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Eight managers, who have guided the careers of everyone from Nirvana to Robert Goulet, have been named as 2023 inductees to the Personal Managers Hall of Fame. Two of the managers, George Shapiro and Shirley Grant, are being honored posthumously.
The 2023 inductees will join 50 current Hall of Fame members, which include Sid Bernstein, Bernie Brillstein, Brian Epstein, Ken Kragen, Doc McGhee, Patricia McQueeney, Dolores Robinson, Jack Rollins and David Sonenberg.
“The Personal Managers Hall of Fame celebrates illustrious careers in entertainment, music, sports and talent management,” Clinton Ford Billups Jr., national president of the sponsoring National Conference of Personal Managers (NCOPM), said in a statement. “The 2023 inductees reflect the contributions, ethics and history of personal management that the Hall of Fame acknowledges and honors.”
Nominations are solicited nationwide from the personal management community. Inductees are selected by the national board of officers of the National Conference of Personal Managers, the nation’s oldest trade association committed to the advancement of personal managers and their clients.
The 2023 Personal Managers Hall of Fame red carpet reception and induction ceremony will be held Wednesday, Oct. 25 at the Golden Nugget Hotel and Casino in Las Vegas.
More information and tickets for the Personal Managers Hall of Fame is available at www.PersonalManagersHallofFame.org.
Here’s the full list of 2023 inductees to the Personal Managers Hall of Fame.
Phil Brock – CEO of Studio Talent Group, which for more than 25 years has represented actors for commercials, film, television and theatre, including Richard Moll, Mary Woronov and Emmy winner Pat Harrington Jr. (One Day at a Time). Brock was elected in 2020 as a member of the Santa Monica (Calif.) City Council.
Chris DiPetta – Veteran talent manager, television producer and owner of Atlanta comedy club The Punchline. For more than three decades, Chris DiPetta has managed the career of Billy Gardell, actor, comedian and star of the CBS sitcoms Mike and Molly and Bob Hearts Abishola.
Danny Goldberg – Has worked in the music business as a personal manager, record company president, publicist and journalist since the late 1960s. His current management clients include The Waterboys and Martha Wainwright and three-time Grammy winner Steve Earle.
Vera Goulet – For more than three decades, managed the career of her late husband Robert Goulet, who won a Grammy as best new artist of 1962 and a Tony for best actor in a musical in 1968 for The Happy Time. The singer/actor died in 2007.
Shirley Grant – During a career spanning more than four decades, guided the careers of Jonas Brothers, Keshia Knight Pulliam, Christina Ricci, Allison Smith and JD Roth, as well as Broadway stars Alex Boniello and Michael Lee Brown. Grant died in 2020. (Posthumous inductee)
Susan Joseph – A personal manager, concert promoter and branding consultant. Her clients have included songwriter Diane Warren, actress Nell Carter, singer Laura Branigan and actress Pia Zadora.
George Shapiro – A champion of comedy who guided the careers of Carl Reiner, Andy Kaufman, Peter Bonerz, Marty Feldman, Gabe Kaplan, Robert Wuhl, Bill Persky & Sam Denoff, Austin & Irma Kalish, and Norman Barasch. Shapiro died in 2022 at age 91. (Posthumous inductee)
David Spero – A music manager who has overseen the careers of Bad Company, Dickey Betts, Petula Clark, Billy Bob Thornton, Yusuf / Cat Stevens, Survivor, Don Felder, Patty Smyth, Joe Walsh and many others. Spero is also a 1970s rock-radio pioneer and a member of the Rock and Roll Hall of Fame board of directors.
South Korean companies SM Entertainment and Kakao Entertainment have launched what they are calling a “local integrated corporation” in North American as part of previously hinted-at efforts to accelerate their joint stateside operations and build upon the successes of their K-pop artists in the world’s largest music market. The companies said on Tuesday (Aug. 1) […]
A year in to Spotify’s partnership with FC Barcelona and the music streamer and leading European soccer club are now focused on evolving the sponsorship deal to create “cultural moments” through sports and music collaboration.
“One year ago, we said this would be more than a partnership because we like to say that Barça is more than a club and that’s important because it’s our motto but also important when it comes to partnerships,” says Sergi Ricart, chief marketing and revenue officer, FC Barcelona. “It’s been a pioneer strategic partnership. The engagement of new audiences with the club and the engagement that the content we created has seen, it’s been massive.”
