Business News
Page: 83
Whether you’re a math-and-science whiz or an intuitive creative, there’s a prestigious audio engineering program that can prepare you for a career as a producer — or for whatever studio path you might follow — while emphasizing a well-rounded education in the process.
Here’s a selection of some of the best academic programs, along with sage professional advice from those who lead them.
Belmont University Audio Engineering Technology
The program: Heavy on math and science, the curriculum teaches students to design systems, components and processes and prepare for careers as recording-studio and live-sound engineers and audio-software designers. “If it makes a noise or records a sound, somebody has to think about it, create it, program it, build it, use it, apply it,” program chair Michael Janas says.
The skills producers need most now: “Motivation. If they’re trying to force themselves as a square peg into a round hole, they’re going to struggle.”
Berklee College Of Music Music Production and Engineering
The program: Working with artists, writers and other engineers, students learn technical skills (microphone placement, signal flow) and personal skills (critical listening, communication). “Reading the room, leveraging the strengths of artists, how you speak to people, deliver bad news — these are incredibly sensitive, difficult things,” program chair Rob Jaczko says. (Alums include Charlie Puth and Abe Laboriel Jr., Paul McCartney’s longtime drummer.)
The skills producers need most now: “Understanding the business landscape. We all need to have a better understanding of how we monetize our work.”
Clive Davis Institute of Recorded Music, New York University
The program: With six available studios, students here learn everything they need to know about becoming a producer or engineer — except for heavy-duty technical instruction. “We want to get them up and running and confident,” says Nick Sansano, program chair. “We’re not necessarily teaching them all the mathematics and circuitry.”
The top issues facing producers now: “Lack of access to money. You need some support to get things off the ground.”
Drexel University Recording Arts and Music Production
The program: Students learn the basics of recording, production, arranging, composition, postproduction, mixing and mastering. In one sound-recording course, experienced artists (recently, members of John Legend’s band) work with students directly. After their sophomore year, students spend the summer working in live-sound engineering or another music-business sector. “They can go out and explore an area,” says Ryan Moys, who oversees the RAMP curriculum. “Sometimes you figure out what you don’t like.”
The skills producers need most now: “Knowing different software platforms: We teach Pro Tools, Ableton and Logic. And great communication skills. It all comes back to you’ve got to be a cool person to hang out with.”
Fredonia, State University of New York (SUNY)Sound Recording Technology
The program: Drawing from European “tonmeister” curricula of the 1940s, which combine technical and musical instruction, the 35-year-old SRT program offers training in studio hardware, live sound, recording, editing, signal processing and sound reinforcement. “[Bachelor’s of science students] have a fairly good handle on the science side of the recording business,” says Bernd Gottinger, the professor who oversees the degree.
The top issues facing producers now: “Responsibility and trust. Gaining that trust is probably the most difficult achievement you can look at as a producer. Usually, it gets established by long years of working in a different world, until the band says, ‘Listen, you’ve been doing these recordings for us for 20 years, why don’t you actually produce them for us?’”
Frost School Of Music, University Of Miami Music Engineering
The program: Developed in 1977, Frost centers on a recording studio with three full-size consoles. “Half our students end up at a company, like Dolby or Bose or Amazon Lab126 or Shure,” department chair Christopher Bennett says. “They work on the innards of devices that end up in the studios.”
The skills producers need most now: “The more you can learn under the hood, the better engineer or producer you’ll be. If they understand things like room acoustics and theory, it empowers them to make more creative choices.”
Jacobs School Of Music, Indiana University Bloomington Audio Engineering and Sound Production
The program: Among IU’s 1,600 music students, prospective engineers and producers get hands-on experience in pursuit of their 80-recording-hours-per-semester standard as part of this 41-year-old program. “That level of responsibility makes a big difference,” department chair Michael Stucker says.
The skills producers need most now: “Signal flow is a concept that’s really important to us. Physics and acoustics as well.”
Middle Tennessee State University Audio Production
The program: With five recording studios, plus a postproduction studio and separate labs for mixing, mastering and electronic music, students learn mixing and sound reinforcement and put on end-of-semester shows for live audiences. “We don’t really think of ourselves as training people for a job as a music producer,” says Bill Crabtree, director of the master of fine arts program in recording arts and technologies. “That’s not the kind of entry-level job you’re going to get right after college. It takes a while.” (Alums include Luke Laird, who has written No. 1 hits for Carrie Underwood and Eric Church, among others.)
The top issue facing producers now: “Artificial intelligence has the potential to disrupt a lot of things. However, it will be a tool. Having those skills — we think that’s important.”
Ontario Institute of Audio Recording Technology (OIART)
The program: OIART emphasizes highly technical skills for careers in music production and audio engineering and recording. “We’re not selling dreams of gold records. We’re very realistic with our employment goals and the types of careers students can expect,” says Lee While, OIART’s chief operating officer.
The skills producers need most now: “The student group has aspirations to work in a major studio and be a producer. But somebody who aspires to be a hip-hop producer suddenly discovers they have a real talent for sound design for video games.”
Peabody Institute, Johns HopkinsMusic Engineering and Technology
The program: Bachelor’s degree programs range from highly technical, five-year studies emphasizing electrical engineering, math, science and computer science to a two-year graduate program working with classical ensembles and rock bands. “Some find, ‘I’m interested in how loudspeakers are designed or getting into programming with signal processing,’ ” program chair Scott Metcalfe says. “Others embrace their composition side.”
The skills producers need most now: “Musicianship. Understanding the goal of the artist and what the market is.”
Purchase College, State University Of New York Studio Production
The program: With nine studios at their disposal, students get hands-on experience, from arranging their own pieces to engineering sound in the Dolby Atmos format, in genres from classical to hip-hop. “We want them to be able to do everything. We don’t want people to be button-pushers,” says Peter Denenberg, coordinator of the music and technology program. (Alums include Grammy Award-winning jazz singer Samara Joy.)
The top issue facing producers now: “Being forced to deliver projects in spatial audio is an incredibly difficult ask. It just adds a level of complexity and difficulty.”
Steinhardt School Of Culture, Education And Human Development, New York University Music Technology
The program: Director Paul Geluso says graduates of the program are “skilled professionals” who know hardware and software product design, audio engineering, and performance and composition: “The students do a little bit of everything their first two years and [then] they gravitate to one area.”
The skills producers need most now: “Our students take theory and history. We’re definitely music-first in our approach to our engineering side.”
Thornton School Of Music, University Of Southern California Music Technology
The program: Offering a bachelor’s degree in music production and minors in production and recording, Thornton emphasizes songwriting. “We build this program around our students being strong musicians with a technical inclination,” program chair Rick Schmunk says. “They can write the song, arrange it, produce it, record, edit, mix, master.”
The skills producers need most now: “Arranging and songwriting. We don’t have much trouble finding students with enough technical skills to be effective.”
A version of this story originally appeared in the Oct. 7, 2023, issue of Billboard.
UBS partnered with Billboard to help increase awareness about the financial resources available to all entertainers. In the second of four episodes, Wale Ogunleye sat down with UBS Wealth Planning Strategist Melissa Lilly to explore trends in the music industry, her role within the world of music finance, and how entertainers should factor a sale of […]
The students who began their undergraduate education this fall at any of Billboard’s top music business schools are the first since the class of 2019 who can actually expect to spend four years on campus and in classrooms.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
As the COVID-19 pandemic spread in March 2020 and learning moved online, every student studying the music business, or any other field, took on a double major — in resilience.
“The resilience and positivity that our graduating students have shown over the last three years has been an inspiration,” said Sean McNamara, president/CEO of the Liverpool (England) Institute for the Performing Arts — the school that Paul McCartney co-founded in 1996 — as he presided over LIPA’s graduation in 2022, the school’s first inperson commencement since 2019. “I believe these qualities will see them successfully embark upon the next stage of their careers.”
Those attending any of Billboard’s top music business schools will be solidly positioned to pursue careers in an increasingly complex music industry. The schools listed are selected through executive recommendations, alumni information provided by honorees from our multiple power lists, information requested from each school and a decade of reporting on these programs.
We continue to prioritize more affordable public colleges and universities while also aiming for broad geographic diversity. Beyond the music capitals of New York, Los Angeles, Nashville and Miami, students can find worthwhile curricula in Philadelphia, Memphis and New Orleans, as well as Syracuse, N.Y.; Kennesaw, Ga.; Stillwater, Okla.; and Cleveland, Miss. This list includes the Valencia, Spain, campus of Boston’s renowned Berklee College of Music, the United Kingdom’s famed BRIT School outside London, LIPA and the BIMM Institute, the largest provider of contemporary music education in Europe.
Two noteworthy historically Black universities and colleges, public Tennessee State University in Nashville and private Howard University in Washington, D.C., also merit inclusion this year.
Billboard presents this list of schools alphabetically and declines to rank institutions in what would often be an apples-to-oranges comparison. (The past year has seen widespread criticism of college ranking practices.) For students seeking quantitative measurements — from admission percentages to tuition and fees to graduation rates — those data points are available through impartial sources such as College Navigator, a resource of the Institute of Education Sciences, a division of the U.S. Department of Education.
By any measure, however, the colleges and universities here offer impressive opportunities for students seeking an edge in music-industry careers — running campus record labels, devising business plans, volunteering at top festivals, traveling to major music industry events and meeting with leading artists and executives.
The faculty and administrators at any of these schools would echo the remarks of McNamara as their students complete their studies and move to reshape the music business: “We are immensely proud of them and extremely excited to watch them progress toward the next chapter in their lives.”
Abbey Road InstituteLondon
Established as a music production school in 2015 by Abbey Road Studios and the owner of the famed location, Universal Music, the flagship program is now located inside London’s Angel Studios, the site of recording sessions for acts including Adele, The Cure and Sam Smith. The institute also has sister programs across Europe and in the United States, Australia and South Africa. It offers a one-year intensive program, designed in collaboration with the music industry, that dives deep into music production, sound engineering and the music business.
Course: The core program offered by all of the institute’s campuses worldwide is the advanced diploma in music production and sound engineering.
