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On Tuesday evening (April 9), as Belmont University’s Mike Curb College of Entertainment and Music Business celebrated a special “Belmont at the Opry” program, the program also revealed a $58 million lead gift from music industry executive and philanthropist Mike Curb and the Mike Curb Foundation, which will fuel a further expansion of the program’s presence on Nashville’s Music Row, with the renovation of existing buildings and the construction of a new state-of-the-art facility.
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The expansion comes as Belmont’s music business program celebrated its half-century milestone last year. The program launched in 1973, founded by the late Robert E. Mulloy and with support from former University president Dr. Herbert Gabhart and music industry executive Cecil Scaife (who was part of Sun Records in Memphis before relocating to Nashville), with the intent of providing formal education and real-world career experience to young adults with aspirations of entering various sectors of the music business, including record production, label operations, songwriting, music publishing. The Mike Curb College of Entertainment and Music Business was established in 2003 and is located at 34 Music Square East in Nashville (Belmont has contributed to preserving the historic Music Row recording studios Columbia Studio A and Owen Bradley’s Quonset Hut). The program is also a mainstay on Billboard’s annual Top Music Business Schools list.
The expansion project will be in two phases. The first, which is underway, includes the renovation of the historic Buddy Lee Attractions/Capitol Records building at 38 Music Square East. The renovation will add 17,000 square feet of space, including songwriting rooms, live sound classrooms, listening spaces and student lounges. The renovation will also include an updated space for Nashville’s Leadership Music office.
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Phase two will involve developing a 75,000-square-foot building behind the program’s current Music Row-area building, with construction of the new facility beginning over the next 24 months. The building will serve both students and the greater Music Row-area community, encompassing a performance venue that can accommodate more than 150 people, as well as networking and gathering spaces for both students and industry professionals, a coffee shop, content creation rooms and underground parking. Phase two will involve a broader fundraising campaign, which launched Tuesday night.
Curb’s gift, and renderings of the spaces, were unveiled during a reception held just prior to the “Belmont at the Opry” event, which featured prominent Belmont University alumni, including artists Trisha Yearwood, Brad Paisley, Tyler Hubbard, Hailey Whitters, Ashley Cooke and Ian Munsick, as well as songwriters Ashley Gorley, Hillary Lindsey and Nicolle Galyon.
Other Belmont alumni among Nashville’s music industry community include Steven Curtis Chapman, Josh Turner, COIN, Brian Kelley, Sony Music Nashville CEO Rusty Gaston, producer/guitarist Dann Huff, UMG Nashville chair/CEO Cindy Mabe, Spirit Music Nashville CEO/Chief Creative Frank Rogers and Warner Chappell Nashville president/CEO Ben Vaughn.
“Mike Curb’s remarkable generosity and partnership with Belmont over many years has been invaluable in advancing entertainment and music business education,” Belmont University President Dr. Greg Jones said. “This latest transformational gift solidifies Belmont’s position at the forefront of developing the next generation of music industry leaders. We are profoundly grateful to Mike and Linda for their continued investment in Belmont’s mission.”
“As Nashville’s music industry has grown and evolved into an international entertainment hub, it’s crucial that our education system keeps pace to develop skilled talent,” Curb added. “Belmont has been a fantastic partner over the years in preparing aspiring artists, songwriters, engineers, and music business leaders who go on to become invaluable employees for record companies throughout Nashville and the industry at large. With this latest investment, we’ll build upon that strong foundation to push entertainment and music business education ahead to the next level, ensuring a steady stream of well-prepared professionals for the ever-growing industry.”
“For 50 years, our faculty, stage and world-class facilities have made Belmont a top destination for future music executives, engineers, artists and songwriters. Mike’s partnership over decades has allowed Belmont to continually elevate our entertainment curriculum and facilities in lockstep with industry needs,” said Brittany Schaffer, who joined the Curb College of Entertainment and Music Business as dean in May 2023. “This lead gift allows us to deepen our integration with Music Row, creating an unprecedented immersive experience that will directly connect our students with industry leaders and opportunities while driving innovation alongside our partners in Nashville’s entertainment landscape.”
