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Julie Greenwald, Atlantic Music Group chairman/CEO, and Craig Kallman, Atlantic Records chairman/CEO, will receive the 2023 Grammy Salute to Industry Icons award. The award will be presented at the Pre-Grammy Gala at the Beverly Hilton Hotel in Beverly Hills, Calif. on Saturday, Feb. 4, 2023. The annual event is presented jointly by industry legend Clive Davis and the Recording Academy.
This will be the first time since 2020 that the event will take place. Sony Music Group chairman Rob Stringer was announced as the recipient last year. He was scheduled to receive the award on Sun, Jan. 30, 2022, the night before the 64th Annual Grammy Awards, but the event was canceled because of a surge related to the COVID-19 pandemic. The Grammys telecast itself was pushed back to April 3, 2022 and moved to the MGM Grand Garden Arena in Las Vegas. The award was presented to Stringer in Las Vegas by Recording Academy CEO Harvey Mason jr. Stringer was also acknowledged as the Icon honoree on the Grammy Awards telecast. But he missed out on the gala.
The Recording Academy and Davis will celebrate Greenwald and Kallman’s accomplishments at this year’s event, set for the night before the 65th Annual Grammy Awards, which will return to Crypto.com Arena in Los Angeles (formerly the Staples Center) on Feb. 5, 2023.
“Respected across the music community, Julie and Craig have fostered the careers of an incredible range of talent,” Mason said in a statement. “They both have a passion and love for music, and they are constantly pushing the music industry forward with their transformative work with the artist community. We are so honored to celebrate these two industry titans at this year’s Pre-Grammy Gala.”
“I’ve personally known Julie and Craig for many years and it’s so very exciting to celebrate their exceptional creativity and achievements at this year’s Pre-Grammy Gala,” said Davis, a previous honoree at this event. “What a special night it will be spotlighting them and their incredible music and artists!”
Greenwald and Kallman first joined forces in 2004, when Greenwald moved to Atlantic from Island Def Jam. Greenwald and Kallman will be the first pair to receive the Grammy Salute to Industry Icons Honor since Herb Alpert & Jerry Moss, the co-founders of A&M Records.
In addition to Davis, Alpert & Moss and Stringer, the roster of previous Pre-Grammy Gala honorees includes Clarence Avant, Irving Azoff, Martin Bandier, Sir Richard Branson, Sean “Diddy” Combs, Shawn “JAY-Z” Carter, Ahmet Ertegun, David Geffen, Berry Gordy, Lucian Grainge, Debra L. Lee, Doug Morris, Mo Ostin, and Antonio “L.A.” Reid.
The recently formed Atlantic Music Group, which includes the Atlantic and 300 Elektra label families, garnered nearly 40 Grammy nominations this year. Its top nominees this year include Lizzo, with five nods, including album, record and song of the year; Coldplay and Jack Harlow, with three nods each; and GAYLE with a nod for song of the year.
The Atlantic Records site has a list of nearly 200 “active artists” for its various labels, including Big Beat Records, Canvasback, Elektra Records, Fueled By Ramen, Maybach Music Group, and Roadrunner Records.
The site also lists more than 60 “legacy artists” and six Broadway cast albums, including the blockbusters Hamilton and Dear Evan Hansen.
Atlantic Records is celebrating its 75th anniversary. The label was founded in October 1947 by Ahmet Ertegun and Herb Abramson. In 1967, Atlantic became a wholly owned subsidiary of Warner Bros.-Seven Arts, now the Warner Music Group. In 2004, Atlantic and its sister label Elektra were merged into the Atlantic Records Group.
The invitation-only Pre-Grammy Gala has become one of the most exclusive Grammy Week events. Sometimes, the event makes news, as it did three years ago when Combs put the Recording Academy on notice that he wanted to see major changes in the way it operated.
“Truth be told, hip-hop has never been respected by the Grammys,” Combs noted in his acceptance speech. “Black music has never been respected by the Grammys to the point that it should be … And that stops right now. I’m officially starting the clock. You’ve got 365 days to get this sh-t together. We need transparency, we need diversity.”
