Business
Page: 11
Following the release of the anticipated sequel film, Moana 2, which in its opening week earned $225 million at the U.S. and Canada box office, the movie’s soundtrack proved to be just as big a hit, debuting in the top 10 of three Billboard album charts.
Featuring the voices of returning actors Auliʻi Cravalho (Moana) and Dwayne Johnson (Maui), Moana 2 also debuted a new musical pair in composing duo Barlow & Bear (Abigail Barlow and Emily Bear). Together, the two made history as the youngest and only all-women songwriting duo to create a full soundtrack for a Disney animated film. (Barlow & Bear stepped in for Lin-Manuel Miranda, who helmed the music for 2016’s original Moana.)
“They were brought on for their immense talent as musicians and storytellers,” says Tom MacDougall, president of Walt Disney Music and Billboard‘s Executive of the Week, who also A&R’d the soundtrack. “Where being younger did come into play revealed itself in their ability to understand the feelings Moana was having as a young woman trying to achieve great things and channeling that experience into the story.” (Moana 2 picks up three years after the original film left off; this time, Moana receives an unexpected call from her ancestors that brings her back to the ocean.)
Trending on Billboard
The celebratory opening week for Moana 2 is just the beginning of a busy year’s end for Disney, as MacDougall’s next soundtrack is already on its way. On Dec. 20, Mufasa: The Lion King will arrive along with its original soundtrack by Miranda.
And while MacDougall says “we simply release films when they’re ready,” he does believe there’s something special about the end of a year. “I do think [this period] represents a time of reflection, joy and family,” he says. “I can see how those emotions can get you in the mood to see characters sing.”
Moana 2 debuted in the top 10 on three of Billboard’s album charts (No. 2 on Kid Albums, No. 10 on Soundtracks and No. 10 on World Albums). What key decisions did you make to help make that happen?
Our partners at the Disney Music Group and studio marketing know the “first responders” to our soundtracks live in these key categories and they look to service them early with sneak peeks, exclusives and lyric videos. As the films broaden out — like Frozen and Encanto — we look to capture all audiences on as many charts as we can, including the top song and album charts.
The first Moana soundtrack topped both the Kid Albums and Soundtracks charts for 54 and 62 nonconsecutive weeks, respectively. How are you and the team aiming for similar longevity with Moana 2?
We are always humbled by any charting, and don’t expect the past to point to future success but we do go to great lengths to find the core emotional situations that, dare I say, demand that these characters sing. My experience is that when we hit that mark — which I think we did with Moana 2 — success can follow.
What challenges did you and the team face in following up a musical smash like Moana?
Sequels to musicals are tricky as you need new adventures, obstacles and desires to sing about or it won’t feel like an evolution for the characters. With Moana being older and wiser, she has taken on more responsibilities to her community and her family which provided fertile ground for her to sing. And, of course, our demigod Maui is always finding reasons to sing, and Dwayne [Johnson] really pushed himself creatively to find yet another plateau for his talents as a vocalist for the new song “Can I Get A Chee Hoo?”
In addition to Moana 2, Mufasa: The Lion King arrives on Dec. 20. For any sequel or franchise continuation, when it comes to the music, what is the secret to balancing familiar sounds with new?
I think the secret to a musical sequel is to make sure you’re offering something new for the characters, the story and the music, but [that] doesn’t abandon what’s come before. Barlow & Bear represented the new on Moana 2, and [composers] Opetaia Foa’i and Mark Mancina were the foundation of what came before that brought the warm familiar feeling audiences come to expect from the world of Moana.
For you, what’s the signal that the team has a hit on its hands?
Honestly, we don’t consider any film soundtrack to be a hit until the audience has spoken. There is often a slow period of absorption that seems to happen with music that doesn’t follow the near instantaneous assessment of box office success, so sometimes we just have to wait. With Moana 2 audiences have told us they want to spend a lot of time in that world, so I don’t think we’ll have to wait long to consider the soundtrack a hit.
How “far” do you see the Moana movies in particular going — are there any current plans “beyond” this sequel?
Having now worked on both films for over a decade of my career, I’m looking forward to just enjoying this moment of success and be grateful audiences have responded to these films in this unprecedented way. Can I get a chee hoo?
It all started because Terry McBride couldn’t simultaneously play field hockey, study civil engineering and DJ at clubs and weddings. “So I decided to do music,” says the co-founder of Nettwerk Music Group, the 40-year-old Vancouver label famous for breaking Sarah McLachlan, Barenaked Ladies, Passenger and many others. It was the first company to release Coldplay in the United States.
In 1984, McBride and his business partner, Mark Jowett, a member of electronic-music band Moev, dropped out of the University of British Columbia and started Nettwerk with a simple mission statement: “Release music we love.” And while his field hockey background isn’t especially useful, his civil engineering tools have been crucial in Nettwerk’s development.
“The music business was obtuse and as gray and muddy as humanly possible,” says McBride, 64. “I used to run big spreadsheets that had my SoundScan and my radio [Broadcast Data Systems data] and my touring — trying to understand when something was happening early. I had my artists go back to [a particular] city over and over again and turn a flame at a micro level into something that was meaningful.”
Trending on Billboard
This combination of data analysis and music-fan instinct not only helped McBride identify unusual talent with commercial potential, from Skinny Puppy to McLachlan to SYML, but correctly predict where the entire business was heading. In 2008, he co-wrote “Meet the Millennials: Fans, Brands and the Cultural Community,” a paper for the British University of Westminster, that anticipated the decline of digital downloads, the rise of streaming and the resulting revolutionary changes in the music business.
Today, McBride uses these skills, along with his team — including president/COO Simon Mortimer-Lamb, label president Ric Arboit and Jowett, who oversees international, A&R and publishing — to identify what he calls “communities.”
“It’s all about discovery and people sharing music,” McBride says. Nettwerk’s roster includes Paris Paloma, Wild Rivers, bôa, Mon Rovîa, Vacations and The Paper Kites among its 300 acts.
What was Nettwerk’s big boom?
Terry McBride: Mark and I started this company in my one-bedroom apartment in the West End of Vancouver. Back then, terrestrial radio was the dominant force, and trying to hear anything new that wasn’t being pushed or plugged just didn’t happen. We managed to cobble together enough money from both of our jobs and a small loan from the bank.