Lisa, the breakout singer, dancer and actress from the hugely successful K-pop group BLACKPINK, has signed with RCA Records for solo recordings, the parties announced Wednesday (April 10). The deal, a partnership between Lisa and her LLOUD Co. management and creative company with RCA, will allow her to retain ownership of her master recordings. In […]
In the music industry, I’ve realized how important it is to open doors for others. Being a Latin woman in this industry means running into quite a few locked doors. These barriers aren’t just about missing opportunities; they often come down to gender or where we come from, making it feel like we’re all scrambling for a key that’s hard to find.
After nearly 15 years in this field, we’ve been lucky enough to enter rooms we never dreamed possible. Having secured a seat at the table and pushed open doors that were once closed to us, we feel a deep responsibility to keep those doors ajar for others. This journey has highlighted the unique hurdles women face in the music industry and has motivated me to ensure these doors stay open, particularly for other women aiming to make their mark and overcome the challenges we once faced.
In the MIDIA Women in Music 2022 survey, when respondents were asked what would encourage women and other “non-male gender identities” to grow in the music industry, mentoring and coaching opportunities were overwhelmingly the top response. It’s a resource I wish I had when I was coming up through the business, as I often faced a lack of access to other women, and particularly fellow Latinas, who could help guide me throughout my career. I was fortunate to have lots of great colleagues who inspired me but I was always craving that deeper connection and a safe space to have open conversations with women in this industry who have stood where I did or could offer fresh perspectives.
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As a foundational team member at Symphonic Distribution, I’ve navigated the challenges of expanding a business within a small music market. As a Latina, these experiences have equipped me with the insight to provide the mentorship opportunities I always wished were available to me, to others. With the launch of the Women Empowered+ Program at Symphonic, we’ve created a testament to the belief that mentorship can change careers and lives, particularly for women.
Since beginning the program in 2022, we have connected 165 mentors from companies across the music industry with 340 mentees spanning the U.S., Mexico, Latin America, South America, Europe and Africa. This initiative reflects our commitment to dismantling the barriers that disproportionately affect women in music, providing them with the guidance, support, and opportunities they have historically been denied.
As we prepared to launch our third year of the program this March during Women’s History Month, I began reflecting on what we have been doing well and what we could do better going forward — not just at Symphonic but in the industry in general. With this perspective, I’d like to share some suggestions and insights aimed at creating effective mentorship programs for women and diverse genders in the music industry, for companies committed to making an impact.
Structure Objectives and a Matching Protocol
Define the program’s objectives upfront, ensuring both parties have a mutual understanding of their roles, expectations, timeline and time commitment. Launch the program with a clear framework, pairing mentors and mentees based on complementary interests and career goals. We created a simple Airtable form with all the details we felt were needed to fully understand each of our mentors and mentees.
Resources, Support and Honesty
Provide training and/or resources to prepare participants for effective mentoring relationships. The cornerstone of an effective mentorship is confidentiality, fostering an environment where open and honest conversations can occur, grounded in trust and mutual respect. Maintain a support system for addressing challenges, while allowing flexibility to meet diverse needs and schedules. This ensures the program is both supportive and adaptable to individual circumstances.
Feedback and Community Building
Implement a continuous feedback loop to refine the program and recognize participants’ efforts and achievements through the program through surveys. Foster a community of past and present mentees and mentors to encourage networking, shared learning and ongoing support, enhancing the overall impact and sustainability of the mentorship initiative. This can be done via Facebook Groups, Slack, Whatsapp or any other community-building platforms. We discovered that some of the mentors and mentees can help by being the community manager for these.
By bringing the next generation of female music executives up through your mentoring program, we are in turn training the next generation of mentors who will be able to reach out and continue to help bring people in. Whether mentoring or being mentored, we are all contributing to the common goal of making things better for those who come after us.
As we gear up for another year of fostering connections and growth through the Women Empowered+ Program, I’m reminded of the transformative power when we choose to support and uplift one another. We encourage every company in the music industry to create similar programs to cultivate more diverse talent and hope our experience can be a guide for others to take action and inspire even more women to join our industry. In a world where the music industry’s doors seem heavy and unwelcoming, let us be the force that opens them wider, inviting in the voices of women who have waited for their chance to be heard. Together, we can ensure that the next generation of female talent finds a nurturing space where their goals are encouraged, supported by a community that understands the unique challenges they face and believes in the power of mentorship to change not just careers, but lives.
