Business
Page: 432
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: Eminem moves to block two Real Housewives from registering a “Shady” trademark, Drake’s deposition drama continues, Damon Dash wins a verdict clearing him of sexual assault, and much more.
Want to get The Legal Beat newsletter in your email inbox every Tuesday? Subscribe here for free.
THE BIG STORY: Eminem Says He’s (Legally) The Real “Slim Shady”
If your 2023 bingo card had Eminem picking a legal fight with a pair of Real Housewives, I have some great news for you.
The rapper’s lawyers filed a case at the U.S. trademark office last week aimed at blocking Gizelle Bryant and Robyn Dixon (stars of The Real Housewives of Potomac) from securing a federal trademark registration on “Reasonably Shady,” the name of their hit podcast.
As you probably guessed, Eminem’s attorneys were concerned about the similarity of the name to “Slim Shady” — a nickname the rapper has used for decades for a dark, violent alter ego. Given the overlap, they said consumers might be tricked into thinking Eminem was somehow involved with the podcast.
“Confusion is unavoidable,” the rapper’s lawyers wrote. “Applicant’s mark ‘Reasonably Shady’ simply looks and sounds like ‘Shady’ and suggests that it represents the services of Mathers.”
For a full breakdown of Eminem’s case — including all the actual legal documents and a response from Bryant and Dixon’s lawyer — go read our entire story here.
Other top stories this week…
DRAKE DEPOSITION SAGA CONTINUES – A Florida judge reversed himself and ruled that Drake wouldn’t need to sit for a deposition over the murder of XXXtentacion, seemingly swayed by the star’s arguments that he has no connection to the case. But the fight isn’t over quite yet, as defense attorneys are still pushing for a sit-down. Stay tuned…
CONDÉ SETTLES FAKE VOGUE SUIT – In other Drake developments, Condé Nast reached a settlement to end a lawsuit against the rapper and 21 Savage over their use of a fake Vogue magazine cover to promote their album Her Loss. The agreement included a permanent injunction barring any further use of the publisher’s trademarks as well as an undisclosed monetary payment.
DAME DASH TRIAL VERDICT – A jury mostly cleared Damon Dash in a case accusing the Roc-A-Fella Records co-founder of sexually assaulting a photographer. Following a four-day trial, the jurors found that Dash defamed Monique Bunn when he accused her of theft, but that he had not inappropriately touched her while she was sleeping at his house during a video project. Jurors awarded Bunn $30,000 in damages — far less than the $150 million she had sought.
R. KELLY CAN’T GET NEW TRIAL – A Chicago federal judge rejected R. Kelly’s bid to overturn his conviction last year on child pornography charges. Denying a motion for a new trial or acquittal, the judge ruled that prosecutors provided jurors with “enough evidence to sustain a guilty verdict on all six counts Kelly was convicted of.” Sentencing on those charges is set for Thursday (Feb. 23).
UTOPIA ACCUSED OF BAILING ON DEAL – Utopia Music was hit with a lawsuit claiming the buzzy music startup reneged on a $26.5 million deal to buy a U.S. music tech company called SourceAudio — and now owes more than $37 million because of the year-long delay. Switzerland-based Utopia had been on a buying spree over the past two years but announced in November that it would lay off 20% of its staff.
Fortnite is bringing indie music into its gaming platform with a new soundtrack option called Radio Underground. The playlist, which is curated by Bandcamp editors, will be available through March 8, when the game’s Battle Royale Chapter 4 Season 1 comes to an end.
Fortnite’s creator, Epic Games, purchased Bandcamp in March 2022, and this new initiative marks the first integration between Epic’s flagship game and the indie music marketplace and service. At the time of the acquisition, Epic pointed to its “vision to build out a creator marketplace ecosystem for content, technology, games, art, music and more” as one of the reasons behind the deal, while Bandcamp founder/CEO Ethan Diamond noted that the partnership would help it expand internationally.
The 11 tracks and artists on the offering do combine some international acts (Panama’s Jungle Rat USA, Pale Blue Eyes from the U.K. and New Zealand group The Beths) as well as U.S. artists like Starflyer 59, Ronnie Martin, Gladie, Pow Wow!, P.E., De Lux, Pool Kids and Ginger Root.