Did you know anything about how to find and sign artists in those early days?
No. I knew absolutely nothing, and Mark, who was a guitar player in a local band, knew absolutely nothing, too. Which was perfect because we weren’t bound by anyone’s point of view but our own.
What was the earliest success you had that made you think, “Maybe we’ll make it after all”?
There was a folk band called Grapes of Wrath, from British Columbia, and an industrial grunge band named Skinny Puppy. This was when we’d [previously] released all of five records. Grapes of Wrath broke on terrestrial radio, [were] picked up by Capitol Records [and] turned into something else. Skinny Puppy was so far ahead of its time — that hard-edged electronic sound that was coming out of Chicago, Miami, Belgium, leading into what [avant-garde British band] Cabaret Voltaire was doing out of London. It took a long time for those things to connect, but when it did connect, it became a movement.
From left: Mark Jowett, Terry McBride, Ric Arboit and Simon Mortimer-Lamb.
Courtesy Nettwerk Music Group
How do those two acts lead to the bigger stars Nettwerk is known for, like Sarah McLachlan?
Mark had tried to sign Sarah when she was 15. She was in a band called October Game, who had supported Moev. Mark was astonished by her voice. Two years later, I’m in Halifax [Nova Scotia] with Skinny Puppy. There’s Sarah. So we had a conversation, and I talked her into coming to Vancouver and signing to Nettwerk. Sarah flew out and slept on the floor of Nettwerk for the first three to four months. She worked a part-time job at a tea shop, and we started doing the first record, Touch. Sarah went on tour with Grapes of Wrath, and by the end of the tour, one could argue that Sarah was bigger than the Grapes of Wrath.
In terms of the music business and streaming, do you go around saying, “Yeah, I predicted this”?
I wrote a paper [“Meet the Millennials”] about the future of music in winter 2008, over the Christmas holiday. I did it with [former Nettwerk GM] Brent Muhle, who was running my Los Angeles office; ultimately, he got a job at Apple in Europe and couldn’t talk about what we had written together. It left me for three or four years running around saying, “Hey, this is what’s going to happen. We can either realize that and embrace it, or we can live in this fear and this world of litigation.”
I don’t view music as lyrics, melodies, chords, bridges. I view songs as emotions, and when someone falls in love with that song, they attach their own emotion to it, so they essentially own it … The music business was trying its best to inhibit that type of behavior. You look at the explosion of the cassette tape, the burned CDs. It was all about people sharing. It wasn’t really about people ripping things off; it was about sharing their emotions. When I co-wrote “Meet the Millennials,” basically, I was writing the blueprint for the next 20 years of Nettwerk.
How so?
What I didn’t go into in that paper — which evolved out of that paper — was the thought process of “communities.” We were always involved in communities, whether it was the electronic grunge scene or Sarah and Lilith Fair [the all-female music festival McLachlan co-created with McBride] and even that whole folk scene inside Canada. Streaming allowed the niche marketplace to actually come to life within music. Overlapping fan bases were not going to be walled in by borders or some physical restraint. You could look at niches from a worldwide point of view, not a city point of view — which was where all the scenes came from, whether it was the ’80s new wave scene out of London and New York or the ’90s grunge scene out of Seattle. We started to build the singer-songwriter community first, and these were bands from everywhere. It didn’t matter. There were no boundaries. We slowly but surely started to build up data behind it.
How do you define “communities” in this context?
It’s basically artists that have overlapping fan bases. If you finish streaming an album, the algorithm kicks in and starts feeding you music based on what you happen to like. I just finished listening to the album [by] Haevn, a band from the Netherlands; eight of the next 10 songs were all Nettwerk songs, from their community. So Haevn is giving those other artists a lift.
So Nettwerk says, “We’ll sign all of these bands in this community.”
There’s a whole music scene that’s happening outside the traditional pop-hit culture. We’ll probably sign another 50 artists next year, and it’ll all be based on these three criteria: Do we love the music? Can we honestly add value? Are the artists and manager not a–holes? If you check those three boxes, we’re interested.
Nettwerk has a history of zigging when everybody else is zagging — in 2008, everyone thought record companies were dead and artist management was the place to be. But you got out of management.
Yeah. Now I can turn my phone off at night and I’m making money as I sleep. That didn’t happen in management. I was talking to two managers today who are in their late 20s, and I asked them how life is going. They said, “This is a horrible Monday — from the minute I woke up, I’ve been putting out fires.” I so don’t miss that.
How has the role and need for outside investors in Nettwerk changed over the years?
We sold most of the publishing seven or eight years ago. From that, we went to friends and family members and brought in a lot of people I really like who were very knowledgeable and some musicians I can’t name who are very big. About a year-and-a-half ago was the first time we brought in institutional money. We have a great balance sheet, and we’re set for the next couple of years. [In 2013, it was reported that Nettwerk had raised $10.3 million in equity growth financing from HBC Investments, previous investor Beedie Capital and Nettwerk’s four founding partners: McBride, Jowett, Arboit and Dan Fraser.]
What do you see happening during the next few years in the music business?
There are some interesting things on the horizon with [artificial intelligence]. That is not going to be determined through technology — it’s going to be determined through legislation and, unfortunately, litigation. It’s not just the music business — it’s every business.
What about the business’ future as it pertains to Nettwerk?
Communities of fans, and their emotional attachments to music, are only going to grow and become more powerful. If I would make one prediction: The middle-class musician is back. So that artist in the ’70s and ’80s who had a career without being on terrestrial radio and having platinum records is back. That’ll be healthy for the music scene. The fact that we’re looking at all these folk bands filling up 2,500-seat venues — that hasn’t happened since the ’60s.
Are you personally thinking of getting out? Retiring?
At some point, would I like to go fishing more? Spend more time with my family? Absolutely. But music’s a passion for me. I’m not looking to retire. We’re in a really good spot. I do want to see it grow. I’m not going to get in the way of that.
To me, the power of music can help people through really challenging times. When I sit down with a young artist and talk about the fact that they’re having success, [I say], “You need to consider something really, really carefully: What are you going to do with that, and how are we going to make this world a better place? Because whether you realize it or not, kids are really emotionally grabbing onto your music.”