Janette Berrios is the vp of corporate marketing for Symphonic Distribution, a leading independent music distributor with a global presence. She was included on Billboard‘s prestigious Indie Power Players list in 2022 and 2021 and was honored with the “Wonder Women in Latin Music” award presented by the LAMC and Amazon Music.
Matthew Lazarus-Hall, the Australia-born live entertainment veteran whose resume includes executive stints with Chugg Entertainment and AEG Presents, joins venue management giant ASM Global.
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Announced Wednesday (April 10), Lazarus-Hall joins the group as executive vice president, entertainment & content, with a focus on working with ASM’s growing portfolio of venues in Australia and the Asia and Middle East, North Africa (MENA) regions.
Matthew Lazarus-Hall, the founder and CEO of consultancy Square Circles Creative Solutions, will also provide support on ASM’s strategic direction and development of entertainment and other content. Initially, his focus will be on the ASM Global-managed Kai Tak Sports Park, the largest integrated sports, entertainment and retail precinct in Hong Kong, which is due to open its doors in mid-2025.
“We have worked closely with Matthew over the past 20 years and he comes with great respect across the whole entertainment industry,” says ASM Global (APAC) chairman and CEO Harvey Lister of the new recruit. “He will bring different perspectives to our organization, and we look forward to the contribution he will make to the ASM Global family of venues.”
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Lazarus-Hall was CEO of Chugg Entertainment for 13 years, working alongside the legendary concert Michael Chugg. There, he toured and worked with the likes of Elton John, Robbie Williams, Radiohead, Coldplay, Keith Urban, Luke Combs, Bette Midler, Pearl Jam and AC/DC; worked on special charity events Wave Aid, Sound Relief and Live Earth; and led the CMC Rocks QLD and the traveling Laneway Festival.
Following his departure in 2016, he joined AEG Presents, Asia Pacific as senior vice president, overseeing all touring, festivals and sports for the live entertainment giant across the Pan-Asian region.
Earlier in his career, Lazarus-Hall was operations director at Ticketek, leading ticketing for marquee events such as the Sydney Olympic and Paralympic Games, the 2003 Rugby World Cup, and others.
Legends Hospitality last year acquired ASM in a multi-billion-dollar deal.
Music talent agents Michael Gorfaine and Sam Schwartz were honored at the Los Angeles Chamber Orchestra’s (LACO) 2024 Gala Celebration on Saturday (April 6) at the Skirball Cultural Center’s Ahmanson Ballroom in Los Angeles. The agents, co-founders of Gorfaine/Schwartz, received the LACO Hollywood Ally Award.
In accepting his award, Gorfaine said, “John Williams shared something with me that I believe should be a guiding principle: ‘Be in service to music.’ It’s our responsibility to support the wonderful musicians who play, the talented composers who write, and the dedicated teachers who teach.”
For more than 40 years, Gorfaine and Schwartz have represented top composers, songwriters, music supervisors and record producers working in film, TV and video games.
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The event raised a record-breaking $1 million to benefit LACO’s artistic and educational initiatives. Highlights included a concert with LACO artists led by music director Jaime Martín.
Film composer James Newton Howard, who was honored by LACO in 2022, was the honorary chair. In addition to Williams and Howard, others in attendance included composers Glen Ballard, Sean Callery, John Debney, Harry Gregson-Williams, Corky Hale, Steve Jablonsky, Julia Newman, Thomas Newman, Mike Post, Theodore Shapiro, Alan Silvestri, Michael Skloff, Mike Stoller and Brian Tyler; and industry executives Spring Aspers, Paul Broucek, Alex Hodges, Tom MacDougall, Tracy McKnight, Alison Smith and Randy Spendlove.
Brigitta B. Troy and Alden Lawrence served as event chairs. Peggy Falcon and Anne Grausam were event committee co-chairs.
Shaheen and Anil Nanji, longtime LACO advocates, community leaders and philanthropists, received the LACO Heartstrings Award.
For information on LACO, visit LACO.org.
Music investment enterprise Firebird acquired a stake in JET Management, the Los Angeles-based company that boasts a roster including Justice, Madeon, LP Giobbi and Suki Waterhouse.