American UniversityWashington, D.C.
Created in 2013 under the guidance of SoundExchange co-founder John Simson, the business and entertainment program at American University is housed in the Kogod School of Business and is already making a name for itself in the industry. The university is the alma mater of, among others, Rich Kepler, day-to-day manager of The Killers, and CAA agent Zack Borson. Given the school’s location, it’s an easy stop for industry professionals visiting the nation’s capital as well as local executives. Recent guests include Michael Huppe, president/CEO of SoundExchange, and Audrey Fix Schaeffer, head of communications for concert promotion and production company I.M.P.
Course: Representing Talent: Agents, Managers & Lawyers, taught alternately by Simson and former Sony vp of marketing Stacy Merida, informs students about all participants on an artist’s team. The class also assists in managing regional recording artists.
Baldwin Wallace UniversityBerea, Ohio
This past year, Baldwin Wallace welcomed the largest-ever class of incoming students to its music industry program housed on its campus just 15 minutes from downtown Cleveland. The university, which in 2021 was invited to become an educational affiliate of the Grammy Museum, offers individualized instruction combined with hands-on experiences supported by Cleveland’s musical ecosystem, including the Rock & Roll Hall of Fame. Internship partners range from Live Nation properties to small indie venues. In spring 2023, students had the opportunity to enroll in tour management, a special topics course taught by Lamba Productions president Hadden Hippsley, who has helped produce festivals including Bonnaroo, Outside Lands and Governors Ball, while some students served as volunteers at Bonnaroo in June.
Event: Stephanie Yeager — tour accountant for Foo Fighters, Phish, Bon Iver, Neil Young and Blake Shelton — recently visited the tour management class to provide insight into the financial components of a successful tour.
Belmont University — Curb College of Entertainment and Music BusinessNashville
Located less than a half-mile from Nashville’s Music Row, Belmont’s Curb College offers unique access to networking opportunities with industry professionals as well as affiliated programs in areas including audio engineering and songwriting. Courses such as Inside a Booking Agency (taught in association with CAA) and The Artist’s Team (which features industry guests representing each of the main roles on a recording artist’s team) are complemented by hands-on opportunities such as summer term Bonnaroo U. A partnership with the Songwriters Hall of Fame yielded a new SHOF scholarship, and Belmont songwriting majors Lauryn Marie Hedges and Zander Jett were named the inaugural recipients in May. Hit-maker Desmond Child presented a master class on songwriting and navigating the industry, the first of many in a series.
Event: In April, Belmont hosted Grammy-nominated singer-songwriter Gavin DeGraw for an intimate Q&A about touring, marketing and getting his start in the business.
Berklee College of MusicBoston
Berklee offers two degrees for students pursuing careers in the industry: a bachelor of music in music business/management and a bachelor of arts in music industry leadership and innovation, which debuted in 2022. The school continues to attract top-level industry guests. Donald Glover, aka Childish Gambino, spoke in March on a keynote panel as part of its annual Career Jam that also featured former Beats by Dre president Luke Wood and Main Street Advisors founder and CEO Paul Wachter. Berklee also has an expansive alums network, which includes Live Nation senior vp of touring Jared Braverman and Netflix music data and insights manager Anahita Bahri.
Course: BPMI Live is a one-year program focused on the festival business. Students hone their skills in talent scouting, artist development, and concert promotion and production; the capstone includes opportunities to participate at Lollapalooza and Governors Ball, where they work as production and tour managers for artists.
Berklee College of MusicValencia, Spain
The sister campus to Boston’s Berklee College of Music offers a one-year master’s degree in global entertainment and music business attended by students from more than 20 countries who can concentrate in live entertainment, entrepreneurship and the record industry. The program optimizes its location, bringing all students to the Future of Music Forum in Barcelona and to the Great Escape in Brighton, England, a conference and festival showcasing 500 emerging artists from around the globe. In addition, it annually welcomes high-level industry professionals. This year’s honorary doctorate recipient, Yvette Noel-Schure, known for her work with Beyoncé, Prince, John Legend and Chloe x Halle, was recognized at the 2023 commencement ceremony in July, and recent guests include Ithaca Holdings/SB Projects founder Scooter Braun and manager Sophia Chang, who has worked with acts ranging from Paul Simon to Wu-Tang Clan.
Course: Emerging Technologies and New Creative Frontiers prepares students to both understand and capitalize on technological change, from artificial intelligence to virtual reality.
Berklee College of Music in Spain presented an honorary degree to veteran music publicist Yvette Noel-Schure, known for her work with Beyoncé and others.
Tato Baeza
BIMM University — BIMM Music InstituteLondon
Given full university status by Britain’s Department for Education in July 2022, the newly named BIMM University now includes the BIMM Music Institute as well as schools for the performing arts, film and TV. The BIMM Music Institute, with seven locations in London and other cities across the United Kingdom, Ireland and Germany, draws on a 40-year history of educating its students with high-end facilities, industry experience, knowledgeable lecturers and music business connections. Courses include music business; music marketing, media and communications; and event management to train those aiming for industry careers.
Alums: Ella Mai, Fontaines D.C. and James Bay are among the graduates of the school.
The BRIT SchoolCroydon, England
The BRIT School, a tuition-free institution that educates students ages 14 to 19 for careers in performance and creative arts and related industries, was co-founded in 1991 by the British government and the British Record Industry Trust (the charitable division of U.K. labels trade group BPI, which presents the BRIT Awards). The school has specialists teaching courses in live sound, production, recording, music tech and the music business — while also offering a comprehensive nonvocational curriculum. Not surprising given its history, the school has exceptional connections within the British music industry for career opportunities post-graduation. Students have participated in sessions with industry figures from Disney composer Alan Menken to YouTube global head of music Lyor Cohen.
Alums: Artists including Adele, Jessie J, Loyle Carner, RAYE, Amy Winehouse, Leona Lewis and Katie Melua have attended The BRIT School.
Artists including Adele (pictured), Jessie J, Loyle Carner, RAYE, Amy Winehouse, Leona Lewis and Katie Melua have attended The BRIT School in England.
Gareth Cattermole/Getty Images
California Institute of the Arts — The Herb Alpert School of MusicSanta Clarita, Calif.
CalArts students at the Herb Alpert School of Music immerse themselves in the business of music, but the school also ensures that every student — even those who plan to pursue nonperforming roles — lean into some type of music creation. Among its alums: Composer Raven Chacon and composer/sound artist Ellen Reid are both Pulitzer Prize winners; Greg Kurstin, a producer, songwriter and multi-instrumentalist, has won nine Grammys and worked with artists including Adele, P!nk, Paul McCartney and Kendrick Lamar. On the business side, courses such as AI Sonic Explorations, The Art of the Mix and The Art of Recording keep students ahead of the curve regarding evolving technology and work-flow models.
Faculty: Laurel Halo, a composer, producer, live musician and DJ, joined the faculty in fall 2022.
California State University, NorthridgeLos Angeles
While copyright law, publishing and licensing concepts, and the intricacies of recording and publishing contracts are key areas of focus in the classroom at CSUN, the school’s music industry studies program also delves into entrepreneurship and experiential learning. Aside from regularly hosting industry panels, the program — which counts singer-songwriter Andy Grammer as an alumnus — is home to Vove, a student-run record label where participants select, record, promote and manage an “artist of the year.” Thanks to its L.A. location, the school also boasts a robust internship program where all students must earn four credits working in a sector of the music business, from publishing to labels to live events. In addition to its undergraduate program, CSUN offers a master’s in music industry administration, with class schedules designed for fully employed students and midcareer professionals.
Event: The university recently presented a panel and networking discussion of songwriting with Jud Friedman, an Academy Award- and Grammy-nominated songwriter (Whitney Houston’s “Run to You” from The Bodyguard); Bonnie McKee, who co-wrote hits for Katy Perry, Christina Aguilera and Kelly Clarkson; and Joe Poindexter, vp of digital at Pulse Music.
Delta State University — Entertainment Industry StudiesCleveland, Miss.
Located in the heart of the Mississippi Delta, Delta State’s entertainment industry studies program offers small class sizes and hands-on opportunities including its entertainment industry entrepreneurship and record-label practicum: Fighting Okra Records, where attendees work at the student-run imprint. The school annually draws industry speakers, including recent guests Boo Mitchell, Grammy-winning producer and owner of Royal Studios in Memphis, and Jim Sonefeld, drummer, author and songwriter (Hootie & The Blowfish).
Alums: Erin Moorman, marketing coordinator at Syntax Creative, and Libby Switzer, executive assistant at Creative Strategic Management, both in Nashville.
Drexel University — Westphal College of Media Arts and DesignPhiladelphia
Students at Drexel’s Westphal College of Media Arts and Design begin taking music business-specific classes when they start the program freshman year. That allows them to engage in the school’s unique course offerings, including Women in Music Industry and Fan Engagement: One Direction, which uses the former boy band as a focal point to examine the past, present and future of fan engagement. As part of the curriculum, students spend six months working in the industry; this year’s class interned at companies such as Netflix, Goldenvoice, Universal Music Group, Republic Records, WME, Live Nation and AEG.
Alums: Universal Music Group senior director of artist and label services Deb Keller and The Orchard vp of international label management Marissa Putney.
Full Sail UniversityWinter Park, Fla.
Full Sail offers several nonperforming degree programs in areas including music business, audio production, recording arts and the live industry-centric program show production. The school also regularly hosts events where students can learn from first-hand experience of those in the industry. Its recent speaker roster includes Mike McGrath, tour manager for Jason Aldean, and Randall Foster, vp of business development at Symphonic Distribution, and it hosts executives — and potential employers — from companies including Microsoft Game Studios, Fever, Samsung, Disney and Carnival Cruise Line.
Alumnus: Music business program graduate Michael Cariglio is a vp of marketing at Republic Records.
Hofstra UniversityHempstead, N.Y.