If I look at an artist like Paris Paloma, she’s changing the world, and she’s doing it to her generation. Like Mon Rovîa, same thing. SYML, same thing. Paper Kites, same thing.
Why would I want to walk away from that? It’s just too powerful.
This story appears in the Dec. 7, 2024, issue of Billboard.
A federal appeals court panel on Friday upheld a law that could lead to a ban on TikTok in a few short months, handing a resounding defeat to the popular social media platform as it fights for its survival in the U.S.
The U.S. Court of Appeals for the District of Columbia Circuit ruled that the law, which requires TikTok to break ties with its China-based parent company ByteDance or be banned by mid-January, is constitutional, rebuffing TikTok’s challenge that the statute ran afoul of the First Amendment and unfairly targeted the platform.
“The First Amendment exists to protect free speech in the United States,” said the court’s opinion. “Here the Government acted solely to protect that freedom from a foreign adversary nation and to limit that adversary’s ability to gather data on people in the United States.”
Trending on Billboard
TikTok and ByteDance — another plaintiff in the lawsuit — are expected to appeal to the Supreme Court. Meanwhile, President-elect Donald Trump, who tried to ban TikTok during his first term and whose Justice Department would have to enforce the law, said during the presidential campaign that he is now against a TikTok ban and would work to “save” the social media platform.
The law, signed by President Joe Biden in April, culminated a years-long saga in Washington over the short-form video-sharing app, which the government sees as a national security threat due to its connections to China.
The U.S. has said it’s concerned about TikTok collecting vast swaths of user data, including sensitive information on viewing habits, that could fall into the hands of the Chinese government through coercion. Officials have also warned the proprietary algorithm that fuels what users see on the app is vulnerable to manipulation by Chinese authorities, who can use it to shape content on the platform in a way that’s difficult to detect.
However, a significant portion of the government’s information in the case has been redacted and hidden from the public as well as the two companies.
TikTok, which sued the government over the law in May, has long denied it could be used by Beijing to spy on or manipulate Americans. Its attorneys have accurately pointed out that the U.S. hasn’t provided evidence to show that the company handed over user data to the Chinese government, or manipulated content for Beijing’s benefit in the U.S. They have also argued the law is predicated on future risks, which the Department of Justice has emphasized pointing in part to unspecified action it claims the two companies have taken in the past due to demands from the Chinese government.
Friday’s ruling came after the appeals court panel heard oral arguments in September.
Some legal experts said at the time that it was challenging to read the tea leaves on how the judges would rule.
In a court hearing that lasted more than two hours, the panel – composed of two Republican and one Democrat appointed judges – appeared to grapple with how TikTok’s foreign ownership affects its rights under the Constitution and how far the government could go to curtail potential influence from abroad on a foreign-owned platform.
The judges pressed Daniel Tenny, a Department of Justice attorney, on the implications the case could have on the First Amendment. But they also expressed some skepticism at TikTok’s arguments, challenging the company’s attorney – Andrew Pincus – on whether any First Amendment rights preclude the government from curtailing a powerful company subject to the laws and influence of a foreign adversary.
In parts of their questions about TikTok’s ownership, the judges cited wartime precedent that allows the U.S. to restrict foreign ownership of broadcast licenses and asked if the arguments presented by TikTok would apply if the U.S. was engaged in war.
To assuage concerns about the company’s owners, TikTok says it has invested more than $2 billion to bolster protections around U.S. user data.
The company also argues the government’s broader concerns could have been resolved in a draft agreement it provided the Biden administration more than two years ago during talks between the two sides. It has blamed the government for walking away from further negotiations on the agreement, which the Justice Department argues is insufficient.
Attorneys for the two companies have claimed it’s impossible to divest the platform commercially and technologically. They also say any sale of TikTok without the coveted algorithm – the platform’s secret sauce that Chinese authorities would likely block under any divesture plan – would turn the U.S. version of TikTok into an island disconnected from other global content.
Still, some investors, including Trump’s former Treasury Secretary Steven Mnuchin and billionaire Frank McCourt, have expressed interest in purchasing the platform. Both men said earlier this year that they were launching a consortium to purchase TikTok’s U.S. business.
This week, a spokesperson for McCourt’s Project Liberty initiative, which aims to protect online privacy, said unnamed participants in their bid have made informal commitments of more than $20 billion in capital.
TikTok’s lawsuit was consolidated with a second legal challenge brought by several content creators — for which the company is covering legal costs — as well as a third one filed on behalf of conservative creators who work with a nonprofit called BASED Politics Inc.
If TikTok appeals and the courts continue to uphold the law, it would fall on Trump’s Justice Department to enforce it and punish any potential violations with fines. The penalties would apply to app stores that would be prohibited from offering TikTok, and internet hosting services that would be barred from supporting it.
Drop that stylus on this week’s stacked Executive Turntable, Billboard’s compendium of promotions, hirings, exits and firings — and all things in between — across music.
Read on for some very personnel news and don’t forget to cast your vote for the Power 100 Players’ Choice Award, plus peruse our annual list of the industry’s savviest financial advisers, our weekly interview series spotlighting a single c-suiter and our calendar of notable industry events.
SoCal concert promoter Goldenvoice, a subsidiary of AEG Presents, announced the retirement of its senior vice president, Susan Rosenbluth. With a career spanning six decades, Rosenbluth has worked with artists like Elton John, Talking Heads, BTS and Van Morrison, among others. She began her career at the Greek Theatre in 1978 and became its general manager by 1982. She later managed concert presentations at various venues for Nederlander, including the Pantages Theatre, the Pacific Amphitheatre and the Honda Center, and became a talent buyer in 1995. In 2003, Rosenbluth joined Goldenvoice, overseeing talent buying for concerts across California, Alaska, Hawaii and Arizona. She also spearheaded the Latin concert promotion division and became a key figure in promoting K-pop acts in North America, including BTS and BLACKPINK. She also co-chairs AEG’s Women’s Leadership Council and has received numerous awards, including from Billboard and Pollstar. “My work life has been filled with so many meaningful experiences, due to the Goldenvoice concert promotion team, artists and their crews who come together to present these events,” said Rosenbluth, “I am grateful to the people of the concert community.” Goldenvoice president Paul Tollett added: “Susan is a legend… that goes without saying. But she also charted a new course for Goldenvoice musically and made us better for it.”