Initially, the acquisition of a dearly-loved indie platform like Bandcamp by a gaming company like Epic was viewed with some skepticism as to what the overarching plan was for any integration between the two, though both sides were clear at the time that Bandcamp would continue to operate as a standalone entity. But this announcement also offers a clue as to how the two can be seamlessly brought together, giving Epic easily-licensable music that it can bring to its Fortnite gaming experience while offering another opportunity for Bandcamp artists to get their music heard and, more importantly to Bandcamp’s mission, get those musicians paid for the use of their music online.
Eminem has picked a legal fight with two “Real Housewives” over their efforts to register the name of their Reasonably Shady podcast as a trademark.
Citing his Slim Shady nickname, lawyers for the superstar (real name Marshall B. Mathers) last week quietly launched a case aimed at blocking Gizelle Bryant and Robyn Dixon (stars of the Real Housewives of Potomac) from securing a federal trademark registration on their podcast’s name.
In a petition filed on Dec. 14 at the U.S. trademark office, Eminem’s attorneys said American consumers view the term “Shady” as a “unique and distinctive” term that’s linked to the rapper – meaning they would likely think that “Reasonably Shady” was somehow connected to Eminem.
“Confusion is unavoidable,” the rapper’s lawyers wrote. “Applicant’s mark ‘Reasonably Shady’ simply looks and sounds like ‘Shady’ and suggests that it represents the services of Mathers.”
In a statement to Billboard on Tuesday (Feb. 21), Dixon and Bryant’s attorney Andrea H. Evans said the duo “intend to defend their trademark application” in the face of Eminem’s accusations. “The trademarks are not confusingly similar and the services are not related,” Evans said.
Bryant and Dixon launched “Reasonably Shady” in 2021, describing it a series of “conversations about being fearless women as they recount stories from their exciting lives.” They’ve released 80 episodes since, covering dating, relationships, motherhood, style, current events and other topics.
Last year, the duo applied at the U.S. Patent and Trademark Office to secure a trademark registration on the name for a wide range of offerings, including not just producing a podcast but also selling cosmetics, candles and apparel. If granted, the registration would make it easier for Bryant and Dixon to sue someone who used the term “Shady” for similar goods or services.
But last week, Eminem’s attorneys filed their case at the Trademark Trial and Appeal Board, a court-like body within the USPTO where rival trademark owners can battle over who has better rights to a disputed name.
The rapper, who has “Slim Shady” and “Shady” for decades as the name of a dark alter ego, already owns a number of such trademark registrations on those names, covering music services and merchandise. Giving the similarity of the names, his lawyers say consumers will associate Bryant and Dixon’s proposed trademark with Eminem.
“Applicants use and registration of the mark ‘Reasonably Shady’ is likely to cause confusion in the minds of consumers,” his attorneys wrote, saying the star would be “damaged” by the registration of Bryant and Dixon’s trademark.
A rep for Eminem did not immediately return a request for comment on the case. Dixon and Bryant have until March 26 to file a formal response at the Trademark Trial and Appeal Board.
Read Eminem’s entire petition here:
Veteran executive Yvette Medina has been appointed head of Latin music at YMU, the global management company tells Billboard.
Medina joins YMU’s Los Angeles office after launching her own artist management company, Creative Management Firm (CMF), in 2018 with clients such as Paloma Mami and Ecko. According to an announcement, she will continue to manage her current roster (Ecko, De La Cruz and Latenightjiggy) alongside the global YMU team, across all divisions, while overseeing the company’s activities for Latin America and with the wider Latin music community.
“YMU’s global resources and commitment to continue driving Latin music forward on a global scale aligned with my vision and passion, making them a perfect partner,” Medina said in a statement.
With over 18 years of experience in the music industry, Medina has held senior level positions at companies such as CAA, WME and Sony Music Latin. Before launching her own management firm, she was appointed general manager of Roc Nation Latin in 2016.
“Yvette’s experience and reputation speaks for itself. We have been looking for the right partner to establish our presence in the Latin music space for some time as it has exploded in popularity and mainstream visibility,” added Matt Colon, global president at YMU, which represents clients in music, entertainment, sports, publishing and business management. “Yvette’s combination of experience at a talent agency, and as a manager and label executive, has given her a unique skill set perfectly suited to the YMU Music management approach, offering marquee clients a full set of services from a global perspective.”
Just in time for what would have been George Harrison’s 80th birthday, BMG and Dark Horse Records have reached an agreement to bring his solo recorded works to BMG. It marks the first time that Harrison’s recorded and publishing works are under the same roof.
BMG entered into a global deal last year with the George Harrison Estate to administer the 200-song plus Harrisongs catalog, which includes all of Harrison’s work written with the Beatles, the Traveling Wilburys and his solo career. Harrison died in 2001.