The deal — touted as a new way for the streaming giant to amplify artists across the globe — spans four seasons for team shirts and three seasons for training shirts. It will also rebrand FC Barcelona’s Camp Nou stadium as Spotify Camp Nou, following an extensive redevelopment project that’s scheduled to be ready for the 2024-2025 season. The partnership kicked off with two major artist campaigns featuring Drake‘s OVO and Rosalía‘s Motomami logos, respectively, on the Blaugrana team jerseys. Rosalía’s logo was the first to be featured on both the men’s and women’s teams home kits as part of the partnership.
Following the unveiling of Rosalía’s match kit on March 15, searches for “Rosalía” and “Motomami” on Spotify increased by over 100% globally and by nearly 200% in Spain (compared to searches on March 14), according to the streaming company. Moreover, in the hour after the El Clásico match ended on March 19, global streams of Rosalía tracks climbed on Spotify in multiple markets globally, including Egypt where the tracks saw a more than 220% boost, 170% in Morocco and almost 70% in Nigeria.
“Rosalía’s El Clásico match kit drove streams and awareness because that match has two or three times more global eyeballs than the Super Bowl. These artists are getting fully integrated campaigns and it’s stuff that is enormous in marketing value,” explains Marc Hazan, vp partnerships, Spotify.
Now, with the partnership in its second year, artists such as Anitta and Fuerza Regida have visited the training facilities for the making of the Barça on Tour summer playlist . And, during the team’s stop in L.A. on July 26 for their match against Arsenal, Daddy Yankee toured the Spotify studio with Barcelona players in tow where he showed them a behind-the-scenes-look at his recording process. Additionally, the partnership will support artists on the LED boards during the Barcelona matches while on the U.S. tour.
“We’re creating a cultural moment and for the club it’s so important,” adds Ricart. “We humbly think that we’re the biggest global sports brand but how can we move into a cultural brand and with the support of this partnership we are moving that way.”
Following its more than 20 global activations during the 2022-2023 season, Hazan is looking to tap into different markets immersing in different genres. “This is a long partnership for Spotify, we’re very invested,” he says. “It’s fair to say that football and music are two great passions, so to combine the two is something pretty unique and when you have Barcelona, arguably one of the biggest clubs with a massive following, you’re in a position where they want to partner heavily and there’s a full set of music rights available, that doesn’t come up every day.”
A concertgoer has filed a police report after Cardi B was captured on video at a Las Vegas event throwing her microphone at a fan who splashed her with a drink. The Las Vegas Metropolitan Police Department confirmed to Billboard on Monday (July 31) that an individual filed a police report Sunday alleging battery, claiming […]
Shadoe Stevens, best known as host of American Top 40 from 1988 to 1995; Bob Rivers, an air personality and prolific producer and songwriter of parody songs; and Nina Totenberg, legal affairs correspondent for NPR, are among the eight 2023 inductees into the Radio Hall of Fame.
Other honorees include Gerry House, who was heard on WSIX-FM in Nashville for many years and also wrote hits for such top country stars as George Strait, Reba McEntire and LeAnn Rimes; John DeBella, who played a major role in developing the Morning Zoo format; and Pat St. John, who began his radio career in Windsor, Ontario in 1969, but is best known for the 42 years he spent in the New York City radio market.
Six inductees were determined by a voting participant panel comprised of more than 950 industry professionals. The two remaining inductees were voted on by the Radio Hall of Fame nominating committee.
“My congratulations to our newest inductees,” Kraig T. Kitchin, co-chair of the Radio Hall of Fame, said in a statement on Monday (July 31) when the Museum of Broadcast Communications announced the selections. “I’m thrilled to see each individual receive this recognition from the industry they’ve devoted their professional lives to.”
Dennis Green, co-chair of the Radio Hall of Fame, added: “On behalf of the Radio Hall of Fame nominating committee, we are proud to induct eight individuals into the Radio Hall of Fame who have made an indelible impact upon the industry. It is a pleasure to honor the careers of these individuals who quite simply define excellence in the industry and have earned the right to be called a Hall of Famer.”
The inductees will be honored at the in-person 2023 Radio Hall of Fame Induction ceremony on Thursday, Nov. 2, at the InterContinental New York Barclay Hotel in New York City. Christopher “Mad Dog” Russo, a 2022 Radio Hall of Fame inductee, will serve as master of ceremonies for the event. Tickets are on sale now at www.radiohalloffame.com. A portion of each ticket purchase is a tax-deductible charitable donation to the Museum of Broadcast Communications.