Launched in 2023 by founders Nathan Hubbard and Nat Zilkha, Firebird is a multi-sector music company that includes labels and publishing, with an emphasis on management and label services.
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In 2023, Zilkha told Billboard that he and his partners are building Firebird to respond to a changing industry in which artists are moving away from label structures to partner with companies that can provide label services and artist development, as well as help them tap into additional income streams, such as publishing, merchandising, branding and live events.
“Firebird partners with artists and their teams to build longer lasting, higher impact, and more profitable careers,” Hubbard said in a statement on the new partnership. “JET is on the cutting edge of building the brands of the most respected artists that influence culture. Tyler, John and their team have an impressive track record of partnering with artists of all types to ignite both their fan bases and businesses in harmony.”
“The music industry is evolving rapidly, and power is continuing to shift towards artists and their teams. Firebird’s artist-first ethos and ambitions around empowering the core team is what drew us in at the start, but the people are what kept us around,” added JET Management co-founder John Scholz. “This is a great group of sharp industry veterans walking the same path as us that we couldn’t be happier to lock arms with.”
“Firebird’s strengths complement JET’s vision seamlessly,” adds JET co-founder Tyler Goldberg. “This partnership allows us to streamline operations, broaden our reach, and ultimately deliver greater value to our clients.”
JET clients including Waterhouse, Justice, Neil Frances and Blond:ish are all slated play both weekends of Coachella later this month.
Thus far, Firebird has acquired stakes in companies including Coran Capshaw’s Red Light Management, which represents roughly 400 artists including Dave Matthews Band, Phish, Brandi Carlile and Chris Stapleton; Mick Management, which specializes in independent singer-songwriters such as Maggie Rogers and Hamilton Leithauser; Transgressive Records; and U.K.-based electronic label Defected Records.
“We are maintaining separate brands of the companies that we invest in,” Zilkha told Billboard last year. “We allow their creative process to remain very independent from us; but we’re giving those companies an ecosystem that helps them create opportunities for themselves and the artists that they work with.”
Firebird says it generates $2 billion in gross revenue annually across its businesses and with its collective of artistists reaching a global audience of more than a billion fans.
The Recording Academy has promoted Adam Roth to executive vp of global partnerships & business development. Roth will be responsible for growing the Recording Academy’s global footprint through the negotiation and development of integrated partnership programs with both globally recognized brands and local on-the-ground sponsors. Roth previously served as svp of partnerships & business development […]
This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.
This week: Mary J. Blige’s 1992 “Real Love” draws a new copyright case over an oft-sampled funk song with a long history in both hip hop and music law; Madonna strikes back against angry fans who sued over delayed concerts; Morgan Wallen is charged with multiple felonies after allegedly throwing a chair from the roof of a Nashville bar; and much more.
THE BIG STORY: Sampling Saga
If you’ve listened to any significant amount of rap music over the past 30 years, you’ve probably heard “Impeach the President” by the Honey Drippers — a legendary piece of hip-hop source material with a drum track that’s been sampled or interpolated literally hundreds of times, including by Run-DMC, Biggie, Tupac, Dr. Dre and many others.
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And, allegedly, by Mary J. Blige.
In a lawsuit filed last week, Tuff City Records claimed that Blige’s 1992 classic “Real Love,” which spent 31 weeks on the Hot 100 in 1992, featured an unlicensed sample from “Impeach.” The case claims that Universal Music Publishing has “repeatedly refused” to pay for the underlying composition, even though UMG Recordings has already agreed to a deal covering the master.
The new lawsuit is the latest chapter in a story dating back several decades, starting with a seminal 1991 case over an LL Cool J song that also featured “Impeach” – a legal battle that would ultimately prove to be the beginning of fundamental changes to how the music industry and the courts treated sampling.
Other top stories this week…
MADONNA CONCERT CLASH – The Material Girl fired back at a class action lawsuit filed by New York City fans who are angry that her concerts started later than scheduled, asking for the case to be dismissed. Madonna’s attorneys argued that needing to “wake up early the next day for work” is not the kind of “cognizable injury” someone can sue over, and that “no Madonna fan” has a “reasonable expectation” that her shows will start on time.
