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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 […]
So-called “super listeners” make up an average of 2% of all artist’s listeners, but account for 18% of all streams for the artist — a figure that can grow to 30% of all streams for the biggest artists in the world, according to a new study released by Spotify For Artists.
That’s the headline takeaway from a new report by the leading digital service provider, which focuses on how an artist’s most dedicated fans drive streaming activity and engagement on the platform. For the study — which tracked listening behavior during several different periods across the first half of the year — Spotify broke down percentages for artists based on their monthly listeners, identifying how small segments of an artist’s fan base contribute higher percentages of streams than the majority of listeners. The company doesn’t explicitly lay out how it defines a “super listener,” other than to say that it is “your most dedicated active listeners in the past 28 days” who “are also the most likely to keep streaming your music.”
While the 18% figure is an overall average, super listeners tend to drive the highest percentage of streams for the biggest and the smallest artists, the company found. For artists with 0-10,000 monthly listeners, 1% of super listeners drove 22% of all monthly streams; for artists with 25 million or more monthly listeners, 5% of those fans drove 30% of all monthly streams. Artists with between 5 million and 25 million monthly listeners also scored highly, with 3% of super listeners driving 20% of all monthly streams, while those with between 1 million and 5 million saw 2% of listeners drive 16% of streams. Both the 10,000-100,000 range and the 100,000 to 1 million range saw 1% of listeners drive 13% of streams.
Perhaps unsurprisingly, those super listeners are also much more likely to purchase artist merch through Spotify, too. For artists with more than 10,000 monthly listeners, 2% of their super listeners accounted for 52% of all merch purchases, while the remaining 98% of listeners made up the remaining 48% of merch sales. And there is a top 10 market breakdown for where those super listeners come from, too: four of the top 10 markets are in Latin America (Chile at No. 1; Mexico at No. 2; Argentina at No. 6; and Colombia at No. 7) and three are in Asia (Hong Kong at No. 4; Japan at No. 8; the Philippines at No. 10). The remaining are Canada (No. 3), the United States (No. 5) and Poland (No. 9).
Other statistics in the report: new releases can boost the number of listeners to super-status by almost 20%, while retention of those fans appears to be high, with more than 2/3s of those new superfans still listening six months later. Check out the full report here.
The study comes amid an industry-wide conversation about streaming royalties, how exactly they should be allocated and whether a mechanism should exist to reward artists with dedicated fan bases, and how that should be implemented. But super fans are boosting artists in other ways in addition to streaming numbers — CD, cassette and vinyl sales are all up this year so far, according to Luminate’s mid-year report, which it attributes to superfans, with 15% of the U.S. population spending 80% more than the average fan in a given month.
More than nine years after members of the 1960s rock band The Turtles filed a series of groundbreaking lawsuits over the legal protections for so-called pre-1972 sound recordings, a federal judge has now dismissed their final case — a lawsuit against Pandora that he called the band’s “last case standing.”
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In a decision issued Wednesday, Judge Philip Gutierrez ruled that the Sirius XM-owned Pandora had not violated California state law by streaming the band’s songs, like the iconic 1967 cut “Happy Together,” without permission and without paying sound recording royalties.
In doing so, the judge recounted the decade-long story of how the two founders of the Turtles (legally Flo & Eddie, Inc.) filed such cases against music services in courts around the country — and how they had lost in every one of them.
“This case is one of many lawsuits brought by Flo & Eddie, seeking to hold internet and satellite radio services liable for the unauthorized public performance and reproduction of its sound recordings that were fixed prior to February 15, 1972,” the judge wrote. “Flo & Eddie’s action against Pandora is the last case standing.”
The Turtles first sued SiriusXM and Pandora in 2014, claiming that both companies had been illegally refusing to paying royalties for pre-1972 songs. That was a legal gray area at the time, since songs prior to that year had not been covered by federal sound recording copyrights. But the Turtles claimed pre-1972s could still be covered by state-level laws aimed at preventing misappropriation.
Initially, the band won a key ruling in California federal court, finding that California state law contained a so-called public performance right that would require services like Sirius and Pandora to start paying up. But then, slowly but surely, courts around the country — first the top court in New York, then the Florida Supreme Court, then a federal appeals court in California — ruled no such right existed.
“One after another, federal circuit courts and state Supreme Courts answered with a resounding ‘no’,” Judge Gutierrez wrote in Wednesday’s ruling.
In some ways, Wednesday’s ruling is anti-climactic. The larger issues raised by the Turtle’s pioneering lawsuits — whether the owners of a vast swath of American recorded music were entitled to a new revenue stream from services like SiriusXM and Pandora — were largely rendered moot by the passage of the federal Music Modernization Act in 2018. Among other major changes, that law required such royalties to be paid for pre-1972 records, ending the state-level ambiguity that drove the Turtles to sue.
But Judge Gutierrez had previously ruled that the MMA’s new requirements did not apply to pending lawsuits, meaning that the band still could have won a ruling forcing Pandora to hand over unpaid royalties from the years before the MMA’s enactment.