The number of students enrolled inthe music business program at Hofstra has nearly tripled since the curriculum launched in 2017. The school has created a new bachelor of science in music business and also offers a music business major (for nonperformers) that leads to a bachelor of arts. Hofstra welcomes over 50 guest speakers on campus every year and offers internship opportunities year-round in New York (30 miles west of campus). A state-of-the art MIDI computer lab was completed in January, and a recording studio including a control room, live room, isolation booth and recording console is due to open at the end of the year.
Faculty: Kenyatta Beasley, a professor of music business who began teaching earlier this year, is a trumpeter, composer and music producer who has worked with Tru-Sound New York, Interscope/G-Unit Records, Helen Han Creative and Art vs. Transit Production.
Howard UniversityWashington, D.C.
The Warner Music/Blavatnik Center for Music Business at Howard University, funded by a $4.9 million gift in 2021, offers a one-year fellowship program that provides fellows with coaching, specialized curriculum, mentorship and experience working with partner organizations. The Howard University School of Business takes the approach that the key to addressing the underrepresentation of Black executives and professionals in music and entertainment is intense coaching and immersion programs, and the Warner Music/Blavatnik Center frequently hosts industry executives for fireside chats, master classes and other programming. Recently, Combs Global president Tarik Brooks presented a “master mogul” panel discussion, and DJ Drama, a co-owner of Generation Now (home to Lil Uzi Vert, Killuminati and Jack Harlow), had a session with students.
Course: Among the university’s noteworthy offerings is the class The History of the American Music Industry: What Isn’t Black Music?
Indiana University — Jacobs School of MusicBloomington, Ind.
At IU’s Jacobs School, emerging professionals have the opportunity to establish a career path that pairs their interest in the music industry with a large set of career options. Among multiple paths of study, undergraduate students can earn a music-oriented entrepreneurship certificate that includes foundational courses at the university’s Kelley School of Business. The music school also hosts a strong roster of guest speakers. Austin Wintory, an award-winning composer for film and video games, recently visited the campus to talk with students in an event hosted by the Music in Games student organization and the office of entrepreneurship and career development.
Event: Indiana native John Mellencamp spoke about his life and career in March at the university’s Franklin Hall during a symposium discussing the social and cultural impact of his music. University president Pamela Whitten subsequently announced that Mellencamp would be donating archived collections of his work to IU.
John Mellencamp (left) answered questions from music writer Anthony DeCurtis during a symposium about his life and career at Indiana University in March.
Michael Claycamp/Indiana Daily Student
Kennesaw State University — Joel A. Katz Music and Entertainment Business ProgramKennesaw, Ga.
Integrated within the university’s Coles College of Business, the Joel A. Katz Music and Entertainment Business Program teaches the business side of the industry while providing practical experiences, on-the-job training and exploration of career opportunities. The program offers an annual study abroad trip to London, including an all-day visit with international executives at Sony Music Entertainment and Universal Music Group. It recently formed a partnership with the book and online platform Music Business Toolbox and its creator, Bryan Calhoun, that provides tools, templates, forms and guidance to help students manage their music careers. The program recently established a partnership with the Dolby Institute, an educational division of the audiovisual technology company.
Artist in residence: David Ryan Harris, John Mayer’s guitarist and a singer, songwriter, producer and multi-instrumentalist, is Kennesaw’s latest artist in residence as of fall 2023.
Liverpool Institute for the Performing ArtsLiverpool, England
Within LIPA’s curriculum on management for the creative industries and performing arts, students take the music industry management pathway train alongside performers, technicians, designers and filmmakers in the school’s facilities. In their final year, students participate in a three-month internship that reflects their career goals with companies such as Warner Music, Live Nation and Sentric Music Publishing. LIPA was co-founded in 1996 by Paul McCartney and Mark Featherstone-Witty, who retired as LIPA principal/CEO in 2021, succeeded by Sean McNamara.
Speaker: Robert Plant participated in a Q&A with students in November 2022.
Los Angeles College of MusicPasadena, Calif.
LACM’s music business program — which offers a 12-quarter bachelor of music degree and a six-quarter associate of arts degree — is committed to offering students hands-on experience and networking opportunities. On average, a student will meet and interact with more than 100 guest speakers and master class guests per year from all facets of the music industry, and the program also features field trips to companies such as Spotify, Hipgnosis, Universal and Disney. Recent industry guest speakers include Billboard’s Keith Caulfield, managing director of charts and data operations, and publishing reporter Kristin Robinson.
Faculty: Music business department head Erin Workman’s experience in artist development includes working with Zac Efron, Miley Cyrus and Ashley Tisdale.
Los Angeles Film School — The Los Angeles Recording SchoolLos Angeles
Located in the heart of Hollywood, the Los Angeles Recording School (a division of the Los Angeles Film School) is equipped with professional recording studios that let students train in a real-world work environment. The school offers an array of degrees across its music and entertainment business programs, which let students gain analytical and practical skills both in the classroom and in the field. New for 2023 is an 18-month online competition program that allows those with an associate degree to earn their bachelor of science in entertainment business. The school also boasts an active speaker roster. Recently, SunPop managing partner Will Tenney spoke with students from the entertainment business program during an on-campus event.
Alumnus: As president of Record Plant Studios, Jeff Barnes oversees business operations and booking and has worked with Justin Bieber, Beyoncé and Ariana Grande, among other artists.
Loyola University — School of Music and Theatre ProfessionsNew Orleans
New Orleans is among the world’s most vibrant music cities, and Loyola University’s music industry studies program, within the School of Music and Theatre Professions, helps students build careers around their passions. Students learn from professors who are active in the industry and can create their own professional projects alongside creative peers. Loyola’s two Hilton-endowed professorships fund student travel and participation in various music industry conferences such as NAMM, Americana and Mondo — with future plans for South by Southwest and Music Biz. The program this year launched songwriter and music business camps where students worked directly alongside Grammy-winning rapper-producer D’Mile and Pulse Music Group’s Ricki Rich. The school also partners with the city so students can help produce the annual Freret Street Festival, which has drawn over 20,000 attendees a day.
Course: Record Label Operations brings a working music-label entity to campus. With a professorship-funded budget of $5,000, students in the course form a team to function as a label, recruiting and developing a young artist for commercial release.
Middle Tennessee State UniversityMurfreesboro, Tenn.
Located less than an hour from the site of the Bonnaroo festival, where students regularly gain hands-on experience, MTSU offers an expanded focus beyond music recording into areas including live-event production, broadcast and streaming, and immersive audio for music, film and gaming. As such, courses in venue management, mixing techniques in immersive audio, and concert promotion and touring are popular with students. The school also hosts a revolving mix of industry speakers. Mixing engineer Andrew Scheps and recording engineer George Massenburg are among recent visitors to campus.
Event: This summer, MTSU students produced over 30 segments for Hulu’s Bonnaroo Music Festival channel, which streamed the event.
Monmouth UniversityWest Long Branch, N.J.
Monmouth’s music industry program combines coursework from the university’s business school with its music and music business curriculum, a hybrid model that prepares students for a range of opportunities in the arts industry. Home of the Bruce Springsteen Archives and Center for American Music, the school incorporates hands-on activities like its student-run record label, Blue Hawk Records, and leverages partnerships with major music organizations, tech companies, agencies and a state-of-the-art recording complex in Asbury Park. Last year, the new Monmouth Artists for Diversity & Inclusion released an album on Blue Hawk, and the organization’s founding members were awarded a joint senatorial and gubernatorial proclamation from the State of New Jersey for contributions to society.
Alumnus: Joe Bognanno is director of music publishing licensing and partnerships at TikTok/ByteDance.
Musicians InstituteHollywood
Anderson .Paak was once a drum student and a drum teacher’s assistant at Musicians Institute, whose Hollywood location puts it at the nexus of the entertainment world. The school’s music business program offers detailed specialization in every area of the industry through a frequently updated curriculum taught by professionals. Courses cover the gamut from law and contracts to music publishing and licensing to artist and tour management, A&R and record labels, distribution, promotion and marketing. Musicians Institute is also continually honing industry partnerships that serve as a direct line into the workforce through internships.
Event: During a recent online social media workshop, BRXND vp of artist management and digital strategy Dan Tsurif discussed the importance of social media marketing and explained how platforms can aid developing artists and brands.
New York University — Steinhardt School of Culture, Education and Human DevelopmentNew York
The ongoing addition of courses like advanced topics in recorded music and music publishing, co-taught in person by RIAA chairman/CEO Mitch Glazier and National Music Publishers’ Association president/CEO David Israelite, is just one way NYU Steinhardt ensures students are learning from the leaders at the cutting edge of the music business. For the course Village Records, students work with independent artists on career development areas including live performance, sound recording, product management, publicity, management and fan engagement. The Steinhardt program also allows students to take classes at NYU’s Stern School of Business and offers options for them to complete studies on its campus in Nashville (through a program designed in partnership with Universal Music Group) or at any of 12 global campus sites including Los Angeles, London, Paris and Shanghai.
Speaker: David Gray, executive vp of U.S. A&R and head of global creative for Universal Music Publishing Group, is an executive in residence and engages with students at least three times each semester.
New York University — Tisch School of the Arts, Clive Davis Institute of Recorded MusicNew York
A holistic understanding of business, performance, production, writing, history and emerging media is the goal of the Clive Davis Institute, which counts Maggie Rogers among its notable graduates. Students work with resident artists, such as singer-songwriter Dawn Richard and singer Jamila Woods, and executives in residence. Columbia Records A&R executive Katie Vinten served in the latter role this past year and also led a summer accelerator program. Other recent speakers included Atlantic Records president of A&R Pete Ganbargs, Hipgnosis Songs Fund founder and CEO Merck Mercuriadis and Patreon co-founder and CEO Jack Conte. In partnership with Billboard, the institute offers an online music industry essentials course. In 2022, Barry Manilow and school officials joined Davis at the opening of the Clive Davis Gallery at NYU. The institute is also expanding geographically, recently launching a study abroad program in Berlin.
Event: Pop Conference 2023, held in April at the institute, hosted guests including Timbaland, NPR music critic Ann Powers and Jimmy Jam & Terry Lewis.
Sony Music Entertainment chief creative officer Clive Davis, who endowed New York University’s Clive Davis Institute for Recorded Music, attended the 2022 opening of a permanent gallery focusing on his career at the school’s campus in his native Brooklyn.