“This is a banner day for BMG, bringing together for the first time the song and recorded rights of one of the greatest musicians in popular music history under one roof,” said BMG CEO Hartwig Masuch in a statement. “Only BMG can do this. We look forward to working with the George Harrison Estate and Dark Horse Records to promote George’s peerless music to generations old and new.”
To commemorate his Feb. 25 birthday, Dark Horse and BMG have released Harrison’s entire catalog in Dolby Atmos surround sound exclusively on Apple Music.
Harrison’s recorded catalog features 12 studio albums of solo works including his debut Wonderwall Music (soundtrack to the film Wonderwall) and the US and UK chart-topping critically acclaimed, 7x Platinum-certified triple album All Things Must Pass featuring the No. 1 hit “My Sweet Lord,” “What Is Life,” “Isn’t It A Pity” and “All Things Must Pass.” Other albums include Living In The Material World, featuring “Give Me Love (Give Me Peace On Earth),” his Platinum-certified Cloud Nine, featuring “Got My Mind Set On You,” and his final studio album Brainwashed featuring the Grammy award-winning “Marwa Blues.”
The catalog also includes the live double album, Live in Japan, featuring Eric Clapton, and four compilations Let It Roll – Songs by George Harrison, Early Takes Vol 1, The Apple Years 1968-1975 and The Dark Horse Years 1976-1992.
The partnership expands on BMG’s relationship with Dark Horse Records as BMG serves as its global partner and infrastructure across recorded music, music publishing and merchandise, including the launch of a new merchandise store for Harrison and the introduction of the Dark Horse Sounds wellness music series.
While BMG and Dark Horse have not announced an album rollout beyond the Apple Music exclusive, Harrison’s son Dhani hints in a statement that there is more coming.
“22 years since his passing, for what would have been his 80th birthday, I am overjoyed to announce that we are bringing my father’s music catalogue back home to Dark Horse Records, the company he started back in 1974. We look forward to releasing only the finest of packages and hope the fans join us on the deepest of dives into our archives as we continue to grow his legacy through our partnership with BMG, starting with the release of his entire back catalog in Spatial Audio, for the first time, on Apple Music,” he says. “We also will be using this opportunity to make all the custom limited vinyl that we can get away with. Happy 80th Dad!!! We love you always.”
The catalog partnership is the latest move in the relationship between BMG and Dark Horse, which began in 2020 to revive the label Harrison launched in 1974. Dhani Harrison runs Dark Horse with David Zonshine. Last year, Dark Horse signed a new licensing agreement with the Leon Russell estate for 16 albums by the late singer/songwriter and Harrison friend, as well as with Joe Strummer’s estate to administer the Clash co-founder’s music publishing. BMG has been working with Dhani since 2014.
Thomas Scherer, BMG president of repertoire & marketing, New York and Los Angeles, said, “For years we have had an amazing partnership with Dhani and David that continues to grow to this day. What began as working with Dhani on his own albums and publishing, to the re-launch and expansion of the Dark Horse Records business, together we believe in providing white glove service for artists, globally, with enormous opportunities to grow. We are proud to bring all of George Harrison’s music together, under one roof, and are very grateful for Olivia and Dhani’s trust in BMG.”
Jeff Olson has been hired as vp of booking for Crypto. com Arena, Microsoft Theater and L.A. LIVE. In his new role, Olson will focus on sourcing talent and securing deals with high-priority clients and promoters for shows for all three venues. In addition, he’ll be responsible for working with the Los Angeles Lakers, Kings, Clippers and Sparks to assist with the scheduling and maintaining the arena’s calendar as well as working with the award shows and residencies to assist with the scheduling and maintaining Microsoft Theater and L.A. LIVE venue calendars.
“We are incredibly excited to have Jeff Olson joining our team,” says Lee Zeidman, president, Crypto.com Arena, Microsoft Theater and L.A. LIVE. “He brings over 23 years of experience and knowledge of booking and event production to our venues and to the market, along with strong industry relationships. We are looking forward to having Jeff joining us here in Los Angeles and booking a variety of content for our venues in this competitive market.”
Hallie Yavitch, svp of booking and marketing for the trio of venues, said she was happy to welcome Olson back to town for this position — from 2002 to 2014 he lived in LA while working as a talent buyer and marketing director for the Arena Network.