Trending on Billboard
Goldenvoice has promoted Lea Swanson to vp of talent, where she’ll oversee booking for the Mountain Winery, contribute to talent buying at key Los Angeles venues like the Peacock Theater and Shrine Auditorium, and book shows in across multiple markets in California and Hawaii. Based in San Diego, Swanson will report to COO Melissa Ormond. Swanson brings over 25 years of experience in talent buying, including 17 years with Goldenvoice parent AEG Presents. Her career began in 1999 at Viejas Casino, where she helped develop a 1,500-capacity concert venue. She has since booked a wide range of events, from small clubs to full-size arenas, and worked with venues like the Rady Shell, Humphreys Concerts by the Bay and Pechanga Resort Casino. Stoked for her new role, Swanson emphasized the can’t-pass-up opportunity to grow within the mega-market just north of her. “After over 17 years with AEG Presents in my home market of San Diego and supporting numerous casino clients, I feel fortunate to be in the right place at the right time to step into this elevated role,” she said. “A year after accepting the lead booking role at the Mountain Winery in Saratoga, having the chance to grow and promote shows in one of the primary music markets in North America was an opportunity I had to take.”
Bill Walshe is Sphere Entertainment‘s new executive vp and global head of venue operations and development. The hospitality industry veteran will lead operations at the mothership in Las Vegas, while also running point on developing a global network of other orbs the world over. Reporting to Jennifer Koester, president and COO, Walshe will lean on his skillset to enhance the guest experience at Sphere. Walshe’s career includes leadership positions at Viceroy Hotel Group, The Doyle Collection and Jumeirah Group, where he oversaw sales, marketing, and innovation initiatives. Koester praised Walshe’s expertise in international markets, citing his ability to align with Sphere’s ambitious vision. “Sphere is a global destination for immersive experiences unlike anywhere else,” said Koester. “Bill’s expertise across premier brands in international markets will be an asset as we continue to deliver an unparalleled experience for guests, artists, and partners at our Las Vegas venue, while pursuing our long-term growth goals for this next-generation entertainment medium.”
The New York Philharmonic appointed Matías Tarnopolsky to president and CEO of the storied symphony, effective New Year’s Day. Currently leading The Philadelphia Orchestra and Ensemble Arts, Tarnopolsky has held prominent roles at Cal Performances, the Chicago Symphony Orchestra and the BBC Symphony Orchestra. He previously served as vice president of artistic planning at the New York Phil from 2005 to 2009. Board co-chairmen Peter W. May and Oscar L. Tang praised Tarnopolsky’s innovative leadership and strong relationships within the artistic community. Gustavo Dudamel, the Philharmonic’s incoming music and artistic director, expressed confidence in their shared vision for the orchestra. “I vividly remember when Matías came to Caracas in 2006 and, from that moment, I knew that I had met someone who would become one of the most important leaders in our industry,” recalled Dudamel. Tarnopolsky said he looks forward to returning to the Phil, inspired by its newly renovated David Geffen Hall, Dudamel’s leadership and plans to elevate the Philharmonic’s cultural impact and foster inclusivity. “We will rededicate ourselves to the New York Philharmonic’s contemporary place in the cultural and civic life of New York, for all New Yorkers, to create an inclusive, expansive, and joyful musical future,“ he said.
Rachael Stoeltje will become chief of the Library of Congress‘s National Audio-Visual Conservation Center, beginning in January. She’ll oversee the Packard Campus in Virginia, managing the world’s largest collection of films, TV programs, radio broadcasts and sound recordings, focusing on acquisition, preservation and accessibility. Previously, Stoeltje directed Indiana University Libraries Moving Image Archive, leading its expansion and film digitization and preservation efforts. As president of the Association of Moving Image Archivists, she championed diversity and global cooperation in media preservation. Library of Congress associate librarian for researcher and collections services Hannah Sommers praised Stoeltje’s career as “visionary” and “laser-focused on the future and leading by example.” Stoeltje emphasized tackling challenges like AI’s impact on archival authenticity and global archival risks. “The big issues on the horizon are an important part of our future work, along with preserving and making accessible our nation’s moving image and sound recording cultural heritage,” she said.
Capitol Records tapped Sam Breslin as vice president of marketing, a bump-up from his previous role of senior director. In his elevated position, Breslin will continue crafting and implementing strategies for a wide array of newer and legacy artists at the legendary label. Having joined Capitol over a decade ago as a coordinator, he has since contributed to significant successes for Lewis Capaldi, The Beatles, Paul McCartney, Niall Horan, Norah Jones, Good Neighbours, Beck and more.
Venu Holding Corporation (VENU) named Terri Liebler as its chief marketing officer. With 30 years of experience in sports and entertainment, Liebler previously served as senior vp in Live Nation Entertainment’s media and sponsorship division, where she led strategic planning and innovative growth initiatives. During her 22-year tenure at Live Nation, she played a key role in expanding U.S. and international venue and festival platforms and cultivating partnerships. Liebler’s career also includes roles with the NBA’s Seattle SuperSonics and San Antonio Spurs, as well as work on the Premium Seat operations team for the 1996 Atlanta Olympics. VENU’s founder and CEO, J.W. Roth, praised Liebler’s passion and leadership, anticipating she’ll bring with her “an unrelenting enthusiasm and dedication for our brands that will undoubtedly drive our unparalleled venues to new heights.”
VENU also announced that Live Nation Entertainment veteran Will Hodgson has been its president since October. He spent 13 years at LNE, where he led House of Blues Entertainment, overseeing 20 venues, 17 restaurants, and seven cocktail lounges. His background also includes investment banking and developing ticketing solutions for major festivals. “Will is a rockstar, he will do an incredible job quarterbacking our strategic growth and operations,” said J.W. Roth. “His unique expertise across live music, finance, ticketing, food and beverage, and real estate development is a powerful fit for our vision.”