Sean Zanni/Patrick McMullan/Getty Images
Northeastern University — College of Arts, Media and DesignBoston
Northeastern’s bachelor of science in music with a concentration in music industry encourages students to become entrepreneurial thought leaders and change agents across the music business. Aside from classes focused on topics including actionable analytics in the music industry and artist management, the school is home to Good Dog Licensing, a student-run music synch company through which students receive hands-on experience and offers four- or six-month co-op experiential learning opportunities. New this year is a university chapter of the nearly four-decade-old nonprofit Women in Music, dedicated to fostering equality in the music industry through the support and advancement of women.
Event: In honor of World Mental Health Day in October 2022, the Women in Music Boston chapter presented Mental Health Awareness for Artists and Their Allies, a panel to guide musicians with resources and information about emotional well-being.
Occidental CollegeLos Angeles
Occidental’s music business courses are embedded within its liberal arts curriculum, and many of the students in music department classes major or double-major in other disciplines such as economics, math, politics, chemistry, philosophy and physics. The school’s location gives students access to a capital of the music industry, providing immersive education through internships and other opportunities. In 2022, Occidental formalized its relationship with Warner Music Group (whose former CEO Steve Cooper is an alumnus) and has since hosted events with WMG executives for students from all majors who are interested in a career in music business.
Event: Warner Chappell Production Music vp/head of legal and business affairs Steve Touchton met with students in March to share his 25 years of experience, field questions and offer advice on entering the business side of the music industry.
Oklahoma State University — The Greenwood School of MusicStillwater, Okla.
OSU’s bachelor of science in music industry, established in 2017, remains the fastest-growing music program at the school. Recent developments include the Greenwood School of Music’s new facilities, which opened in 2021, and a collaboration this year with Kicker, a Stillwater-headquartered audio manufacturer with which students partnered on the research and design of a potential new product. The student-run music company Poke U comprises a record label, music publisher, concert promotion and musical products divisions, and the school has a robust speaker and alums network. Once again, the New York Philharmonic residency returned to the university’s McKnight Center for the Performing Arts, adjacent to the campus, with the opportunity for students to work with the business staff of the orchestra.
Event: Alumnus Garth Brooks in April delivered two concerts at OSU: a scholarship benefit show and a free performance exclusively for OSU students.
Rhodes College — Mike Curb Institute for MusicMemphis
Rhodes College and the Curb Institute benefit from their location in the artistically vibrant city of Memphis, as Curb students tap experiential opportunities in the city. In 2022, the institute launched the Curb Community Fellows program, which provides funding for students to work directly with local professionals and organizations such as Goner Records, the Overton Park Shell, the Memphis Music Initiative and the STAX Museum of American Soul Music. On campus, they can engage with Dredge, a student-produced zine and social media platform focused on the Memphis arts scene, and Beyond Beale, a student-produced podcast that explores underresearched aspects of the city’s music history. The first two seasons received honorable mention recognition by the NPR Student Podcast Challenge.
Courses: In fall 2024, Rhodes will offer two new certificates in music industry studies — content production and arts entrepreneurship — that complement the college’s core liberal arts mission.
State University of New York, OneontaOneonta, N.Y.
The music industry program at SUNY Oneonta is designed to appeal to aspiring executives, as well as students interested in technical fields like audio production or who are entrepreneurial musicians. In addition to the core courses, music industry students are required to complete a sequence of courses in the SUNY Oneonta School of Business, an array of general education courses and at least one course from a slate of electives such as concert production, through which students conceive, plan and manage a series of live concert events on campus and in the Oneonta community. Off-campus learning and networking experiences include a faculty-led trip to the annual NAMM trade show in Los Angeles.
Events: John Mayer recently engaged with music industry program students through a video conference; another event connected students with members of the Dave Matthews Band. (Mayer and Matthews are both clients of business manager and Cal Financial Group founder Rit Venerus, an Oneonta alumnus.)
Syracuse University — Bandier Program for Recording and Entertainment IndustriesSyracuse, N.Y.This year marked the return of the Bandier Program’s international immersion trip, with a dozen students traveling in May to meet with more than 40 executives at music companies in Singapore; Jakarta, Indonesia; Ho Chi Minh City, Vietnam; and Bangkok. On campus, students choose from an ever-evolving variety of courses and also tackle entertainment industry exploration, the program’s capstone, for which seniors must build a functioning and profitable real-world business. The previous academic year also saw rapid growth in the readership of Full Rate No Cap, a free weekly email of industry analysis that program director (and former Billboard editorial director) Bill Werde crafts for students to read; the email underpins a weekly, programwide student-led discussion about industry trends and headlines. Subscribers number in the thousands and include top executives at virtually every major music company around the globe.
Event: The weekly Wednesday-night speaker series this past academic year scheduled over 25 guest lectures from industry pros including Warner Music Group chief digital officer/executive vp of business development Oana Ruxandra and Apple Music creative director/radio host Zane Lowe.
Temple University — Klein College of Media and CommunicationPhiladelphia
Temple University’s Klein College offers an interdisciplinary bachelor of arts in audio and live entertainment that also includes courses in the music and business schools. The college’s mission is to empower and prepare the media creators of tomorrow to be ethical, analytical and creative leaders. The faculty has a wealth of industry experience, and courses are often complemented by presentations by industry creatives and executives including Grammy and Academy Award winner Questlove and American Association of Independent Music CEO Richard Burgess. (Philly native Questlove received the college’s 2022 Lew Klein Excellence in the Media Award.) A student-run record label interfaces with student radio, TV and other ventures in a collegewide media ecosystem, and a study abroad program offers opportunities in top global music markets such as Tokyo and London.
Alumnus: Multiple Grammy-winning producer Noah Goldstein, founder of Ark Publishing, has worked with artists including Kanye West, Frank Ocean, Travis Scott, Rihanna and Paul McCartney.
Questlove received the Lew Klein Excellence in the Media Award from Temple University’s Klein College of Media and Communication in 2022.
Kayla Oaddams/Getty Images
Tennessee State UniversityNashville
One of the nation’s historically Black colleges and universities, TSU is located in the heart of Nashville and offers a commercial music program as a concentration within the school’s music department. Perks include small class sizes, targeted courses such as music business and law, access to a variety of internships and mentor programs, and ample guest speakers who have recently included producer Rodney “Darkchild” Jerkins and BMI executive director, creative Shannon Sanders, a TSU alumna. Harry Fox Agency client solutions coordinator Dashawn Howard and Grammy-nominated producer Dwane “Keywane” Wier are among other alums.
Event: In May, the music business accelerator program, which offers Black college students in Tennessee career resources to help them break into the industry, held an event at TSU in partnership with Amazon Music, Nashville Music Equality, the RIAA and Wasserman Music.
University of California, Los Angeles — Herb Alpert School of MusicLos Angeles
Spurred by the success of the UCLA Herb Alpert School of Music’s music history and industry degree program and its music industry minor, the school this fall introduced a major in music industry. The new program, which complements the performance, composition, musicology and music education programs already offered, provides students with a high level of liberal arts integration to ensure they master the skills needed for a successful creative industry career. Classes immerse students in a range of subjects from data science for the music industry to music and activism, and internship and employment opportunities abound as those enrolled in the program benefit from the school’s relationships with an array of music companies. A major gift from former Warner Bros. Records chairman Mo Ostin, who died in 2022, funded construction of the Evelyn and Mo Ostin Music Center.
Speaker: Amy Davidman, founder of and agent at TBA Agency, recently spoke with students on campus.
University of Colorado DenverDenver
The university offers two course tracks for students interested in pursuing a career in the music industry: one for performing students and another to provide the chops to work as managers, publishers, music supervisors and/or marketers. Students in the lattermost progression take courses examining music supervision and synch licensing, music publishing, music marketing, law and the music industry, artist management and more. Additionally this year, the Mechanical Licensing Collective appointed faculty member Dan Hodges as one of its educator ambassadors to advise students on the importance of registering music with the MLC to collect interactive streaming royalties.
Partnership: The Nashville Songwriter Association International this past year launched a chapter at the university.
University of Miami — Frost School of MusicMiami
Under director Serona Elton, whom the Music Business Association recently named the first music business educator of the year, Frost’s music industry program is expanding. It recently launched a bachelor of arts in music industry major for nonperformers, an addition to its well-established bachelor of music in music industry and master of arts in music industry. Along with its diversity of courses and proximity to the Latin offices of many major music companies, the program also offers a variety of student-run enterprises including ’Cane Records, Cat 5 Music and Frost Sounds, as well as a campus radio station, concert production organization, numerous concert halls and music industry student association.
Course: Students in recorded-music operations learn about A&R, production, distribution, marketing/promotion, licensing and royalties and use Chartmetric to analyze the consumption of their favorite artists’ tracks.
In May, Serona Elton (right), director of the music industry program at the University of Miami’s Frost School of Music, received the Music Business Association’s first music educator of the year award, presented by president Portia Sabin.
Laura E. Partain
University of North Texas — College of MusicDenton, Texas
Options abound at UNT’s College of Music, located on the northern edge of the Dallas-Fort Worth metroplex and the country’s largest public-university music program. It offers degrees from bachelor to doctoral levels and is home to the world’s first jazz studies degree program, now in its 75th year. The school is continually adding faculty and courses to the curriculum, offered fully online or in a hybrid format, with options ranging from music leadership to performing arts management to touring. The curriculum leading to a master’s in music business, launched just three years ago, supports student goals within music technology and entrepreneurship. In 2021, the Yamaha Institution of Excellence program included the UNT College of Music in its inaugural list of 10 distinguished colleges and universities recognizing extraordinary commitment to innovation in the study of music.
Event: Julian Peterson, associate director at Gearbox Software and a composer, audio programmer, sound designer and researcher, recently met with students.
University of Rochester — Eastman School of MusicRochester, N.Y.