LAST NIGHT (ALLEGEDLY) – Morgan Wallen was arrested in Nashville and charged with three felony counts of reckless endangerment over accusations that he threw a chair off the six-story roof of a popular bar on the city’s bustling Broadway street, allegedly narrowly missing several police officers. He was later released on bond, and his lawyer told Billboard he was “cooperating fully with authorities.”
RAMONES MOVIE LAWSUIT – Joey Ramone‘s brother (Mickey Leigh) responded to a lawsuit filed by Johnny Ramone’s widow (Linda Cummings-Ramone) over a planned Netflix movie about the pioneering punk band, calling the case “baseless and flimsy” and arguing that she actually signed off on such a project years ago.
AI COPYRIGHT DISCLOSURE BILL – Rep. Adam Schiff (D-Calif.) introduced new legislation in the U.S. House of Representatives that would require AI companies to disclose which copyrighted works were used to train their models, or face a financial penalty. The measure would not directly require payment to artists, but would certainly make it easier for copyright owners to file infringement cases against AI companies demanding such compensation.
NEW DIDDY ABUSE CASE – Sean “Diddy” Combs was hit with yet another sexual abuse case, this time centering on allegations that his son Christian “King” Combs assaulted a staffer on a luxury yacht in the Caribbean. The case, one of many against Diddy over the past six months, claimed that he “encouraged an environment of debauchery” that enabled his son’s behavior.
ACCUSER’S LAWYER CRITICIZED – Tyrone Blackburn, an attorney who has filed two of the pending sexual abuse cases against Combs, could be facing potential discipline himself. In a scathing ruling last week, a federal judge in an unrelated lawsuit referred him to the court’s grievance committee over his “pattern of behavior” in which he allegedly “improperly files cases in federal court to garner media attention, embarrass defendants with salacious allegations, and pressure defendants to settle quickly.”
ROD WAVE ARRESTED OVER SHOOTING – The rapper was arrested on gun charges in Florida over alleged connections to a shooting last month at a sports bar in St. Petersburg. At a press conference after the arrest, police claimed that the alleged assailants used a getaway car registered to Wave and fled to a house he had rented, where they later discovered two assault rifles and other evidence.
MORE BIZARRE DONDA CLAIMS – Kanye West was hit with another lawsuit filed by a former employee at his Donda Academy, this time accusing him of discriminating against Black staffers. Like the several previous cases from former staffers, the case included bizarre allegations about conditions inside the school – including that West told students to “shave their heads” and that he “intended to put a jail at the school” where students could be “locked in cages.”
Argentinian music sensation Paulo Londra has inked a deal with WME for worldwide representation, the company tells Billboard.
Since exploding onto the scene in 2019, the 25-year-old singer/rapper has been a dominant force in the Latin American music scene and is widely considered one of the pioneers of Argentina’s burgeoning trap movement.
Born Paulo Ezequiel Londra, he began his musical journey as a battle rapper in Buenos Aires’ El Quinto Escalón. Soon after, he released popular singles like “Relax” and “Condenado para el Millón” in 2017.
However, it was his 2019 debut album, Homerun, that catapulted Londra to international recognition. The album debuted and peaked at No. 12 on Billboard’s Top Latin Albums chart and at No. 10 on Latin Rhythm Albums, with its hit single, “Adan y Eva,” landing in Spotify’s Global Top 10. Its music video currently boasts over 1.2 billion views on YouTube.
In 2022, the Córdoba-born artist released his second album, Back to the Game, under Warner Music Latina. It debuted at No. 1 on the Billboard Argentina Hot 100 chart and boasts collaborations with artists such as Ed Sheeran, Travis Barker, Timbaland, Feid and Duki.
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Adding another feather to his cap, Londra performed the official Latin remix for “The World is Yours To Take,” a song off the 2022 FIFA World Cup soundtrack, alongside Lil Baby and Tears for Free.
Most recently, Londra signed with indie powerhouse label Dale Play Records — home to producer Bizarrap, rapper Duki and urban/pop act Nicki Nicole — and is currently working on new music.
Additionally, plans are underway for Londra to embark on a global tour. He continues to be managed by Ignacio Amato and Cruz Pereyra Lucena from Buena Productora.
Representative Adam Schiff (D-Calif.) introduced new legislation in the U.S. House of Representatives on Tuesday (April 9) which, if passed, would require AI companies to disclose which copyrighted works were used to train their models, or face a financial penalty. Called the Generative AI Copyright Disclosure Act, the new bill would apply to both new models and retroactively to previously released and used generative AI systems.