The Radio Hall of Fame was founded by the Emerson Radio Corporation in 1988. The Museum of Broadcast Communications took over operations in 1991.
Here’s a complete list of 2023 Radio Hall of Fame inductees:
John DeBella
Gerry House
Deborah Parenti
Bob Rivers
Pat St. John
Shadoe Stevens
Nina Totenberg
Charles Warfield
Just moments before rap superstar Travis Scott took the stage at the deadly 2021 Astroworld festival, a contract worker had been so worried about what might happen after seeing people getting crushed that he texted an event organizer saying, “Someone’s going to end up dead,” according to a police report released Friday.
The texts by security contract worker Reece Wheeler were some of many examples in the nearly 1,300-page report in which festival workers highlighted problems and warned of possible deadly consequences. The report includes transcripts of concertgoers’ 911 calls and summaries of police interviews, including one with Scott conducted just days after the event.
The crowd surge at the Nov. 5, 2021, outdoor festival in Houston killed 10 attendees who ranged in age from 9 to 27. The official cause of death was compression asphyxia, which an expert likened to being crushed by a car. About 50,000 people attended the festival.
“Pull tons over the rail unconscious. There’s panic in people eyes. This could get worse quickly,” Reece Wheeler texted Shawna Boardman, one of the private security directors, at 9 p.m. Wheeler then texted, “I know they’ll try to fight through it but I would want it on the record that I didn’t advise this to continue. Someone’s going to end up dead.”
Scott’s concert began at 9:02 p.m. In their review of video from the concert’s livestream, police investigators said that at 9:13 p.m., they heard the faint sound of someone saying, “Stop the show.” The same request could also be heard at 9:16 p.m. and 9:22 p.m.
In an Aug. 19, 2022, police interview, Boardman’s attorneys told investigators that Boardman “saw things were not as bad as Reece Wheeler stated” and decided not to pass along Wheeler’s concerns to anyone else.
A grand jury declined to indict anyone who was investigated over the event, including Scott, Boardman and four other people.
During a police interview conducted two days after the concert, Scott told investigators that although he did see one person near the stage getting medical attention, overall the crowd seemed to be enjoying the show and he did not see any signs of serious problems.
“We asked if he at any point heard the crowd telling him to stop the show. He stated that if he had heard something like that he would have done something,” police said in their summary of Scott’s interview.
Hip-hop artist Drake, who performed with Scott at the concert, told police that it was difficult to see from the stage what was going on in the crowd and that he didn’t hear concertgoers’ pleas to stop the show.
Drake found out about the tragedy later that night from his manager, while learning more on social media, police said in their summary.
Marty Wallgren, who worked for a security consulting firm hired by the festival, told police that when he went backstage and tried to tell representatives for Scott and Drake that the concert needed to end because people had been hurt and might have died, he was told “Drake still has three more songs,” according to an interview summary.
Daniel Johary, a college student who got trapped in the crush of concertgoers and later used his skills working as an EMT in Israel to help an injured woman, told investigators hundreds of people had chanted for Scott to stop the music and that the chants could be heard “from everywhere.”
“He stated staff members in the area gave thumbs-up and did not care,” according to the police report.
Richard Rickeada, a retired Houston police officer who was working for a private security company at the festival, told investigators that from 8 a.m. the day of the concert, things were “pretty much in chaos,” according to a police summary of his interview. His concerns and questions about whether the concert should be held were “met with a lot of shrugged shoulders,” he said.
About 23 minutes into the concert, cameraman Gregory Hoffman radioed into the show’s production trailer to warn that “people were dying.” Hoffman was operating a large crane that held a television camera before it was overrun with concertgoers who needed medical help, police said.
The production team radioed Hoffman to ask when they could get the crane back in operation.
Salvatore Livia, who was hired to direct the live show, told police that following Hoffman’s dire warning, people in the production trailer understood that something was not right, but “they were disconnected to the reality of (what) was happening out there,” according to a police summary of Livia’s interview.
Concertgoer Christopher Gates, then 22, told police that by the second or third song in Scott’s performance, he came across about five people on the ground who he believed were already dead.
Their bodies were “lifeless, pale, and their lips were blue/purple,” according to the police report. Random people in the crowd — not medics — provided CPR.
The police report was released about a month after the grand jury in Houston declined to indict Scott on any criminal charges in connection with the deadly concert. Police Chief Troy Finner had said the report was being made public so that people could “read the entire investigation” and come to their own conclusions about the case. During a news conference after the grand jury’s decision, Finner declined to say what the overall conclusion of his agency’s investigation was or whether police should have stopped the concert sooner.