It’s all about flexibility at the University of Rochester’s Eastman School. Students can earn a double degree, a minor concentration or just take courses related to their interests. Among the options, Eastman offers a master of arts in music leadership and a commercial music industry experience through the Beal Institute for Film Music and Contemporary Media, where students have opportunities to work with the Rochester Institute of Technology’s film, animation and video game development schools. The Electroacoustic Music Studios at Eastman introduces students to electronic music technologies. And student-run ensembles provide commercial and music leadership skills, including the Empire Film and Media Ensemble, a live-to-film ensemble, and OSSIA, the school’s student-run new music ensemble.
Alumnus: Eastman’s Beal Institute was named after its founder, alumnus Jeff Beal, a five-time Emmy-winning composer of film and TV scores. Beal is a frequent guest speaker and students have traveled to Los Angeles to work with him for an immersive experience.
University of Southern California — Iovine and Young AcademyLos Angeles
USC’s Iovine and Young Academy innovators forum hosts leaders in diverse disciplines, industries and the arts to present and discuss problems facing society and to critique real-world projects. Recent guests have included TOMS Shoes founder Blake Mycoskie. That’s just one way the interdisciplinary-focused academy provides a framework for students interested in the music industry to study topics from reimagining virtual concert events to building a new artificial intelligence-driven music platform. Endowed by industry entrepreneurs Jimmy Iovine and Andre “Dr. Dre” Young, the academy offers a bachelor of science in arts, technology and the business of innovation and a master of science in integrated design, business and technology.
Event: For the Masters of Scale podcast in June, Iovine spoke with Angela Ahrendts, former CEO of Burberry and former senior vp of Apple, about success, motivation and education.
University of Southern California — Thornton School of MusicLos Angeles
Close ties with the L.A. music community are core to the DNA at USC Thornton, which offers both an undergraduate and 18-month master’s program in the music industry. Students benefit from an abundance of networking, internship and job opportunities across areas such as touring, marketing, branding, business and law, and the school provides a classroom guest list that recently included Ali Harnell, global president/chief strategy officer of Live Nation Women. Collaboration and camaraderie are also emphasized among students who will one day join an alums network that includes DreamWorks Animation senior vp of TV music Alex Nickson and Warner Records senior vp of creative sync licensing Julia Betley.
Events: Thornton’s producers forum has hosted speakers including Merck Mercuriadis, founder and CEO of Hipgnosis Songs Fund, and Lee Zeidman, president of Crypto.com Arena, Peacock Theater and L.A. Live.
William Paterson UniversityWayne, N.J.
William Paterson University’s music and entertainment industries program focuses on today’s industry from an independent artist and label perspective. Courses, including the popular Backstage: The Business of Touring, focus on three key pillars of music income: live, recording and publishing. The program has hosted visiting resident experts including Kate Hyman, former vp of A&R for BMG, and Mark Robinson, senior vp of music strategy, business and legal affairs at Paramount. And while internships are a core tenet, students also benefit from industry professionals who come to campus, including Vydia co-president Jenna Gaudio in a recent visit.
Alums: Theresa Abou-Daoud, production assistant with Tyler, The Creator, and Nathaniel Meyerowitz, associate manager of experience at Wasserman, are among recent graduates of the program.
This story originally appeared in the Oct. 7, 2023, issue of Billboard.
British rapper Central Cee (“Doja,” “Sprinter”) signed with Wasserman Music for global representation. His agents are Brent Smith, Lauren Marker, Tom Schroeder and Jesse Fayne. The deal follows the rapper’s signing to Columbia Records and Sony Music U.K. in June.
Dominican rapper El Alfa (popularly known as “The King of Dembow”) signed an eight-figure deal with royalty-financing company Sound Royalties ahead of his forthcoming album, El Rey Del Dembow, as well as a multi-city tour slated for this fall. “This multi-million-dollar funding will be instrumental in continuing to build my legacy and cement my influence in the Latin music space,” said El Alfa in a statement. “Beyond that, it is foundational for promoting and marketing my music, launching new career opportunities, and releasing more work through my own music label, El Jefe Records.”
Singer-songwriter-producer-DJ Mayer Hawthorne signed with Las Vegas-based MAC Agency. Hawthorne recently announced a forthcoming tour as well as the release of his sixth studio album, For All Time, on Oct. 27. He made his MAC Agency debut at Vegas’ Park On Fremont last month. Hawthorne is managed by ATC Management and signed to P&L Records.
Independent record label Absolutely Kosher is relaunching after a 12-year absence with a slate of new releases and initiatives for the 25th anniversary of its founding. Releases announced at launch include new music from singer-songwriter-producer Charles Bissell — who released the album Meadowlands from his former band, the Wrens, on Absolutely Kosher in 2003 — now recording under the name Car Colors; as well as Sybris, the Chicago band that released its album Into the Trees on Absolutely Kosher in 2008. The reanimated label will also put out two previously-released albums on vinyl for the first time: Edinburgh School for the Death‘s New Youth Bible and Brabrabra‘s Mangooona. Absolutely Kosher has a global deal with Downtown Music Holdings’ FUGA for distribution.
Rock-pop outfit Hey Violet signed with Hopeless Records, which will release the group’s next single, “I Should Call My Friends,” on Friday (Oct. 13). Hey Violet was previously signed to Capitol Records.
PPL signed Afrobeats star Libianca, producer-songwriter-artist Lewis Thompson and British pianist Isata Kanneh-Mason for international royalty collections. PPL licenses recorded music when it gets played in public as well as on the radio or TV in the United Kingdom. It also collects neighboring rights royalties for performers and recording rightsholders when their music is played around the world through agreements with collective management organizations (CMOs) in other countries.
Hip-hop supergroup CZARFACE — comprised of Inspectah Deck, Esoteric and 7L — and its record label, Silver Age, signed a global deal with Virgin Music for the release of the group’s next studio album. The trio is managed by Dustin Winegardner.
Alt-pop singer BIZZY signed to Big Loud Rock, the alternative/rock imprint of Big Loud Records. The news was accompanied by her latest single, “I Don’t Get Breakups.” BIZZY is managed by Nicolette McCann at TWIST Music Group.
Big Loud Records also signed singer-songwriter Zandi Holup to its roster. Holup, who released the song “Gas Station Flowers” on Friday (Oct. 6), recently signed a publishing deal with Arthouse Entertainment and TurnTable Music in partnership with Universal Music Publishing. Her booking agents are Marissa Smith and Josh Garrett at UTA.
French psychedelic rock band SLIFT signed to Sub Pop, which will release the trio’s upcoming third album, ILION, on Jan. 19, 2024. The title track is now out on all digital service providers. SLIFT is managed by Hélène Maigné, who also handles the band’s booking in France, Belgium, the Netherlands, Luxembourg, Switzerland and North America. Beth Morton and Oliver Ward at UTA are responsible for bookings in the rest of the world.
Singer-songwriter Ivan Theva signed to Descendent Records/Sony Music Entertainment, which will release his debut album, GARDENS, on Oct. 27. Theva is represented by Steve Ford at SF3 Management and Kevin Castleman at Reliant Talent for booking.
New York-based pop singer-songwriter Angélica Garcia signed to Partisan Records. The deal was announced along with the release of two new tracks: “Y Grito” and “El Que.” Garcia is managed by Tim Vigon and Riley Moriarty at Three Six Zero, with Frank Riley at High Road handling booking. She was previously signed to Spacebomb.
Country music trio The Castellows — comprised of sisters Ellie, Powell and Lily — signed with Make Wake Artists for management and WME for booking. According to a press release, the group has built a following of more than 1 million across social media platforms after releasing several covers highlighting their vocal harmonies. At Make Wake, Chris Kappy will serve as manager while HB Riordan will handle day-to-day. At WME, the band’s representatives will include Nashville office co-head/partner Joey Lee and agents Kanan Vitolo and Kevin Falck.
Alt-rock band House Parties signed with Equal Vision Records, which will release its forthcoming single, “Braindead,” on Thursday (Oct. 12).
Shortly after Michael Cherman founded his apparel company, Market, in 2016, he designed and sold a tie-dyed T-shirt with the Grateful Dead’s dancing bears spiraling toward a center point. Spotting the trademarked image online, the Dead’s official merchandise company, Rhino Entertainment, contacted him and asked: “Would you like to do this more legit instead of bootlegging it?”
“Yes,” he responded, and today, the company’s streetwear products include a $200 Grateful Dead screen-printing kit and a $45 trucker hat with the lightning-skull Stealie Rose logo. “This has unlocked the world for me,” says Cherman, whose company sells clothing licensed from the estates of Bob Marley, Jimi Hendrix and others. “People just came to us and said, ‘Hey, how can you do that for us?’”
Since the Dead sold one of its earliest T-shirts in the late ’60s, featuring keyboardist Ron “Pigpen” McKernan and designed by Hell’s Angel Allan “Gut” Terk, its merchandise business has evolved into an international brand licensed to dozens of companies and sold in stores from Walmart to Saks Fifth Avenue. What Cherman calls the “holy trinity” of Dead logos — dancing bears, lightning bolts and skeletons — is on thousands of products. Online, fans can buy a pair of tie-dyed Crocs containing pink-and-yellow dancing-bear charms for $160; a $70 Teton hoodie designed for snowboarding; Grateful Dead leggings marked with “GD” and pink roses, $38; Grateful Dead fluorescent green Nike skateboarding shoes, $110; a psychedelic Air Garcia skateboard, $65; and a pair of Grateful Dead skis topped with the “Steal Your Face” skull logo, $750.
The band’s merch machine has also served as an exemplar of how an act can expand its brand into a multimillion-dollar business, raking in revenue years, and even decades, after the deaths of such core members as McKernan, Jerry Garcia and lyricist Robert Hunter.
Dead products are a sliver of the nearly $4.4 billion music merch licensing industry, as valued by trade organization Licensing International in 2022, an increase from $3.7 billion in 2019. Universal Music Group, which owns merch giant Bravado, earned $618 million from product in 2022, according to financial reports — a 70.2% increase from $363 million the previous year. Much of that revenue comes from traditional sales (T-shirts, hoodies and caps sold at concerts), and contemporary stars like Taylor Swift and BTS dominate the business. But classic-rock merch is booming, too.