“His impressive resume, experience and relationships will help our venues continue to grow and succeed in a competitive landscape,” Yavitch said.
The Michigan State alum started his career in the live entertainment industry as a talent buyer for Meridian Entertainment in Holt, Michigan in 1998 and went on to work at the ArenaNetwork before becoming the director of booking, events and marketing for the Memphis Grizzlies and FedEx Forum. In his time at the FedEx Forum, he delivered multiple record years in both the number of events, as well as fiscal performance for the venue. From November 2021 to February 2023, he became director of booking & special events for Snapdragon Stadium, the OVG360-managed facility in San Diego.
Olson will report directly to Yavitch.
HONG KONG — Concerned about the impact that fake streams are having on the accuracy of China’s music charts, Tencent Music Entertainment (TME) has designed an annual chart that incorporates both streaming and sales data with votes from industry professionals, the company tells Billboard.
The new year-end chart, which TME recently released to the public in China, combines inputs from two existing charts, the TME UniChart and TME Wave Chart, which track weekly and monthly streaming data. They feed into the Tencent Music Chart, the year-end charts compiled by the China-based music giant, which operates streaming apps QQ Music, Kugou Music, Kuwo Music, and karaoke service WeSing.
The TME UniChart, which first launched in 2018 and has been featured on Billboard’s global website (billboard.com) since November, calculates listening data from China’s public radio stations and streaming data on TME-run platforms, including clicks, favorites, downloads, shares, purchases and recommendations. The TME Wave Chart, on the other hand, is compiled by scores and recommendations from over 250 industry professionals every month. (TME, which licenses the Billboard brand in China and publishes Billboard China, would not disclose its math formula for weighting its results.)
The new combined chart was developed to ensure the accuracy and fairness of the rankings, and to address growing concerns from music professionals that China’s music charts are subject to tampering, and include inflated streams and social media statistics, a company representative tells Billboard.
The issue mirrors concern expressed in the U.S. music industry about aggressive organizing by fan groups of certain pop artists to push them up the rankings. That has notably included K-pop group BTS’ fan ARMY and its agency, HYBE, which have come under scrutiny for BTS’ chart successes. (Both HYBE and BTS have rejected accusations that chart manipulation accounts for the group’s success.)
Chinese fan groups often engage in “data work,” which includes conducting online activities to ensure the high placement of celebrities on social media ranking boards,” says Dr. Celia Lam, associate professor in Media and Cultural Studies at the University of Nottingham Ningbo China, who studies audience and fan engagement. “Organized team-building activities within fandoms can include daily data targets – liking, sharing or reposting social media posts or using specific hashtags — to ensure the continued data performance of a celebrity figure,” she says.
China, the world’s sixth-largest music market, has dozens of domestic music charts, including some run by China’s state-owned broadcaster that have been operating for about two decades. But the country lacks an industry-recognized reference chart like the Billboard Hot 100 or Spotify’s Weekly Top Song Global.
Several established music charts already exist in China, including Global Chinese Golden Chart (jointly launched by seven largest Chinese-speaking radio stations), China Music Billboard (run by China National Radio MusicRadio), and Global Chinese Music under CCTV. There are also emerging music charts run by streaming platforms such as Fresh Asia Music Weekly Chart, NetEase Music Hot Songs Weekly Chart and QQ Music MV Chart, along with some hosted by social media platforms such as Sina Weibo and Douyin.
With fewer music listeners tuning into radios, charts run by China’s public broadcaster have become limited in their ability to reflect a song’s popularity. Music professionals have questioned the credibility of emerging music charts, as fans in China are known to mobilize in mass-streaming activities to push their singers to the top of the charts, preventing those charts from reflecting the organic popularity of songs.
Tencent Music says it wants to help weed out fraudulent activity and create more credibility for its own charts. Still, the move comes amid recent government regulatory scrutiny on TME for its potential monopoly stranglehold on the streaming market. Music listeners in China spent 70% of their time streaming music in 2022 on TME’s three major platforms — QQ Music, Kugou Music and Kuwo Music, the company says. TME had 85.3 million paying music users as of the third quarter of 2022, according to company filings.
Leveraging the huge amount of data generated by TME’s services, the annual rankings also offered insights into China’s fast-growing music industry. In 2022, pop stars Jay Chou, Yisa Yu, Lala Hsu, G.E.M., Mao Buyi and Jackson Wang took the top spots on the Tencent Music Chart. Rising stars Zhou Shen, Joker Xue, Liu Yu Ning, Xin Liu rounded out the top 10.