The bill requires that a full list of copyrighted works in an AI model’s training data set be filed with the Copyright Office no later than 30 days before the model becomes available to consumers. This would also be required when the training data set for an existing model is altered in a significant manner. Financial penalties for non-compliance would be determined on a case-by-case basis by the Copyright Office, based on factors like the company’s history of noncompliance and the company’s size.
Generative AI models are trained on up to trillions of existing works. In some cases, data sets, which can include anything from film scripts to news articles to music, are licensed from copyright owners, but often these models will scrape the internet for large swaths of content, some of which is copyrighted, without the consent or knowledge of the author. Many of the world’s largest AI companies have publicly defended this practice, calling it “fair use,” but many of those working in creative industries take the position that this is a form of widespread copyright infringement.
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The debate has sparked a number of lawsuits between copyright owners and AI companies. In October, Universal Music Group, ABKCO, Concord Music Group, and other music publishers filed a lawsuit against AI giant Anthropic for “unlawfully” exploiting their copyrighted song lyrics to train AI models.
“In the process of building and operating AI models, Anthropic unlawfully copies and disseminates vast amounts of copyrighted works,” wrote lawyers for the music companies at the time. “Publishers embrace innovation and recognize the great promise of AI when used ethically and responsibly. But Anthropic violates these principles on a systematic and widespread basis.”
While many in the music business are also calling for compensation and the ability to opt in or out of being used in a data set, this bill focuses only on requiring transparency with copyrighted training data. Still, it has garnered support from many music industry groups, including the Recorded Industry Association of America (RIAA), National Music Publishers’ Association (NMPA), ASCAP, Black Music Action Coalition (BMAC), and Human Artistry Campaign.
It is also supported by other creative industry groups, including the Professional Photographers of America, SAG-AFTRA, Writers Guild of America, International Alliance of Theatrical Stage Employees (IATSE) and more.
“AI has the disruptive potential of changing our economy, our political system, and our day-to-day lives,” said Rep. Schiff in a statement. “We must balance the immense potential of AI with the crucial need for ethical guidelines and protections. My Generative AI Copyright Disclosure Act is a pivotal step in this direction. It champions innovation while safeguarding the rights and contributions of creators, ensuring they are aware when their work contributes to AI training datasets. This is about respecting creativity in the age of AI and marrying technological progress with fairness.”
A number of rights groups also weighed in on the introduction of the bill.
“Any effective regulatory regime for AI must start with one of the most fundamental building blocks of effective enforcement of creators’ rights — comprehensive and transparent record keeping,” adds RIAA chief legal officer Ken Doroshow. “RIAA applauds Congressman Schiff for leading on this urgent and foundational issue.”
“We commend Congressman Schiff for his leadership on the Generative AI Copyright Disclosure Act,” NMPA president/CEO David Israelite said. “AI only works because it mines the work of millions of creators every day and it is essential that AI companies reveal exactly what works are training their data. This is a critical first step towards ensuring that AI companies fully license and that songwriters are fully compensated for the work being used to fuel these platforms.”
“Without transparency around the use of copyrighted works in training artificial intelligence, creators will never be fairly compensated and AI tech companies will continue stealing from songwriters,” ASCAP CEO Elizabeth Matthews said. “This bill is an important step toward ensuring that the law puts humans first, and we thank Congressman Schiff for his leadership.”
“Protecting the work of music creators is essential, and this all begins with transparency and tracking the use of copyrighted materials in generative AI,” Black Music Action Coalition (BMAC) co-chair Willie “Prophet” Stiggers said. “BMAC hopes Rep. Schiff’s Generative AI Copyright Disclosure Act helps garner support for this mission and that author and creator rights continue to be protected and preserved.”
“Congressman Schiff’s proposal is a big step forward towards responsible AI that partners with artists and creators instead of exploiting them,” Human Artistry Campaign senior advisor Dr. Moiya McTier said. “AI companies should stop hiding the ball when they copy creative works into AI systems and embrace clear rules of the road for recordkeeping that create a level and transparent playing field for the development and licensing of genuinely innovative applications and tools.”