“That universe has expanded,” says Rhino president Mark Pinkus, who oversees the Dead account. “The shirts are being worn by people of all ages.” Jeff Jampol, CEO of Jam Inc., which manages licenses for The Doors and the estates of Janis Joplin and others, adds that classic-rock merch has evolved from basic black T-shirts to a diverse fashion industry “largely driven by 10- to 20-year-old females and their moms.”
The rich and famous also boosted demand. In the late ’90s, Brad Beckerman, who worked with his father at the sports-licensing company Starter, noticed that most music merch came in the form of mass-marketed T-shirts and saw an opening. Beckerman’s company, Trunk, secured 76 licenses, including Madonna and The Beatles, and expanded the market to high-end customers and department stores. Trunk sold T-shirts, but also jackets and rhinestone belts, Japanese denim and Italian leather for prices that could approach $1,000. “It was unbelievable, the exposure we got,” he recalls. “We had hundreds of celebrities buying these things.”
Until the early 2000s, the Dead — whose members weren’t getting along at the time, according to their former longtime publicist, Dennis McNally — ran Dead Merchandising. Later, the band licensed its name and various logos to just a few companies, like Ripple Junction and Liquid Blue, and mostly focused on T-shirts. “It was easier to go their own ways and let somebody else deal with the business,” McNally says.
According to a source who works in the business, merch licenses are normally structured as a percentage of the licensee’s gross sales income. Smaller licensees typically pay 12% of gross revenue; national licensees, 4% to 5%; and for internet sales, where there is less overhead, it’s a few points higher.
In 2006, after the Warner Music Group-owned Rhino took over the Dead’s merch, Heather Lewis, vp of merchandising for Warner’s artist-branding division WMX, saw how well the band’s CDs and box sets, such as the dozens of Dick’s Picks live albums, were selling, and steered Rhino’s Dead team toward a similar strategy for merch. “Over the past decade, it has been about growing not just the merch but the creative aspect of the merch and working with Deadhead artists,” she says.
One of Rhino’s challenges is when to turn a blind eye to bootleggers — such as the Shakedown Street vendors who sell unlicensed products at spinoff concerts such as Dead & Company — and when to shut them down or, as with Cherman and Market, license their creations.
The Dead’s first line of merch gatekeeping is archivist David Lemieux and Pinkus, a Deadhead who recently flew to Boulder, Colo., to attend three Dead & Company shows. Their shared philosophy for licensing the band’s nine trademarks: “The Grateful Dead should be everywhere, for everybody, at all price points and in all styles,” Pinkus says. Accordingly, he and Lemieux are “easy to find and open to doing licensing deals.” They recently approved Dead-branded coolers, hammocks, camping equipment and polo shirts with embroidered lightning bolts where you might typically find a horse or alligator. They run every potential licensee proposal by the band members and the estates of those who’ve died, but they usually approve the decisions. (A representative for the band members said they declined to comment.)
“My impression is that Rhino tries to honor the Grateful Dead example, which was choosey, low-key, and generally it wasn’t to make money,” McNally says. “It’s like everything else about the world of the Grateful Dead. It just grew.”
The AI genie is out of the bottle. It’s not going back, so buckle in and get on board.
Artificial intelligence was a hot button topic as music professionals gathered in Singapore last month for the All That Matters conference to learn, meet, greet and get business done.
Music Matters is one of seven streams under the All That Matters banner. Singapore, the dynamic, constantly-evolving city state, once again hosted the event, its music component recognized as the most important of its kind in Asia.
At 18 years of age, ATM is all grown up. This time, almost 2,000 attendees gathered from across the music, sports, gaming, media and entertainment industries, its conclusion the starting point for the Singapore Formula 1 Grand Prix.
Guest speakers at the Sept. 11-13 confab included Jonathan Dworkin, Universal Music Group’s executive VP, digital business development & strategy; Troy Carter, CEO and founder Venice Music; Hazel Savage, VP music intelligence, SoundCloud; Meng Ru Kuok, CEO & co-founder of BandLab; Denis Ladegaillerie, founder & CEO of Believe; Spotify’s Kossy Ng (head of music, Asia) and Joe Hadley (global head of artists and audience partnerships); and Pieter van Rijn, president Downtown Music.
Billboard selected five notable takeaways from this year’s program:
Glocalisation is the way forward
Glocalisation is more than a buzzword. It’s a growing, measurable business as more local language music gains traction on DSPs. Building a business to support that doesn’t happen by accident. “At some point you have a certain ambition,” explained Pieter van Rijn, president Downtown Music, during a day one presentation. “It’s very important for us to be close to our clients,” noted the New York-based Dutchman, whose company has label services staff across the region, including South Korea, Philippines and Japan and elsewhere. Glocalisation is “to think local but act global, the success that we’re seeing there is a trend of local artist having local success and not just English language content driving the charts. You can see that in many countries, it’s another great symptom of how the industry has evolved itself.”
Luminate’s Music 360 research reinforces it, with data showing that 40% of U.S. listeners were found to tune-into music in a non-English language in the second quarter of 2023. At the same time, the share of English-language content is down.
Peter van Rijn photographed on October 19, 2022 at Downtown Music in New York City.
Wesley Mann
Moving forward with AI, and a plan
Believe this year celebrates its 10th anniversary in APAC, a business that started in Indonesia, was built from the ground up, and now represents over 10,000 labels and artist. Some €700 million has been generated in revenue to labels and artists in that decade. Believe is a big believer on Glocalisation, and its future includes the adoption of AI.
“It’s going to come very quickly,” explained Believe CEO Denis Ladegaillerie, during a day-three morning session which also included Sylvain Delange, Believe managing director for APAC. “We expect some products to come into the market very soon, in the next three to six months.” The response needs to be a responsible one. That includes Believe’s own set of principles, drawn up with YouTube, around the four pillars of consent, control, compensation and transparency. A new survey by Believe and TuneCore of 1,558 found that 50% of musicians are willing to make their music available for machine learning while also believing in a responsible approach.
Believe founder and CEO Denis Ladegaillerie
Anis Martin
Streaming fraud is a $500 million problem. At least
For artists, cutting through the noise in the streaming world is a major challenge, and it’s not getting any easier. In the U.S., streams have grown 400% over the last four years, UMG’s Dworkin explained during his keynote presentation, while at the same time, on-platform new music discovery has fallen by 45% (with on-platform music discovery representing just 15% of how fans discover music). If you think that’s bad, streaming fraud takes the cake. Fraud, at the low end of estimations, is a $500 million problem.
“And it could be triple that,” he says. “Security should be a basic matter of hygiene for platforms and for distributors.” Music and artists that connect with consumers should be rewarded in the streaming game. “If a piece of content is riding along on a platform and not connecting with consumers, it will simply be downgraded,” he says, citing Deezer’s novel formulation. “We at Universal are ready for everyone to be held to the same standard. Including us. Let us all compete on the basis of the value created for fans. And not by counting streams as they sleep.“ It’s time to “change the model so the business can be more resilient for the next stage of growth.” He concludes, “there’s a lot more work to do, and the solutions are going to continue to evolve.”
Robbie Williams is coming to entertain you
Thanks to Rocketman and Bohemian Rhapsody, rockumentaries have been a box office boom in recent years. Robbie Williams sings when he’s winning, and he might be singing a lot in the near future with his very own projects.
Before Williams’ headline performance at the F1 Grand Prix, the Brit’s manager Stephen O’Reilly, managing director at ie: ventures and a director of ie: music, sat for a chat about Robbie’s busy schedule.
The former Take That star is the subject of a four-part documentary series, set to air from early November on Netflix. Robbie Williams is a project of Ridley Scott Associates and director Joe Pearlman (Lewis Capaldi: How I’m Feeling Now) and executive produced by Asif Kapadia (Amy). Also, filming is completed on the previously-announced Better Man, which should arrive at cinemas next year.
The context was to “go out of our comfort zones to do things we’ve never done before,” say O’Reilly of Better Man, which has been described as a satirical musical based on the singer’s own life. It’s helmed by Australian filmmaker Michael Gracy whose debut film The Greatest Showman grossed more than $425 million worldwide. New Zealand’s Weta Digital is creating the visual effects for what O’Reilly describes as a “groundbreaking” film, which opens up a new “world of immersive entertainment, with great music and great story.” Robbie’s solo career is now 25 years deep, and has taken him to the very top of the tree in the U.K. (where he has 14 solo No. 1 albums), Europe and Australia. The U.S., however, has stubbornly resisted his cheeky-chappy charms. Will the new projects change that? Wait and see.
Robbie Williams performs at Hits Radio Live 2019 at Manchester Arena on Nov. 17, 2019 in Manchester, England.
Carla Speight/Getty Images for Bauer Media
Russell Simmons talks Hip-Hop, Drugs and Donald Trump
Russell Simmons had the last word at All That Matters, with a free-flowing final session which covered all the topics you’d hoped for, and some you didn’t expect. The Def Jam co-founder regaled with tales on Will Smith, the 50-year history of hip-hop, the epicenter of art that was, and still is, New York City, Run-DMC, drugs and Donald Trump. Simmons and Trump used to hang in the 1990s and they traveled the world together. “I don’t dislike Donald,” he remarked. “We had a lot in common, a lot we didn’t have in common. We laughed about a lot of s—.” Becoming the POTUS, well that’s another thing. “When he became president,” he remarked, “it was obviously not a good thing for America.”
Earlier this year, the Singapore subsidiary of Nodwin acquired a 51% stake in Branded, bringing the confab and showcase event into the Nodwin Gaming family.
Live Nation, Sphere Entertainment Co. and CTS Eventim were the top three music stocks this week amidst news that consumers continue to spend despite nagging inflation and a resumption of U.S. student loan payments for millions of borrowers. Live Nation shares rose 6% to $88.00, narrowly beating Sphere Entertainment’s 5.9% gain to $39.35. German promoter and ticketing company CTS Eventim jumped 4.7% to 56.40 euros ($59.79).