Nashville-based music publishing company Little Extra Music hired Victoria Goodvin to represent the company’s catalog. Goodvin’s career includes time at Song Factory Music, Wide Open Music, Liv Write Play and Row Entertainment. Also joining the team is Tristan Scaife (son of Little Extra Music co-founder Joe Scaife), who will work alongside Goodvin. LEM was founded in 2013 by Scaife and Lisa Ramsey-Perkins. The company’s catalog features more than 100 cuts, including the four-week Billboard Country Airplay chart-topper “She Got the Best of Me,” and the Walker Hayes-recorded “You Broke Up With Me. Writers Rob Snyder, Tia Sillers, Kylie Sackley, Will Bowen and Kelsey Waters are represented in the catalog. –Jessica Nicholson
NASHVILLE NOTES: PLA Media appointed Krista Dykes as senior media relations manager. Dykes began her career in 2007, contributing to communications projects in online insurance and inside the country music industry. She most recently served as media relations manager for the Country Music Association from 2015 to 2023, fostering relationships with national media and TV affiliates, and she’s the founder of the Secret Mom Hacks podcast and Mom Boss Mastermind, a virtual networking group for entrepreneurial mothers … O’Neil Hagaman, LLC promoted Tiffany Wiggers to principal, where she will influence the Nashville firm’s productivity and growth while continuing to serve her diverse client base. Wiggers, who began as an intern in 2004, is a current member of the Tennessee and Nashville Bar Association’s Entertainment Divisions, as well as the Gospel Music Association and the Country Music Association.
Big Loud Rock appointed Jenn Essiembre as senior vp of A&R. Reporting to Big Loud partner Joey Moi and GM Lloyd Norman, Essiembre will lead the label’s A&R strategy, focusing on talent identification and development. Essiembre previously served as vp at 300 Publishing, a division of 300 Entertainment, where she signed and developed artists and songwriters like Sean Momberger, Hunxho and Spencer Jordan. Her career began at ole Music Publishing, where she facilitated placements for stars like Sam Smith, Justin Timberlake, and Maluma. Essiembre expressed enthusiasm for her new role, aligning with Big Loud Rock’s artist development values, while Moi praised her energy, expertise and vision. “From our first conversation, I knew she’d be the right fit for this role,” he said.
Independent publisher OTM Music has appointed Emmy Feldman as U.S. head of A&R. Feldman brings extensive music experience, having helped open the Brooklyn outpost of Rough Trade before spending seven years in A&R at Atlantic Records and Canvasback Music. She then moved to Heavy Duty, where she managed a roster of songwriters, producers, and artists, including Buddy Ross and BJ Burton. In July of this year, she joined OTM, managing a roster that includes Dot Da Genius, Metronomy, Sub Focus, Still Woozy and Hemlocke Springs. OTM Music, launched by CEO Alex Sheridan in 2017, supports a roster of songwriters who have collaborated with SZA, Travis Scott, and A$AP Rocky. Recent high-profile deals include Kid Cudi producer Dot Da Genius, Sub Focus, and partnerships with artists like Sudan Archives and HONNE. Operating in London, New York, and Los Angeles, OTM also named Kristin Genovese as U.S. Head of Sync and added Kate Sweetsur and Ethan Mizen to its UK A&R team.
Hook, a new AI-powered social music app centered on remixes and mashups, expanded its leadership team with four key appointments. Katerina Kosta, formerly of TikTok/ByteDance and Jukedeck, joined as head of AI to develop ethically-trained AI tools that enhance music creativity while ensuring fair artist treatment. Grammy-nominated engineer Prash Mistry is now head of audio development and UK general manager. Karan Bhatnagar, previously head of digital at Three Six Zero management, stepped in as head of artist and creator strategy to support artist campaigns. Ed Pak, with a decade of industry experience and involvement in Saavn’s acquisition by Reliance Jio, is taking on the role of head of business development and Partnerships. The app, launched on Apple’s App Store this fall, also announced new offices in Los Angeles and London.
SILO Music appointed Marcy Bulkeley as head of sync A&R and music supervision of the publishing, management and sync house. Bulkeley will manage sync licensing and music supervision for film, TV, motion picture advertising and emerging media through her venture, Subtle Mother Music Supervision Services. With over 25 years of industry experience, she is known for her expertise in music curation and creative collaboration. Previously, as vp of sync A&R at Universal Music Group, she led custom music and remix projects, earning Clio awards and Guild of Music Supervisors nominations. SILO Music’s CEO, Jack Ormandy, praised Bulkeley’s innovative approach as aligning with the company’s mission to create elevated experiences through music. Under her leadership, SILO aims to expand its reach, delivering bar-none music curation and sync services to clients across multiple industries.
Bootleg, a company specializing in high-end concert recordings, appointed Rohan Adarkar as an equity advisor. The longtime entrepreneur is tasked with helping the company by leveraging his expertise in scaling entertainment tech products and building partnerships with global music stakeholders. In 2003, Adarkar co-founded txttunes, an early text-to-pay service for DRM-free MP3 downloads, which partnered with the American Association for Independent Musicians during the 50th Grammy Awards before its acquisition in 2007. Adarkar also founded totally different, a B2B consultancy, and advises the New Zealand government and its Ministry of Arts and Culture. He is a trustee of the Click Foundation, supporting education initiatives.
Splice appointed Jeff Roberto as senior vp of marketing, tasking him with leading global marketing initiatives and expanding the platform’s presence for musicians. Roberto brings extensive experience, including leadership roles at Nodle, DistroKid, and Picsart, where he helped drive a $130 million funding round and a $1 billion valuation. His career also spans Shazam, Napster, MAGNIFI and Astralwerks Records. Roberto aims to enhance Splice’s impact through innovative AI tools and brand growth. CEO Kakul Srivastava commended Roberto’s industry expertise and commitment to creative communities, emphasizing Splice’s AI roadmap as transformational.
Various Artists Management elevated Rebecca Dixon to global head of marketing & general manager UK. Dixon, previously head of marketing and promotions, will now split her time between VAM’s London and LA offices, reporting to CEOs David Bianchi and Matt Luxon. In her expanded role, Dixon will oversee UK marketing and audience development, deepen her involvement in LA, and strengthen partnerships across Europe. Over her decade-long tenure with VAM, she has led innovative campaigns for artists like Ashnikko, Tom Grennan, and The Libertines. Her promotion follows her recognition as the Trailblazer: The Richard Antwi Award winner at the Music Business UK Awards.