Barring a successful appeal, Wednesday’s ruling foreclosed that possibility: “The court grants Pandora’s motion for summary judgment. This order closes the case.”
In seeking to revive their lawsuit against Pandora, the Turtles argued that, even if no public performance right existed under California state law, the streamer had still violated their so-called reproduction right by illegally copying their music to make it available on the service. But those “repackaged” claims had also been rejected by the other courts, Judge Gutierrez wrote.
“Even if the Court would like to independently consider these claims, its ‘hands are tied,’” the judge wrote. “In the absence of an exclusive right to publicly perform its pre-1972 sound recordings, Flo & Eddie has no viable copyright claim against Pandora.”
Music strategy and supervision company Premier Music Group has acquired the music supervision services of George Drakoulias, a longtime music supervisor who has worked on films and TV series including Joker, The Batman, Marriage Story and, most recently, the smash hit Barbie.
At Premier, Drakoulis joins the leadership team as a partner and creative director and will open the company’s new West Coast offices this summer. He’ll be tasked with expanding Premier’s music supervision team and the company’s West Coast footprint while striking new creative opportunities and partnerships.
Over the course of his career, Drakoulis has held executive A&R roles at Def Jam — where he worked with LL Cool J and The Beastie Boys — and (Def) American Recordings, where he signed and produced albums for The Black Crowes, The Jayhawks and The Freewheelers. He has also produced albums for Tom Petty and the Heartbreakers, Maria McKee, Primal Scream and Susan Tedeschi, as well as tracks for Wu-Tang Clan.
“George is a legend in our business, and I’ve admired his impeccable creative and commercial instincts for years,” said Premier Music Group CEO Josh Deutsch in a statement. “His body of production and supervision work, exceptional artistry and deep relationships in music and entertainment make him the ideal partner at this key point in Premier’s growth.”
Premier Music Group creative director Randall Poster added, “George and I have been working together for years. He loves movies and music as much as anyone I know, and brings that passion into every operation and project he takes on. George has produced some of my favorite records, the first two Black Crowes albums, the Jayhawks, many more. He’s been anchoring our West Coast operation for years and I couldn’t be more excited to have him join us in a more substantial way.”
“I couldn’t be happier to be joining the Premier Music team,” said Drakoulis. “Randy and I have been running around together, working on movies and record projects for forever. He has been the most exquisite guide into the world of music supervision. I’ve come to rely on the support of the Premier team, Meghan Currier, Winslow Bright, Milena Erke, and Ian Herbert for years, since they were interns actually, and love and respect them all.”
AWAL named Norva Denton as senior vice president/head of urban music. In his new role, he’ll bolster and develop the label’s urban music roster via strategic signings and an artist development-focused mindset. Based in Los Angeles, Denton will join the company’s A&R team, reporting to president Pete Giberga. Before AWAL, Denton served as senior vp of A&R at Warner Records, where he signed, developed and spearheaded the careers of artists such as YFN Lucci, Wale, Taykeith, Chika and 2KBABY. – Griselda Flores
Negla Abdela was promoted to MD at Sony Music UK’s Ministry of Sound. She was previously GM and has been responsible for managing the marketing and digital teams. Abdela joined the label in 2015 as a social media manager and was promoted to head of digital in 2018.
Diana Sanders was appointed senior vp of business affairs at Prescription Songs and label counterpart Amigo Records. Prior to joining the companies, she served as a partner at Russ August & Kabat and co-chaired the firm’s music practice group. Sanders has been named to Billboard‘s Women in Music and Top Music Lawyers lists multiple times.
Christopher Mauberqué was named head of international A&R at independent digital distributor IDOL, where he’ll be tasked with continuing to drive the company’s business development in territories outside Europe. He previously served as senior label manager at !K7 Music and as A&R and label manager for French independent distributor La Baleine (now known as Bigwax). Mauberqué can be reached at christophe.mauberque@idol.io.
Gerardo Martinez and Sven Bogner announced their partnership in a new heavy metal record label, Reigning Phoenix Music. Martinez, who was a longtime GM at Nuclear Blast America, has been instrumental in the careers of such artists as Dimmu Borgir, Carcass and Hypocrisy. Bogner, an avionics and tech entrepreneur, is a “self-professed metalhead and musician,” according to a press release. The label is headquartered in Los Angeles and Hamburg, Germany. “Our collective blueprint for RPM is to help hard, extreme, and heavy metal music thrive globally,” said Martinez in a statement. Artist signing announcements are forthcoming.