Despite some economic warning signs, consumers continue to spend on experiences such as concerts, travel and luxury goods. Americans spent 5.8% more in August than in the prior-year period, according to the National Retail Federation. Many consumers are now facing the resumption of monthly student loan payments after a long grace period caused by the COVID-19 pandemic — it was one factor in retail giant Target cutting its profit forecasts in August. Gas prices are on the rise in much of the United States. Still, concert ticket sales are booming and airlines reported strong revenue this summer. More encouraging news came from Friday’s U.S. jobs report from the Bureau of Labor Statistics: Non-farm employment rose by 336,000 and the unemployment rate was unchanged at 3.8%.
It was a big week for Sphere Entertainment as its shares climbed 11.1% on Monday following U2’s opening weekend at Sphere in Las Vegas. The rave reviews and mind-blowing videos pushed Sphere Entertainment’s stock price as high as $43.59, up 17.3%, before falling 5% to $39.23 at the end of the trading day. Sphere Entertainment didn’t maintain the momentum, however, and dropped 5% from Tuesday to Friday. Still, Sphere’s opening provided a boost to the company and validated Sphere Entertainment CEO James Dolan’s vision to create a new category of venue built specifically for music. Now, investors will likely consider how many other artists have the necessarily large and fervent fan bases to book Sphere residencies and build productions worthy of Dolan’s $2.3 billion gamble.
The 21-stock Billboard Global Music Index improved 2.1% to 1,373.62 as 12 stocks finished the week in positive territory. The index’s four live music companies had an average gain of 4.3%. Six streaming companies had an average gain of 1.6% while eight companies in recorded music and publishing dropped an average of 0.9% and three radio companies fell an average of 7.6%.
Music outperformed many indexes as stocks had a mixed week. In the United States, the S&P 500 improved 0.8% and the tech-heavy Nasdaq composite improved 1.8%. In the United Kingdom, the FTSE 100 fell 1.5%. South Korea’s KOSPI composite index fell 2.3%.
Another of the index’s more prominent components, Warner Music Group (WMG), rose 4.5% to $32.80, the fourth-largest gain of the week. WMG closed its year-to-date deficit to 6.3% after gaining 2.8% on Friday and pushing its market capitalization to nearly $17 billion. Universal Music Group improved less than 0.1%. Two K-pop companies, HYBE and SM Entertainment, fell 3.8% and 1.9%, respectively.
Spotify, a major player on the index with a $31.3 billion market capitalization, improved 3.5% to $160.07 and took its year-to-date gain to 102.7%. Spotify announced on Wednesday that it’s giving subscribers in the United Kingdom and Australia up to 15 hours of audiobook streaming time per month; the allotment will roll out to U.S. subscribers later this year. Audiobooks are an integral part of Spotify’s plans to become a one-stop audio destination. The news wasn’t cause for concern that Spotify will incur a previously undisclosed expense from this streaming allotment. Guggenheim analysts wrote in a report on Tuesday that they don’t expect audiobook streaming to add to expenses and that Spotify likely built those costs into its latest guidance (which is 26% gross margin and a $45 million operating loss in the third quarter).
Three radio companies were among the four worst-performing music stocks of the week. iHeartMedia shares fell 14.2% to $2.71, bringing the year-to-date loss to 55.8%. Cumulus Media shares dropped 4.5% and SiriusXM shares fell 4.0%. The other notable decline of the week came from Hipgnosis Songs Fund, which fell a further 7.1% to 0.745 GBP ($0.91) in the wake of its Sept. 14 announcement that it will sell $465 million in catalog assets to help lift its struggling share price.
For as much as has been said and written about Taylor Swift in recent years, there’s a chance people have been underestimating the 33-year-old musician’s unique place in the business world.
Swift’s prowess as a recording artist and songwriter is well known. As the most popular artist in the United States across several consumption metrics, she has 11.7 million equivalent album units this year through Sept. 21 — about 70% more than the No. 2 artist, Morgan Wallen, according to Luminate. (EAUs convert streams and track sales into album units.) Swift also has the highest album sales, physical album sales, digital album sales, digital track sales, on-demand audio streams and airplay spins so far in 2023.
But in recent weeks, Swift’s status as super-celebrity became more apparent when she single-handedly brought a legion of young females into the professional football fold. Her attendance at two Kansas City Chiefs games, her undefined relationship with Chiefs player Travis Kelce and frequent pictures of her watching and celebrating from a luxury box above the playing field have done for the NFL what no amount of corporate-led marketing has been able to achieve. TV ratings for the Oct. 1 game between the Chiefs and New York Jets averaged 27 million viewers, the second-highest number for Sunday Night Football this season. More impressively, viewing among girls 12 to 17 was 53% higher than the season’s first three Sunday Night Football broadcasts. Women 18 to 24 were up 24%. Women over 35 were up 34%.
The Taylor Swift Effect created large ripples beyond TV ratings. Sales of Kelce’s Kansas City jersey spiked nearly 400% in the days following the Sept. 24 game Swift attended against the Chicago Bears. Secondary market prices for tickets to the Chiefs’ Oct. 1 game in New Jersey against the New York Jets rose 43%. U.S. Google searches for Travis Kelce jumped more than 14 times from Sept. 23 to Sept. 25 and remain more than three times greater than search traffic before the Sept. 24th game, according to Google Trends. Search traffic for the Kansas City Chiefs rose 13-fold over that three-day span.
That ability to cross over to older generations separates Swift from other Gen Z idols. “She’s the equivalent of a four-quadrant movie,” says Brad Gelfond, a former brand partnership executive at Warner Records. That’s a Hollywood term for a movie with broad appeal that attracts four demographic “quadrants” of an audience: females under 25, males under 25, females over 25 and males over 25. Swift’s place in mainstream pop culture reached a new level in 2022 when demand for tickets to The Eras Tour pre-sale effectively broke Ticketmaster’s platform. That led to a Senate hearing on Jan. 24, during which lawmakers such as 63-year-old Amy Klobuchar (D-MN) and 77-year-old Richard Blumenthal (D-CT) quoted her song lyrics, as well as a plethora of proposed Swift-themed legislation that followed.
Few artists have a similarly broad-reaching appeal. One current artist with cross-generational pull is Beyoncé, but even that comparison is limited, says Ash Stahl, CEO of Flighthouse Media, a digital media producer targeting Gen Z. While Beyoncé is pop royalty, Swift is more relatable. “I would never expect to see Beyonce on screen at an NFL game chest bumping the guy next to her,” she says. That kind of appeal is rare in Hollywood, too. “She’s up there with The Rock,” says Gelfond. That would be Dwayne Johnson, the professional wrestler-turned-actor who transformed from reliable box office draw to media mini-mogul. Johnson is co-owner of a film and TV company, Seven Bucks Productions (Skyscraper, Jungle Cruise, Fast and Furious Presents: Hobbs & Shaw), as well as co-owner of the XFL professional football league.
Among Gen Z, Swift has a sway and longevity that surpasses social media stars popular with the demographic. TikTok star Charli D’Amelio comes close, but her popularity was short-lived, says Stahl. Meanwhile, Vine and YouTube star David Dobrik “didn’t keep his hands clean,” his career tarnished following multiple accusations of sexual assault, bullying, professional negligence and cultural insensitivity against him and his collaborators. Being brand-safe is an important factor in keeping and attracting fans.
YouTuber Mr. Beast is popular among young men but lacks a female fan base, adds Stahl. “‘Mr. Beast, hold my beer,’ said Taylor Swift,” jokes Marcie Allen of MAC Consulting, who has decades of experience working with artists and brands. Aside from attracting fans from different generations, what separates Swift from Gen Z’s online stars is her ability to sell out stadiums. While live-streamer Kai Cenat is facing charges of inciting a riot in New York with a PlayStation 5 giveaway gone awry, Swift’s current tour could surpass $1 billion in ticket sales. What’s more, Swift’s tour could generate $4.6 billion in economic impact for local economies, according to research company QuestionPro. Swift versus these other Gen Z celebrities simply isn’t a close comparison.
With unrivaled popularity and cultural cachet, one must wonder what Swift is doing — or could possibly do — between album and tour cycles. “She’s positioned to be the Reese Witherspoon of music,” says Allen. Witherspoon, an actress known for such movies as Legally Blonde and Walk the Line, founded a production company, Hello Sunshine, in 2016, to give females a greater voice in Hollywood. Hello Sunshine’s predecessor, Pacific Standard, produced the film Gone Girl as well as Wild, in which Witherspoon played the starring role. It wasn’t long before the smart money caught on to Witherspoon’s desire to build a female-first media company. Candle Media, backed by investment titan Blackstone and co-founded by two former Disney executives, acquired a stake in Hello Sunshine for $900 million in 2021.
Could Swift follow Witherspoon and Johnson into building a media fortune? A clue comes from growing demand for the Taylor Swift: The Eras Tour movie. Set to open Oct. 13, it has advance ticket sales of $100 million a week before debuting in more than 8,500 theaters worldwide and is expected to top the U.S. box office. Swift is a producer of the Sam Wrench-directed film and cut a direct deal with AMC to distribute it.
Swift may be outgrowing the typical ways an artist makes money — touring, recording, writing songs, promoting products and the like. And she has proven to have a clear head for business, perhaps most notably by re-recording her Big Machine-era catalog while withholding synch opportunities for the recordings sold to Ithaca Holdings in 2019 and then to Shamrock Holdings in 2020. The move has earned her tens of millions of dollars, if not more, while padding the release schedule between new albums with fresh batches of songs and creating new moments built off the nostalgia and goodwill she’s built up. It’s all evidence that Swift doesn’t mind taking risks if she’ll reap the rewards and that she has enough brand loyalty to pull off something big. “Taylor is so far past doing a brand partnership deal,” says Allen. “She can build her own brand.”
If it’s Friday that means another spin around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across the music industry.