The report’s release also came the same day that Scott released his new album, “Utopia.”
More than 500 lawsuits were filed over the deaths and injuries at the concert, including many against concert promoter Live Nation and Scott. Some have since been settled.
The Houston Police Department released its final report on the 2021 crowd crush tragedy at Travis Scott‘s Astroworld festival on Friday (July 28). The more than 1,200-page document details the Houston PD’s investigation into the tragedy, which left 10 people dead and hundreds more physically injured. The report arrives just a month after a Houston […]
It’s been a rough week for venue management firm ASM Global. On Thursday, OVG signed a contract to privately manage one of ASM’s largest clients, Chicago’s McCormick Place, the largest convention center in North America, and then on Friday (July 28) OVG won the venue management and food service contract for Tulsa’s BOK Center and the 275,000-square-feet Cox Business Convention Center.
The BOK Center had been managed by ASM and formerly its predecessor SMG since the building opened in 2007 and was a crown jewel for the company, regularly landing a spot on Billboard’s Boxscore Chart for building capacities of 15,0001 seats or more. But during a special meeting Friday, the Tulsa Public Facilities Authority unanimously voted to begin exclusive negotiations with OVG360 and OVG Hospitality to manage venue operations, booking, partnerships and sponsorships, and food and beverage operations at the two venues.
“OVG will focus on creating momentum in three main areas: ensuring Tulsa is the top destination for major concerts in Oklahoma, continuing to grow the city’s national and regional convention business, and assisting the city and its stakeholders in the development of a full-service convention center hotel,” company officials announced in a press release.
“The BOK Center and Convention Center are key economic drivers in our community, and their success is critical to Tulsa’s future vitality,” Tulsa Mayor G.T. Bynum said. “As a thriving world-class city with world-class entertainment venues, we must always be focused on continuous improvement – not self-satisfied with the success of today but focused on being even better tomorrow. I have complete confidence in OVG and their ability to build upon the success we’ve enjoyed at the BOK Center and Convention Center over the last fifteen years.”
In Chicago, an unanimous vote from the Metropolitan Pier and Exposition Authority (MPEA) Board Thursday awarded the contract for private management and food services on the McCormick Place campus to OVG360 and OVG Hospitality.
The contracts, scheduled to begin on Oct. 1, 2023 and run through September 2028, were unanimously awarded following an extensive public procurement process. The change will affect the McCormick Place Convention Center, the 10,00-seat Wintrust Arena, and Arie Crown Theater.
“We’re incredibly proud that McCormick Place has entrusted OVG360 and OVG Hospitality as the new keepers of this world-renowned complex. While McCormick Place has set the industry standard for decades, we are honored to help shape its future,” said Chris Granger, president of OVG360. “We see an incredible opportunity to elevate the guest experience, support the surrounding community, drive sustainability, and grow and inspire a diverse workforce. We look forward to bringing our depth of experience from around the globe to Chicago and to building upon McCormick Place’s incredible track record.”
Dennis Murcia was excited to get an email from Disney, but the thrill was short-lived. As an A&R and global development executive for the label Codiscos — founded in 1950, Murcia likens it to “Motown of Latin America” — part of his job revolves around finding new listeners for a catalog of older songs. Disney reached out in 2020 hoping to use Juan Carlos Coronel’s zippy recording of “Colombia Tierra Querida,” written by Lucho Bermudez, in the trailer for an upcoming film titled Encanto. The problem was: The movie company wanted the instrumental version of the track, and Codiscos didn’t have one.
“I had to scramble,” Murcia recalls. A friend recommended that he try AudioShake, a company that uses artificial intelligence-powered technology to dissect songs into their component parts, known as stems. Murcia was hesitant — “removing vocals is not new, but it was never ideal; they always came out with a little air.” He needed to try something, though, and it turned out that AudioShake was able to create an instrumental version of “Colombia Tierra Querida” that met Disney’s standards, allowing the track to appear in the trailer.
“It was a really important synch placement” for us, Murcia says. He calls quality stem-separation technology “one of the best uses of AI I’ve seen,” capable of opening “a whole new profit center” for Codiscos.
Catalog owners and estate administrators are increasingly interested in tapping into this technology, which allows them to cut and slice music in new ways for remixing, sampling or placements in commercials and advertisements. Often “you can’t rely on your original listeners to carry you into the future,” says Jessica Powell, co-founder and CEO of Audioshake. “You have to think creatively about how to reintroduce that music.”