“Looking at the annual charts in recent years, we can see that the Chinese music market has begun to diversify,” Vincent Lee, director of TME’s charts team, tells Billboard. “Influential singers like Jay Chou, Eason Chan, and Karen Mok still occupy important positions in the music market. But the power of the new generation should also not be underestimated such as the very young boy band Teens In Times and Zhou Shen, who gained popularity through variety shows and original soundtracks of film and television dramas.”
Music lovers in China have also started branching into different music genres. Besides Jay Chou’s “Greatest Works of Art” and “Free of Worries When Flowers Blossom” by Zhou Shen, Chinese listeners embraced “You Are My Magic” by Taiwanese psychedelic rock band Accusefive and Cai Xu Kun’s romantic love song “Hug Me.”
Younger rising artists have also begun to win the hearts of fans. “Getting Warmer” by Teens In Times topped the UniChart as song of the year, while the song “Beautiful” by the boy band INTO-1 member Mika has remained on the chart for 52 weeks.
“Judging from the hit songs in recent years, there is less and less a ‘standard formula’ to musical success,” says Lee. “Different types of music have shown strong potential in China’s music scene, and popular songs have emerged from all kinds of genres.”
LVRN continues to bolster the company by adding nine-time Grammy-winning producer and songwriter Bryan Michael Cox. Cox will serve as senior vp of A&R and executive producer for upcoming albums and artists for the label.
“A&R has become a lost art in this new generation of music because of the gap in relationship between A&R, the artist, and the label,” says Justice Baiden, LVRN co-founder. “Bryan-Michael Cox is a respected and accomplished producer and executive, and he’s the perfect addition to our team to help continue in bridging that gap. Bryan not only speaks the same language as the artist, but he also shares the same values as LVRN. We are on an unwavering mission to disrupt and redefine the rules of the music industry while also preserving the quality and integrity of the music. When I think of someone who handles music with care, I think of Bryan, and we’re excited to welcome him home to Atlanta and LVRN.”
“The time is right for this union because what LVRN has been able to do culturally is incredible,” adds Cox, who has worked with Usher, Mariah Carey and Justin Bieber throughout his career. “The commitment to the full picture of artist development is something that this business has been missing. From the single selections to album track listing to the rollouts, each artist has been launched uniquely with care. Justice pays attention to detail, and he has great understanding of what hit records should sound like without compromising the artists creativity and identity. I have a great track record of being able to bond with artists, get the best out of them, and, of course, being able to create or identify hit records. This is a perfect fit.”
Earlier this year, CEO and co-founder of MUSIC Matt Pincus joined the label’s board of directors and invested $25 million. The investment values LVRN at more than $100 million.
Los Angeles-based communications firms BB Gun Press, headed by Luke Burland, and MixedMediaWorks, helmed by Bobbie Gale, have joined forces to form 2B Entertainment.
Combined, their client roster includes Shania Twain, Josh Groban, Steve Earle, Danny Elfman, My Chemical Romance, Meghan Trainor and OK Go.
“MixedMediaWorks was founded on the principle that we only work on projects we believe in,” said Gale in a statement. “It means we can remain completely dedicated to the select group of clients we take on. We’re excited to be working with Luke and her team as they share the same values: honesty, loyalty, hard work, open and constant communication and being the best partners to our clients.”
Burland added, “Our plan is simple: keep working with clients we love, deliver incredible results and have some fun along the way.” Burland and Gale will run the company together.
Other clients include Brian Tyler, Holly Humberstone, Julian Casablancas, Justin Tranter, Maggie Lindemann and Saleka Shyamalan. Corporate accounts include CITI, +1 Records, Laylo, Dad Grass, Muserk and Cosm.
The two veteran publicists have long known each other, first collaborating more than 20 years ago on Dave Navarro when Gale was at Capitol Records and Burland at Kathryn Schenker Associates. The two briefly worked together at a previous iteration of BB Gun, owned by Brian Bumbery, in 2016-2017. Burland joined BB Gun in 2016 after leaving Warner Records where she was senior vp of publicity. Gale worked at BB Gun from 2013 to early 2017 when she left to become vp of media & strategic development at Warner Records. In 2020, she launched MixedMediaWorks. Burland has led BB Gun since 2018 when Bumbery left for Apple Music.
As the country music community continues to grapple with ways to increase diversity and inclusion, the Black Music Action Coalition (BMAC) and Academy of Country Music have come together to launch OnRamp, a program set to empower the next generation of Black leaders.