Fixated, a digital entertainment company launched in early 2024 by former BMG North America president Zach Katz and creator economy exec Jason Wilhelm, has added key hires to its executive and talent management teams. Jeff Shaivitz (svp of business and sales), Kou Chaichian (vp of brand partnerships) and Daniel Coughlan (head of content development) bring extensive expertise to support the company’s growth. Additionally, new talent managers Anooj Desai, Kasia Turek and Kyle Rooney have joined to oversee Fixated’s growing roster of top digital creators.
ICYMI:
Cara Donatto
Cara Donatto is appointed evp of media strategy for Atlantic Music Group, overseeing publicity and communications strategy and execution … BMG promoted Katie Kerkhover to the role of svp of A&R, Frontline Recordings in North America … Troy “Tracker” Johnson is launching TRACK mgmt following nearly 10 years with Big Loud … Sony Music UK hired former UMG exec Azi Eftekhari as its COO, in charge of key areas, including the label’s Commercial Group. [KEEP READING]
Last Week’s Turntable: UMG Touts Liszt of Promotions in Classics Group
Horst Weidenmüller, the CEO and founder of !K7 Music, has been recognized with the prestigious IMPALA Outstanding Contribution Award for his impactful work in the European independent music sector.
The accolade coincides with the upcoming 40th anniversary of !K7 Music, which Weidenmüller established in 1985.
At IMPALA’s recent board meeting, the organization highlighted Weidenmüller’s near four-decade career and pivotal role in advancing the independent music industry. !K7 Music began as a music video production company in Berlin before evolving into a multifaceted label known for its groundbreaking DJ-Kicks series, launched in 1993, and its roster of sub-labels such as Strut Records, 7K!, and Ever Records.
Beyond his label’s success, Weidenmüller has been a staunch advocate for sustainability and inclusion in the music industry. As a long-time IMPALA board member and the founder of its Sustainability Task Force, he spearheaded the development of a bespoke carbon calculator for labels, in partnership with Julie’s Bicycle, Merlin, and Murmur. He also helped establish IMPALA’s Business Case for Sustainability, emphasizing the financial benefits of environmentally conscious practices.
Trending on Billboard
Under his leadership, !K7 Music has been certified as a B Corporation, reflecting its commitment to high standards of social and environmental responsibility. The company actively supports community initiatives, including a collaboration with Ernst-Reuter-Schule in Berlin, where students learn music production, marketing, and distribution.
“Horst is a force of nature, lifting all those that work with him,” said Helen Smith, Executive Chair of IMPALA. “His work as vice-president of the IMPALA board already set down an early marker, which was cemented when he founded our sustainability task force four years ago.”
Peter Quicke, co-chair of IMPALA’s Sustainability Task Force and managing director of Ninja Tune, added, “Horst doesn’t just talk about sustainability; he takes action. His pragmatic approach has made !K7 a model for how independent labels can lead by example.”
Expressing gratitude for the award, Weidenmüller said: “I am touched to receive IMPALA’s award. !K7’s culture and values translates into all of my work, whether it is across music, sustainability, inclusion or digital and beyond. My mission with IMPALA is an extension of that, as is securing our status as a certified B-corps business. This is a shared journey we are on, where the independent sector underlines time and time again that we are leaders.”
“That is something I am super proud of. Thanks to all the IMPALA board members!”
Sony Music Publishing (SMP) has announced the opening of a new office space and creative hub for songwriters in Hollywood. The new location is in the heart of Hollywood’s historic media district and minutes from the city’s old vinyl district. It’s also just down the road from Kobalt and SiriusXM’s offices, making the area a […]
Music made by generative AI has been on the horizon as an issue for a couple of years, and the industry started playing close attention when the “Fake Drake” track hit streaming services in April 2023. The part of the issue that gets the most attention is, of course, that part that involves celebrities — especially Drake, who objected when his voice was spoofed by AI and then used AI software to spoof the voices of other rappers.
That’s just the tip of a particularly dangerous iceberg, though, according to a new study commissioned by global collective management trade organization CISAC and conducted by PMP Strategy. Vocal imitations are fun, but how much time can you really spend listening to Frank Sinatra sing Lil Jon? The bigger issue is what generative AI means for new music — first for passive listening, presumably, and eventually for the entire business.
Trending on Billboard
Using quantitative and qualitative research, PMP concluded that a full $4 billion could be lost to composers and publishing rightsholders in 2028 — 24% of the revenue they collect through CISAC-member organizations. (This gets complicated: The study measures revenue that comes to them through collective management organizations, which includes performing rights and, in most cases, mechanical rights royalties.) This doesn’t even count the recording business, or revenue from synch licensing. By 2028, generative AI music will be worth $16 billion and the services that create it will bring in $4 billion in revenue. One previous study commissioned by SACEM and GEMA reached somewhat similar conclusions — in that case, that 27% of revenue would be at risk.
The music business is driven by new pop music, so there’s a tendency to focus on stars like Drake. But publishers and songwriters also depend on background music played in public — at bars and in stores — and streaming services have made a business out of utilitarian music, sounds to help listeners focus, relax or sleep. That might be where the impact of generative AI is felt first — the restaurant that plays AI music to avoid paying a performing rights organization, a playlist that avoids copyrighted music, a low-budget film that uses music generated by an algorithm. By 2028, the study predicts that generative AI could cut into 30% of digital revenue, 22% of TV and radio revenue and 22% of compositions played in public. Eventually, presumably, AI could generate hits as well.
To some extent, AI is inevitable.
“There’s no way we can or should stand against AI — it can be a wonderful tool,” said songwriter and ABBA frontman Björn Ulvaeus, who serves as president of CISAC, at a Nov. 3 online press conference to announce the results of the study. Many composers already use it as a tool, mostly for specific purposes. (I thought of using AI to write this column but I got nervous that it would do a poor job — and terrified that it would do a good one.) “Creators should be at the negotiating table,” Ulvaeus said. “The success of AI isn’t based on public content — it’s based on copyrighted works. We need to negotiate a fair deal.”