Deanie Parker was a high-school glee club member aiming to be a star when she first met Stax Records co-founder Jim Stewart in 1962. Instead, she ended up occupying a front row seat as one of Stax’s longtime executives, witnessing the storied label’s rise, fall and rise again. Appointed publicity coordinator in 1965, she advanced to director of publicity in 1967, director of publicity, artist relations and public relations in 1968 and then vp of public affairs in 1973. Now retired as the founding president/CEO of the Soulsville Foundation, located at the original site of the Memphis-based label, Parker pays tribute to Stewart in this as-told-to reflection.
When I first met Jim Stewart in 1962, it had everything to do with my wanting to be on the road with Gladys Knight, Aretha Franklin, Patti LaBelle and Tina Turner — and to rival them. Of course, that never happened. Fortunately, both Jim and I were smart enough to know that I lacked the power and the tenacity. I also didn’t have Tina’s legs [laughs].
In the early ‘60s in Memphis, there was at least one talent show a week, mostly on Beale Street. A male group that was part of our high school glee club with me was looking for a lead vocalist. After we got together, the glee club teacher decided that we were good enough to enter one of the talent shows — the first prize being an audition for this new studio, Stax. We won first prize and auditioned for its founder, Jim.
He signed us and we later had a regional hit, but nothing beyond that. At any rate, it wasn’t long after Jim signed us that he provided me with an opportunity to experience firsthand what it was like for a Black artist to be on the road and the conditions under which they had to perform. That’s when I recognized that I was never going to compete with Stax’s queen Carla Thomas or other women artists. I was no threat at all. So I decided to pursue the administrative side of the business, publicity and marketing.
Fortunately for me, Stax was in its infancy. We were viewed as a backwater town on the Mississippi River and didn’t have anyone to publicize or promote what the organization was doing or to help groom the artists for the wonderful media inquiries that we started receiving as the hits rolled out. We were with Atlantic at the time. Jim provided the opportunity for me to learn that skill set while getting on-the-job experience.
I didn’t realize how much Jim was despised for what he was doing. People couldn’t get over the fact that he was providing opportunities for [Black] people who were being demeaned in every way that you could imagine. But the Stax philosophy was a welcoming one. Jim and Estelle [Axton, Jim’s sister and Stax co-founder] were not judgmental. Instead, they took the time to hear what it was we wanted to do, what we thought we could do and the commitments that we were prepared to make in order to make Stax better, to be part of an incredible organization that gave us this inimitable music.
Again, remember we’re in the South. Not only doesn’t anybody understand what the hell we’re doing, they don’t have any respect for it. Jim never talked about the hatred verbatim. But he was always very clear about the fact that as a country fiddler, when he first heard a Ray Charles song — I don’t remember which one now — his taste in music was never the same again. He knew then that what he wanted to do in Memphis was devote his time, attention and energy to recording his own music that would rival Charles’. He never hid that.
In terms of the racism and all of its tentacles that we were experiencing, what Jim did was take a very inflexible position about what was acceptable behavior and what would not be tolerated. He never ceased to remind us that anything that could be misconstrued as illegal would destroy us. Because the authorities and power structure in Memphis were waiting on an opportunity to take something that was uncommon in other places, perhaps, and use it against us to shut Stax’s doors.
That was his way of acknowledging that he was experiencing the same things we were. Like one day when he was standing outside underneath the marquee, talking to Isaac Hayes. A policeman came along and said, “You can’t be out here talking to Black people on the streets.” Jim tried to reason with him. But the policeman said, “I’ll take your ass down and lock you up.”
During the last 10 years, I had the opportunity to talk to Jim about how he dealt with all of that.
And he said, “My mother and father taught me something that worked and still works today that enabled me to press on and survive.” And that was the golden rule: treat people the way you want to be treated. Jim paid a hell of a price for his belief and determination in living up to that.
