Finds UK & IE.”
GAME TIME: Cross-industry veteran Kimberly Knoller is the new chief marketing officer at Earn Alliance, where she’ll spearhead the platform’s mission to connect gamers to games, building fandoms and engaging communities. For the last 14 years, Knoller has built out her own music and tech marketing agency The Knoller Group, where she’s worked with artists, creators, record labels and other companies on brand and monetization-boosting strategies. In the aughts, Knoller put in three years at Warner Records, where she did trailblazing work as vp of direct to fan marketing, e-commerce and innovation. She has also held senior roles at unPaired and PIXELYNX … Metaverse studio Karta, which creates in-game experiential marketing across Fortnite, Roblox and other games, hired Morgan Evans as its new fashion and beauty director, and Sarah Richards as art director.
ICYMI:
Jared Cotter
Jared Cotter was promoted to partner at Range Music, where he manages Paul Russell (“Lil Boo Thing”) and co-manages Shaboozey (“A Bar Song (Tipsy)”) … Jason Miller is leaving operational responsibilities at ELA, the joint venture he launched with CTS Eventim in 2021 … and Tekno joined Mr. Eazi’s independent music company emPawa Africa as an investor and a partner.
Last Week’s Turntable: Texas Official Joins Big Loud
Tekno has formed a new strategic alliance with Mr. Eazi, with Tekno’s Cartel Music label and Mr. Eazi’s independent music company emPawa Africa striking a joint venture and Tekno joining emPawa Africa as an investor and a partner. “With this deal with Tekno and Cartel Music, we are ushering in a new phase of emPawa,” […]