Luis Mesa was appointed director of marketing at Bichota Records, Karol G’s newly-announced imprint. The Colombian executive will focus on creating and executing strategies and day-to-day promotion for Karol G’s musical releases through the label. Before joining the Bichota Records team, Mesa had been SoundOn’s (TikTok’s distribution platform) marketing manager U.S. Latin and, previously, label manager and artist strategy at Universal Music Latino. He will be based out of the company’s Miami headquarters. – Griselda Flores
Artist manager Max Gredinger was named partner at Foundations Artist Management, joining company founder/partner Steve Bursky as well as partners Brian Winton and Drew Simmons. Gredinger has been with Foundations since 2012; his current clients include Laufey, mxmtoon, Ricky Montgomery and rainbolt. He can be reached at max@foundationsmgmt.com.
Discogs promoted four employees to executive leadership positions: Anbu Ilangovane to vp of engineering, Jeffrey Smith to vp of marketing, Jen Agosta to brand director and Richard Gleeson to director of people operations.
Mike Rogers was named vp of business development at blockchain-based ticketing platform DeFy Tickets, which is powered by NFT ticketing provider GET Protocol. Rogers has worked in the ticketing business for nearly 20 years, most recently serving as GM of partnerships at Dice FM. In his new role, he will oversee DeFy’s growth strategy while securing new partnerships with venues, promoters, festivals and conferences in North America. Rogers can be reached at Mike@DefyTickets.com.
Provident Entertainment’s publishing division, Essential Music Publishing, promoted Jamie Rodgers to the role of vp. Rodgers was previously Essential Music’s senior creative director and has been with the company since 2017. Prior to her work with Essential Music Publishing, Rodgers served as manager of national promotions and commercial partnerships for Capitol Christian Music Group. – Jessica Nicholson
John Bowditch was promoted to senior director of marketing at Seeker Music, where he has worked since 2021. In his new role, he will oversee all marketing activity across the company’s catalog and frontline businesses. He can be reached at John@seekermusic.com.
Deron Johnston was appointed chief program officer at BRIC, the Brooklyn-based arts and media institution. In his new role, Johnston will lead the integration of BRIC’s platforms and programming while also overseeing the creative direction of its media and non-media programming, including BRIC Celebrate Brooklyn!, BRIC JazzFest and Contemporary Art. He was previously director of community development, strategy & innovation at the Center for Justice Innovation.
Grayson Clotfelter was named creative manager at Play It Again Music Group, where he will oversee the creative direction of the company’s roster of songwriters. He previously worked as a catalog manager at Universal Music Publishing Nashville and has also toured with acts including Seaforth and Lily Rose. Clotfelter can be reached at grayson@piamusic.com.
Hyperion Records has entered the streaming age.
From today (July 28), the venerated British classical label begins the rollout of its catalog on streaming platforms, starting with a batch of 200 titles.
The initial run includes “key recordings” from Hyperion’s roster, including Arcangelo, Mahan Esfahani, Marc-André Hamelin, Angela Hewitt, Sir Stephen Hough, Alina Ibragimova, Steven Isserlis, Steven Osborne and Polyphony.
All 2,000-plus LPs from the Hyperion vault will be available to stream by spring 2024, reads a statement. Collections should follow every two weeks from Sept. 15, 2023, until the complete set is ingested and available across the myriad platforms.
The long-overdue streaming push follows Universal Music Group (UMG) acquisition of the label, in a deal announced in March which sees Hyperion join Decca Classics and Deutsche Grammophon in UMG’s classical portfolio.
Also from today, three new Hyperion releases are made available for streaming, including the latest Dvořák album from the Takács Quartet; and a collection of choral anthems from Stephen Layton and Trinity College Choir Cambridge.
Going forward, all new Hyperion titles will be simultaneously available for streaming, physical purchase and download, explains the statement from UMG.
The 43-year-old label — which is home to artists like Marc-André Hamelin, Angela Hewitt and Stephen Osborne, and some works which date back to the 12th century — was founded in South London by Ted Perry, a classical enthusiast who moonlighted as a mini-cab driver to fund its early recordings.
“These first 200 albums tell our story, and we look forward to presenting all our work from the past four decades to a new global streaming audience artist-by-artist, series-by-series,” comments Simon Perry, managing director of Hyperion and son of the label’s founder. “Each had their challenges and now they come together to tell a narrative, hopefully a powerful one, of what can happen when you make space for musicians to thrive: it’s why Hyperion has worked.”
The second release phase will “showcase some of Hyperion’s great piano and keyboard stars” including pianists Danny Driver, Stephen Hough, Pavel Kolesnikov, Steven Osborne, and harpsichordist Mahan Esfahani.
Subsequent “release chapters” will feature choral music, string quartets, Baroque, early music and solo vocal, and more.
The acquisition came as the classical music world emerged as a hive of activity. Last November, Deutsche Grammophon launched a new standalone streaming service, Stage+, catering to its own catalog and that of Decca Classics. And earlier this year, Apple Music launched its own standalone streaming app, Apple Music Classical, which stems from its August 2021 acquisition of Primephonic.
“The arrival of Hyperion on the world’s streaming platforms,” comments Dickon Stainer, UMG’s president of global classics & jazz, “offers a special moment of discovery for this precious and pioneering label.”