Warner Music Finland‘s front office is getting a new look. Managing director Niko Nordström and head of A&R Asko Kallonen, who arrived at WMF in 2007 after Warner Music acquired their Helsinski Music Company label, are both headed for the ovi. Taking over later this year in the MD role will be current general manager Ramona Forsström, who has clocked 15-plus years at the imprint. In Kallonen’s old office in the A&R department will be veteran producer Jukka Immonen, who starts on New Year’s Day and brings with him the artist roster of his Fried Music label (which WMG has additionally acquired via undisclosed terms). Kallonen, meanwhile, will continue to serve as an A&R consultant for Immonen and his team after he passes the mic. The Warner Music Finland roster includes Antti Tuisku, Arttu Wiskari, BEHM, Ellinoora, Kaija Koo and SANNI, among others. Immonen will report to Forsström, who will report to Warner Music Nordics president Mark Fry. Calling Forsström a “huge talent whose counsel I value and who delivers time and again for our artists and our business,” Fry added that “her fresh leadership perspective will help us grow our roster and our artists’ careers.”
SoundExchange appointed Peter Karafotas as senior vp of government relations and public policy. Based in Washington, D.C., he will report directly to the organization’s president and CEO Michael Huppe. Karafotas arrives from Capitol Hill, where he recently served as chief of staff to Rep. David N. Cicilline (D-RI) until his resignation earlier this year to run a nonprofit. In his new role, Karafotas will lead on global public policy issues affecting music creators. He replaces Linda Bloss-Baum, who left over the summer for a full-time teaching gig at American University. Said Huppe: “I am thrilled to have someone with Peter’s expertise at the helm of our Government Relations & Public Policy department at a time when SoundExchange is amplifying our legislative efforts to ensure creators are paid fairly.”
Evan Bogart‘s music rights, label and publishing company Seeker Music hired Dan Stuart as general counsel. Stuart previously completed a five-year run as senior vp of business affairs at AWAL, during which AWAL’s U.S. clientele enjoyed significant growth and AWAL was acquired by Sony Music. Prior to that, Stuart worked for five years as a partner at King, Holmes, Paterno & Soriano, and worked for 15 years as an attorney at Manatt, Phelps & Phillips. Stuart’s career also includes time well spent as a music journalist, a DJ-in-residence, and in radio. “What I’ve known about Dan since the day I met him” about 20 years ago “is how smart, dedicated, passionate, authentic, and well-respected he is,” said Bogart. “He is one of the best in the business, and in my view it’s because he’s not just a lawyer, he’s an OG music guy who really cares about music and music creators.” –Jessica Nicholson
Kobalt promoted Kat Basolo to senior vp of creative synch. The Los Angeles-based exec was most recently vp of creative synch and in the past year helped score a number synch opportunities for Kobalt artists with several major brands, TV shows and films. Prior to joining Kobalt in 2014, she worked at Sony Music Entertainment for 10 years. Global head of synch Rob Christensen credited Basolo with “procuring thousands of synch opportunities” for clients during her tenure. “But more than any stat,” he added, “she has excellent relationships with so many of the world’s top music supervisors because she works hard to understand their needs and then delivers time and time again.”
Dreamcatcher vp of promotion Jim Dandy announced his departure from the company for a new opportunity at New Revolution Entertainment . Following the recent departures of national director of promotion Kellie LaJack, West Coast regional Rick Young, Midwest regional Charlie Dean and promotion manager Annie Brooks, the label is operating without a promotion staff. Dreamcatcher partner Jim Mazza said the situation is temporary, explaining that the promotion team is independently contracted and was let go with no current singles at radio. The label intends to re-form a promotion staff when its lone artist, Tenille Arts, releases her next single in early 2024. Under the circumstances, Mitch Rosell, who signed with the label in August, asked for — and received — his release from his contract. –Tom Roland
Amanda Rae Kopp is promoted to chief product officer at JKBX, a start-up offering investors fractional shares in hit songs. Kopp will be responsible for refining product strategies and driving innovation at the emerging platform. Prior to JKBX, which officially launched Sept. 12, Kopp was a global product leader at Warner Music Group.
Fantasy Records appointed Lindsay Brandt as vp of marketing and creative. In the newly-created position, Brandt will serve as in-house creative director and head of marketing, focusing on content development and digital strategy. Previously, Brandt served as senior director of creative & digital at Activist Artists Management, working with artists including The Lumineers and Bob Weir. Brandt said in a statement, “My vinyl collection boasts numerous albums with the iconic Fantasy Records logo. I’m humbled to join a team that holds music in such high regard and delighted to tell the story of these profound artists.” –JN
FlyteVu, the full-service marketing agency founded in 2015 by former Warner Music Nashville senior vp Jeremy Holley and ex-CAA agent Laura Hutfless, made several promotions and hires of late. Sina Seger, on staff since 2017, is the firm’s very first general manager — and will oversee day-to-day operations. Elsewhere, Nicole Ranieri has been promoted from account director to head of accounts, and industry veteran Ally Venable joins the team as head of talent. Venable joins from Mandolin Entertainment, a boutique artist and brand management firm. In the past 12 months, FlyteVu has launched two new sister agencies: FV Incubator, handling marketing for start-ups, and FV3, focused on brands and Web3. “Over the past eight years, FlyteVu has built a solid reputation for innovation, excellence, and generosity in the industry,” said Hutfless. “Sina and our Leadership Team have played instrumental roles in our growth and success. We are thrilled to enter FlyteVu’s next chapter as we continue to innovate, disrupt and propel our clients forward.”
Shore Fire Media elevated Haley Griffin and Henry Thomas to junior account executives. Both joined the leading PR firm a mere year ago as interns and were promoted to publicity assistants late in the year. Griffin is a Berklee College of Music graduate, while Thomas is a Skidmore College grad. “In just over a year, Haley and Henry have displayed their talent, commitment, and growth,” said senior vp Rebecca Shapiro. “We’re excited to recognize their contributions and confident that they will shine in their new roles.”
Kobalt promoted Kat Basolo to senior vp of creative synch. The Los Angeles-based exec was most recently vp of creative synch and in the past year helped score a number synch opportunities for Kobalt artists with several major brands, TV shows and films. Prior to joining Kobalt in 2014, she worked at Sony Music Entertainment for 10 years. Global head of synch Rob Christensen credited Basolo with “procuring thousands of synch opportunities” for clients during her tenure. “But more than any stat,” he added, “she has excellent relationships with so many of the world’s top music supervisors because she works hard to understand their needs and then delivers time and time again.”
ICYMI: Warner Music‘s chief digital officer Oana Ruxandra announced she’s leaving the label … Anthem made it official with Jason Klein and Sal Fazzari … and Kenny MacPherson was placed on leave from his job at Hipgnosis Songs Fund, following the filing of a lawsuit claiming he sexually assaulted a staffer in 2005 while he ran another company.
Melanie Johnson is named chief commercial officer at Audoo, the music tech company looking to shake up the royalty reporting system for musicians. Based in London and reporting to CEO Ryan Edwards, Johnson is tasked with overseeing the continued global expansion of the company’s proprietary platform Audoo Audio Meter. She arrives with a packed CV that includes lengthy tenures at Facebook, Sony Music Publishing and EMI Music Publishing. Most recently, Johnson served as vp of partnerships at Utopia Music. “Mel’s stellar professional and personal reputation precedes her,” Edwards correctly notes. “Adding her expertise to Audoo as we mark a milestone five years in business, we move closer to our goal of being the partner of choice for PROs and CMOs, and continue on the mission of revolutionising the public performance royalties space worldwide.”
Reactional Music, the maker of an interactive music engine for video games, hired Spotify veteran Jacob Deshayes as chief operating officer. In his new role, Deshayes will oversee Reactional’s platform and manage partnerships, technical programs and strategy. “In joining Reactional Music I am thrilled to have the opportunity to apply my experience on three of my foremost passions – music, tech and video games – as we unlock groundbreaking tools for a new innovative form of music creation, as well as ways for the world of gamers to personalize their musical experience,” he said. Additionally, Reactional selected one of its founders, former Take Two Interactive CEO Kelly Sumner, as board chairman.
Croshal Entertainment Group, the artist management and label service firm founded by longtime Sony Music and Maverick executive Fred Croshal, made a pair of key promotions. Jimmy Brunetti, previously vp of label services, has been elevated to executive vp of business development and project management. Kirbie Croshal, most recently director of social media and project management, is now senior vp of marketing and digital strategies. Brunetti and Croshal have logged 15 and 17 years at CEG, respectively.
Last Week’s Turntable: Glass Ceiling Breaker Departed Sony
Beatport has announced the recipients of its second annual diversity and parity grants. Awards totaling $150,000 will be given to the organizations Change the Beat, Last Night a DJ Saved My Life, ONE OFF TRAKS, Other Village People, Saffron and We Are Moving the Needle.
Last Night a DJ Saved My Life works to empower young people from around the world via fundraising initiatives for grassroots projects. The organization will use the money to teach DJing and production to 32 young women over eight weeks in Leeds, U.K.
ONE OFF TRAKS, an Australian writing camp collaboration and platform for women, trans and non-binary artists, will use its grant to host and expand the writing camp in 2024.
Based in South Africa, Other Village People powers three queer-centered platforms. The organization will use its grant for its newest initiative Queertopia, a three-day festival celebrating South African contemporary queer nightlife culture and movements.
The U.K.’s Saffron works to foster equality in music tech by creating safe and inclusive spaces for people underrepresented in the space. The organization will use its grant to work with 20 Black creatives in the U.K. in endeavors such as community building, knowledge sharing and other educational opportunities.
We Are Moving the Need, based in the States, works to evolve the recording industry with the focus of gender equity and inclusivity. The platform will use its grant on its touring CTRL symposium, which aims to build community and evolve the recording industry via events in Los Angeles, Nashville and New York.
The fund, now in its second year, is awarding two kinds of grants: one that awards amounts between $3,000 to $15,000 to smaller organizations consisting of one to three staff members, and one awarding amounts between $15,001 and $30,000 to organizations with more than four staff members.
“The electronic music community is filled with vibrant groups of creative people who want to make our industry and world better,” Sofia Ilyas, Chief Community Officer of The Beatport Group, says in a statement. “The recipients of our second annual Diversity + Parity Fund exemplify the spirit of positive change, and it is our hope that their endeavors will resonate in powerful ways across our industry.”