Outside of the more specialized world of estates and catalogs, stem-separation is also being used widely by workaday musicians. Moises is another company that offers the technology; on some days, the platform’s users stem-separate 1 million different songs. “We have musicians all across the globe using it for practice purposes” — isolating guitar parts in songs to learn them better, or removing drums from a track to play along — says Geraldo Ramos, Moises’ co-founder and CEO.
While the ability to create missing stems has been around for at least a decade, the tech has been advancing especially rapidly since 2019 — when Deezer released Spleeter, which offered up “already trained state of the art models for performing various flavors of separation” — and 2020, when Meta released its own model called Demucs. Those “really opened the field and inspired a lot of people to build experiences based on stem separation, or even to work on it themselves,” Powell says. (She notes that AudioShake’s research was under way well before those releases.)
As a result, stem separation has “become super accessible,” according to Matt Henninger, Moises’ vp of sales and business development. “It might have been buried in Pro Tools five years ago, but now everyone can get their hands on it.”
Where does artificial intelligence come in? Generative AI refers to programs that ingest reams of data and find patterns they can use to generate new datasets of a similar type. (Popular examples include DALL-E, which does this with images, and ChatGPT, which does it with text.) Stem separation tech finds the patterns corresponding to the different instruments in songs so that they can be isolated and removed from the whole.
“We basically train a model to recognize the frequencies and everything that’s related to a drum, to a bass, to vocals, both individually and how they relate to each other in a mix,” Ramos explains. Done at scale, with many thousands of tracks licensed from independent artists, the model eventually gets good enough to pull apart the constituent parts of a song it’s never seen before.
A lot of recordings are missing those building blocks. They could be older tracks that were cut in mono, meaning that individual parts were never tracked separately when the song was recorded. Or the original multi-track recordings could have been lost or damaged in storage.
Even in the modern world, it’s possible for stems to disappear in hard-drive crashes or other technical mishaps. The opportunity to create high-quality stems for recordings “where multi-track recordings aren’t available effectively unlocks content that is frozen in time,” says Steven Ames Brown, who administers Nina Simone‘s estate, among others.
Arron Saxe of Kinfolk Management, which includes the Otis Redding Estate, believes stem-separation can enhance the appeal of the soul great’s catalog for sample-based producers. “We have 280 songs, give or take, that Otis Redding wrote that sit in a pot,” he says. “How do you increase the value of each one of those? If doing that is pulling out a 1-second snare drum from one of those songs to sample, that’s great.” And it’s an appealing alternative to well-worn legacy marketing techniques, which Saxe jokes are “just box sets and new track listings of old songs.”
Harnessing the tech is only “half the battle,” though. “The second part is a harder job,” Saxe says. “Do you know how to get the music to a big-name producer?” Murcia has been actively pitching electronic artists, hoping to pique their interest in sampling stems from Codiscos.
It can be similarly challenging to get the attention of a brand or music supervisor working in film and TV. But again, stem separation “allows editors to interact with or customize the music a lot more for a trailer in a way that is not usually possible with this kind of catalog material,” says Garret Morris, owner of Blackwatch Dominion, a full-service music publishing, licensing and rights management company that oversees a catalog extending from blues to boogie to Miami bass.
Simpler than finding ways to open catalogs up to samplers is retooling old audio for the latest listening formats. Simone’s estate used stem-separation technology to create a spatial audio mix of her album Little Girl Blue as this style of listening continues to grow in popularity. (The number of Amazon Music tracks mixed in immersive-audio has jumped over 400% since 2019, for example.)
Powell expects that the need for this adaptation will continue to grow. “If you buy into the vision presented by Apple, Facebook, and others, we will be interacting in increasingly immersive environments in the future,” she adds. “And audio that is surrounding us, just like it does in the real world, is a core component to have a realistic immersive experience.”
Brown says the spatial audio re-do of Simone’s album resulted in “an incremental increase in quality, and that can be enough to entice a brand new group of listeners.” “Most recording artists are not wealthy,” he continues. “Things that you can do to their catalogs so that the music can be fresh again, used in commercials and used in soundtracks of movies or TV shows, gives them something that makes a difference in their lives.”
Eric Prydz is making moves. The Swedish producer is now represented globally by WME. The news marks Prydz’s departure from North American representation with CAA, where he signed in 2021. Prydz continues to be managed by Michael Sershall at London’s Sershall Management. Prydz’s team also includes global press by Infamous PR. Prydz is among a WME […]