The OnRamp partnership will take 20 young, Black artists and music industry professionals in Nashville through a year-long program that includes access to top leaders, community mentorship and professional development. Vitally, the program comes with a guaranteed $1,000 monthly stipend for the 12 months.
Applications will be available starting in late Spring with the program kicking off in June during Black Music Month. Candidates can sign up for email notifications now at acmcountry.com/onramp to learn more.
This inaugural program will be funded by BMAC, the Academy and industry partners, and aided by social impact agency BreatheWithMe. The hope is that Nashville companies will make financial contributions to fund future years.
“The Academy has a rich history of fostering diversity and inclusion in the country music industry both on stage and behind-the-scenes, and we see this partnership as a particularly impactful way to continue our committed work to making the statement ‘Country Music is for Everyone’ a true reality,” said ACM CEO Damon Whiteside in a statement. “We’re excited to work with BMAC on this pivotal and transformative work for our Nashville community by increasing opportunities for young professionals from diverse backgrounds in our industry.”
The Academy relocated from its longtime home in Southern California to Nashville last year.
The guaranteed income component was critical, BMAC co-founder/co-chair Willie “Prophet” Stiggers tells Billboard. He studied such initiatives including a program started by former Stockton, Calif., mayor Michael Tubbs a few years ago that guaranteed $500 a month to 125 residents for 18 months and has now spread to more than 50 cities.
“All the data showed how people were lifting themselves out of poverty and realizing their dreams, not just from the cash relief, but the mentorship and wrap-around programs,” Stiggers says. “I said to myself and the BMAC team, with the billions of dollars the entertainment industry generates, we can, without government support, have these programs happen across the country and really begin to close the wealth gap that is targeting Black and Brown people.”
OnRamp comes several months after BMAC released its Three Chords and the Actual Truth report last June. The report called for the country music community and the city of Nashville to commit to change and equity through partnering with BMAC. The Academy was among the first companies to come aboard.
“They were really the first to raise their hand and says, ‘we’re prepared to stand with you and launch this program in Nashville and then call on the other companies up and down Music Row to partner with us.’ So this initiative can grow and become a sustainable part of the Nashville community,” Stiggers says.
The Academy’s LEVel Up: Lift Every Voice program will help facilitate OnRamp. LEVel Up is a two-year professional development program, originally launched last year and fully funded by the Academy, for rising leaders in country music. The members of the current LEVel Up cohort will play a hands-on role in the application review process and drive the candidate selection work, proposing a recommended slate of candidates to the Academy and BMAC teams.
Each of the 20 members of the inaugural OnRamp cohort will have a program designed specifically for them with their own facilitating team with the help of LEVel Up members and the Academy’s DEI task force. “For instance, if you’re a young person trying to become a manager, we’ll pair you with a manager who is killing it in that space and allow you to shadow them,” Stiggers says.
“It’s my pleasure to stand alongside other industry leaders to support this important program,” said ACM DEI Task Force chair/ACM board member and BMI executive Shannon Sanders, in a statement. “The Academy continues to play a pivotal role in ushering in a new era in country music by truly supporting and lifting up those underrepresented in the industry.”
Additionally, there will be money management and mental health components activated on a weekly or monthly basis. “The idea is to build the communities around each of these individuals that they need to help them realize their dreams,” Stiggers says.
Ultimately, the idea is to transform the country music industry across the board. “Five years from now when you’re able to have a few hundred young people who have been provided access in the training, resources and connections they need in the country music space I think we see a more diverse pool of artists and executives,” Stiggers says. “I think we see more Black women faces showing up on the executive side and I think we’ve opened this up to allow the charts to be reflective of the community that enjoys the genre, which isn’t the cast today.”
Earlier this year, the Country Music Association launched a diversity and inclusion fellowship program to provide an immersive experience in the country music industry initially through the CMA’s communications team in conjunction with the 50th anniversary of CMA Fest this June. Fellows will then work for six weeks with a country music publicity firm. Set to launch this Spring, the program is open to all students from underrepresented communities through Plank Center for Leadership in Public Relations and the University of Alabama, with additional collegiate partners including the University of Tennessee, Knoxville and Nashville’s Belmont University.
Such programs, as well as The Hubb, a professional development summit started by CAA in 2018, have Stiggers feeling optimistic. “I am encouraged to see people actually moving past the hashtags and trying to implement sustainable programs that are really going to create a more level playing field.”