That’s only possible if generative AI companies are required to license the rights to ingest works, which by definition involves copying them. That seems to be the case already in the European Union, although the AI Act says rightsholders need to opt out in order to prevent the unauthorized use of their work to train AI software. In the U.S., until Congress turns its attention to AI, this is a matter for the courts, and in June the RIAA, on behalf of the major labels, sued the generative AI companies Suno and Udio for allegedly infringing their copyrights.
The study lays out a picture of how generative AI will develop between now and 2028, in both the music and audiovisual sectors — it will affect streaming revenue the most, but also change the market for music in TV and film. And although few people spend much time thinking about background music, it provides a living, or part of a living, for many musicians. If that business declines, will those musicians still be able to play on albums that demand their skills? Will studios that are booked for all kinds of music survive without the background music business?
The study predicts that the generative AI business will grow as the creative sector shrinks, as some of the money from music goes to software — presumably software trained on copyrighted works. “In an unchanged regulatory framework, creators will not benefit from the Gen AI revolution,” the study says. Instead, they will suffer “the loss of revenues due to the unauthorized use of their works” to train AI software and the “replacement of their traditional revenue streams due to the substitution effect of AI-generated outputs.”
Making sure composers and other creators are compensated fairly for the use of their works in training generative AI programs will not be easy. It would be hard for creators and other rightsholders to license a onetime right to use material for training purposes, after which an AI model can use it forever. The current thinking is that it makes more sense to license these rights, then require AI programs to operate with a certain level of transparency to track the works they reference in response to a given prompt. Then the owners of those works can be paid.
This is going to be hard. Getting it right means starting immediately — and the obvious first step is clarifying creators’ rights to be compensated when their work is used to train an AI.
Between the DOJ’s Live Nation antitrust suit, Sphere’s first year, new leadership at CAA and a slew of acquisitions, it’s been another big year for the concert business.
Burning Man art car Titanic’s End is launching a record label, Titanic’s End Records.
Justin Kan and Nicholas Parasram, co-founders of the label, tell Billboard the project will help fund the annual cost of bringing the art car to Burning Man. 50% of label profits will also go to Big Arts Organization, a registered 501(c) nonprofit created by Titanic’s End to create public art and raise awareness about climate change.
Titanic’s End Records will focus on house, Afro house and global music, with singles coming from the collective of DJs and producers that exist within the community, as well as artists from outside this world. “Success for us is if we help artists to bring the sounds we are listening to to a broader audience in the world,” says Parasram.
Distribution is being handled by the independent label and artist services of Warner Music Group. Coming in January, the first release, coming in January, will be a collaborative track by producers JK, Arabic Piano, ORSO and Maejor.
Kan, a tech entrepreneur who also co-founded Twitch, and Parasram, an artist manager and investor, also recently launched Thin Ice Entertainment, which focuses on talent management, content publishing and distribution. The art car itself is a co-creation of from Kan and entrepreneur Eddie Sellers. Designed in the shape of iceberg, it was built in San Francisco by more than 200 volunteers from the Titanic’s End Burning Man camp and debuted at Burning Man in 2022.
Trending on Billboard
Known as a Burning Man art car with one of the highest-quality sound systems at the event, Titanic’s End has hosted sets by LP Giobbi, Diplo, Acraze, Tokimonsta, Francis Mercier and many other producers from the global Titanic’s End community.
Like several of the other biggest and loudest art cars at Burning Man, Titanic’s End also hosts events around the world and plans to present label artists at parties currently being planned for 2025. (in October of 2023, it made an appearance at set from Fisher and Chris Lake that took over Hollywood Boulevard in Los Angeles and drew an estimated crowd of 12,000.)
Kan says “all the activities [outside of Burning Man], from Titanic’s End Records to events that we host ourselves, go to our non profit to fund bringing Titanic’s End to the playa every year.”
The label founders add that the team is also focused on creating opportunities for artists from a variety of disciplines to present their art in the world. “Music is one area,” says Kan, “but we are also excited about large format sculptural and LED art and to build more in-person events that introduce the culture to more people.”
“We are very excited to launch this label,” Parasram adds, “because our community has worked so hard to build Titanic’s End into an symbiotic platform and the label is our final piece of the puzzle for a truly connected [inside/outside Burning Man] experience.”
Village People singer Victor Willis might be threatening to sue news outlets that describe his song “Y.M.C.A” as a “gay anthem,” but legal experts say such lawsuits would likely be a “nonstarter.”
In a social media post on Monday defending President-elect Donald Trump’s use of the iconic disco song at his campaign rallies, Willis also sharply denied that he had intended the track to be aimed at the gay community — calling it a “false assumption” and “completely misguided.”
But he also went a step further than that, warning that next month his team would “start suing each and every news organization” that refers to “Y.M.C.A” as a “gay anthem,” calling such a description “defamatory.”
Trending on Billboard
“The song is not really a gay anthem other than certain people falsely suggesting that it is,” Willis wrote in the post. “And this must stop because it is damaging to the song.”
Released by the Village People in October 1978, “Y.M.C.A” eventually reached No. 2 on the Hot 100 and was emblematic of the late-1970s disco craze. The buoyant track and its trademark alphabetic dance have become one of music’s enduring phenomenons, blasted for years at sporting events, wedding dance floors and, of late, Trump rallies.
According to The Financial Times, the song has been “widely interpreted as a gay anthem” for years: “This is no great stretch for a song encouraging ‘young men’ to ‘find many ways to have a good time,’” the outlet wrote. Beyond the lyrics, the band’s 1977 debut album made clear references to gay cultural touchstones, and the music video for “Y.M.C.A” was itself filmed in front of the famed New York City gay bar The Ramrod.
“‘Y.M.C.A.’ was more than a hit record,” reads a 2021 article released by the Library of Congress. “It was a cultural milestone: a world anthem built on, for, and about gay life and sensibilities that was, nevertheless, fully embraced by mainstream audiences.”
In an oral history of the song released by Spin in 2008, members of the band argued over whether such interpretations had been behind design — with Randy Jones (the cowboy) saying it was “not intended as a gay anthem” but David Hodo (the construction worker) saying that it “certainly has a gay origin.”
Willis has long denied any such connotation to his lyrics, saying in 2017 that “it was not written to be a gay song because of the simple fact I’m not gay.” And this isn’t the first time he’s threatened to sue to prove it: In 2020, amid a similar dustup over Trump, Willis warned that he would “sue the next newspaper that falsely claim my lyrics are somehow about gay sex.” It does not appear that any case was ever filed.
With such threats now resurfaced, it’s fair to ask: Can Willis really sue news outlets over something like this? Sure — this is America, and anybody can file a lawsuit over just about anything. But top attorneys who specialize in media law say that if he does so, such claims would face serious obstacles in court.
“Mr. Willis’ threatened libel claim would be a nonstarter for numerous reasons,” says Adam I. Rich, a music and free speech attorney at the law firm Davis Wright Tremaine.
“The Media Was Put On Notice To Cut It Out”
In his Facebook post — which has an all-caps header that says the song is “NOT REALLY A GAY ANTHEM” — Willis isn’t entirely clear on exactly what he plans to sue about, or how he plans to do it.
At times, he seems fixated on the “gay anthem” label itself, saying he and his wife will sue any outlet that “falsely refers” to the song as such. At other points, he appears more concerned about the perceived meaning of his lyrics, denying that he wrote the song as a “a message to gay people” and complaining that the lyrics have been misconstrued as references to gay sex or “illicit activity” at YMCAs. Confusingly, however, he also says, “I don’t mind that gays think of the song as their anthem.”
To understand more, Billboard reached out to Karen Willis, Victor’s wife and manager, who will purportedly be filing such lawsuits. In a series of emails, she said that the threatened litigation would target any media outlet that “infers that ‘Y.M.C.A.’ is a gay anthem based on its association with illicit gay activities at the Y,” calling such a statement “defamatory on its face.”
“Victor has a right not to have his lyrics twisted outside of the true meaning of his words, especially in a manner that would bring shame or scorn to him,” she wrote. “This is especially true when he can show that the media was put on notice to cut it out. Stop it.”
Will these lawsuits target any media report that refers to the song as a “gay anthem,” even if it makes no reference to the lyrics and merely cites the song’s well-established place in cultural history? Or will they merely target articles that make direct claims about what Victor intended his lyrics to mean?
Karen Willis wouldn’t exactly say. “I think if they simply said that the song is popular in the gay community, [I] see no liability there,” she wrote. But she also repeatedly argued the only reason the song is considered a “gay anthem” in the first place is a perceived hidden meaning of the lyrics.
“The single basis for the claim that ‘Y.M.C.A.’ is a gay anthem is that the lyrics suggests such,” Willis wrote, before later adding: “If the lyrics are not wrongfully believed to be the source of the gay anthem claim, the song would not be referred to as a gay anthem.”
“Squarely Protected by the First Amendment”
If the plan is to sue for defamation, that means that Willis believes that statements linking his song to the gay community are both factually false and damaging to him. It’s easy to make those accusations in a Facebook post, but actually winning such claims in the American court system is pretty hard, thanks to the U.S. Constitution and its robust protections for free speech.
For starters, to prove such an accusation — also known as libel — Willis would need to show that an offending news outlet had made a statement of fact that’s capable of being proven false, and not merely a statement of opinion that he disagrees with — a form of speech safeguarded by the First Amendment.
While explicit statements about his lyrical intentions might cross a line, experts say that merely describing the song as a “gay anthem” is clearly the kind of broad opinion that’s shielded from defamation litigation. And even if the “anthem” label could be proven false, would Willis actually be able to do so?
“A court would almost certainly find that the label ‘gay anthem’ is nonactionable opinion, squarely protected by the First Amendment,” says Rich, the media lawyer. “And regardless of what Mr. Willis now claims to have meant when he wrote it, he would bear the burden of proving that the song isn’t a gay anthem — that is about as likely as a young man not having a fun time at the YMCA.”
That skeptical view was seconded by Dori Hanswirth, a First Amendment attorney at the law firm Arnold & Porter, who cited the Village People’s “iconic status in the gay community” and the appearance of “a gay landmark in the music video.” In his Facebook post, even Willis admitted that the group’s self-titled debut album, released a year before “Y.M.C.A.,” had been “totally about gay life.”
“Calling ‘Y.M.C.A.’ a gay anthem is an opinion,” Hanswirth says. “To the extent the reference is considered a factual statement rather than an opinion, it is probably true. And truth is a complete defense to any defamation claim.”
Another potential legal roadblock for Willis’ planned lawsuits: Is a connection to the gay community even capable of being legally defamatory? Put another way: Is it really outright damaging if someone says your song was embraced by gay listeners, or that it made allusions to gay culture?
That might have been an easy argument to make in 1978, but after decades of hard-fought progress on LGBTQ+ rights, it’s a harder one to make in 2024. For example, a New York state appeals court issued a ruling in 2021 overturning a decades-old precedent holding that falsely calling someone gay was automatically defamatory, citing a “profound and notable transformation of cultural attitudes.”
“If the songwriter is arguing that it is defamatory to say that he wrote a song that became a gay anthem, I don’t see a basis for a claim there,” Hanswirth says. “It is generally not defamatory to say that someone is gay; thus, it would not be defamatory to say that someone wrote a song that is viewed as a celebration of gay male culture.”
Another, even more basic problem for any lawsuit against media outlets is the fact that Willis is a “public figure” — a status that makes it very hard to win a defamation lawsuit. Under U.S. Supreme Court precedents, he’d need to prove that offending statement (either calling his song a “gay anthem” or claiming a hidden lyrical meaning) was not only factually false, but that the writer knew it was false or acted with reckless disregard for the truth.
That requirement (known as “actual malice”) has long made it extremely challenging for prominent people to sue for libel over anything but the most egregious cases. “That is a very difficult standard to meet,” Rich says. And it’s by design: if not sharply limited, defamation lawsuit could allow government officials, business execs and other powerful people to use the courts to stifle the kind of open exchange of ideas that the First Amendment is supposed to protect.
Of course, none of this is to say that Willis and his wife can’t file lawsuits come January. Everyone is entitled to their day in court, and if he wants to spend the money on lawyers and court fees, he can certainly test out his defamation theories. But experts don’t expect the courts to be sympathetic.
“I think the song has universal popularity and has also become symbolic of gay male culture from the 1970’s. Two things can be true,” Hanswirth says. “Is it a gay anthem? If you think it is, yes.”