His ability to assimilate into an environment that was predominantly Black was because he respected the fact that all of us have something that we can bring to the table. That’s part of what made Stax great. So was the fact that perhaps it was the only place in Memphis that was totally integrated — another lesson. Forget all the BS about why we shouldn’t get along or not like each other. If you find something that you can enjoy together, that makes you happy and you could make a living from it? Then throw away everything else and run to that something. The artists may not have been polished but they were authentic. Jim accepted them in all of their rawness. He appreciated, respected and loved them for allowing him to record what they had because he knew what they had was infectious.
What Jim looked and listened for with an artist was his big secret. Watching him trying to keep time to the beat was embarrassing [laughs]. Yet Jim had impeccable hearing and precise timing. When he got behind that console, he knew exactly what he was trying to hear and what he was trying to feel. It was innate; something that God placed in him when he was born. You couldn’t touch it. He could look through the control rooms’ glass window at Booker T. & the M.G.’s on the floor and he knew if you weren’t in the right tempo or out of key. The one thing you could see about Jim was that he was in his element being outside of his element. The test of time shows that he had a freaking secret formula that nobody has been able to emulate. Even today the music just blows you away.
When Atlantic threw him a curve [a contractual stipulation that Atlantic owned the masters to the Stax albums being distributed], I don’t know if he kicked the dog when he got home or not. You know what I’m saying? But in my presence, he never cursed about it. He was a soft-spoken person; reserved. I just know that he was unhappy. I’m sure that he was miserable; that his level of confidence in people, especially in the music business, was crushed. And I’m sure that he blamed himself in some ways for not having been more attentive and less trusting. There’s no way on God’s earth that you can make me believe that Atlantic’s legal department and Jerry Wexler didn’t know what they were doing. Jim was a handshake-on-the-deal kind of man. It was a bitter lesson.
However, if Jim hadn’t been a do-right man, the good Lord would not have introduced him to Al Bell. There wouldn’t have been a solution to the dilemma. Jim could have saved his own behind and forgotten about us but that’s not what he did. His attitude was that we were all in the boat together. And his solution was to get up, dust himself off, learn from it and find a plan. That’s when we moved away from Atlantic and began building a catalog. We turned Stax into a factory, working day and night to release the soul explosion of singles and albums that became the rebirth of Stax.
My most touching memory of Jim happened after my stepfather’s mother died in Chicago. He and my mother had just moved to Memphis and didn’t have the money to transport his mother’s body to Memphis for burial. So I asked Jim if Stax could loan me $300-$400 to transport her body. And he made it happen, which he didn’t have to do. I wasn’t making enough with my writer royalties or anything else for him to feel secure that I’d pay it back. But I did. He trusted me and I’ll never forget it.
The American Music Fairness Act (AMFA), which would require AM/FM stations to pay performance royalties to music creators and copyright holders for radio airplay in the U.S., just cleared a key hurdle in Congress — though the bill is unlikely to pass before the new session of Congress convenes in January.
In a mark-up session on Wednesday (Dec. 7), the House Judiciary Committee (which deals with copyright matters) voted to advance the bill, clearing its way for a full vote on the House floor. To become law, the bill would need to be approved by the full House of Representatives as well as the Senate and then signed into law by President Biden. However, the proposed legislation is unlikely to pass in the current session of Congress, which is drawing to a close at the end of the month, unless it’s tacked onto a must-pass bill during the lame duck period.
In an opening statement prior to the vote, Judiciary Committee ranking member Jim Jordan (R-Ohio) noted that bipartisan negotiations over the AMFA in recent months “stalled and never reached a resolution,” though he expressed confidence the bill could make it through the next Congress.
“While today’s debate is an important start in this conversation, if the American music Fairness Act has not become law this Congress, negotiations must resume next year,” Jordan said. “We believe there’s a deal to be struck here that is fair to all sides most importantly, fair to taxpayers and consumers.”
The AMFA is just the latest attempt by members of Congress to compel radio stations to pay performance royalties, which is a common practice in other countries but has not historically been required in the U.S. In Nov. 2019, Sen. Marsha Blackburn (R-TN) and Rep. Jerrold Nadler (D-NY) introduced a similar bill, the Ask Musicians for Music Act, which would have allowed artists and copyright owners to negotiate performance royalty rates with radio stations in exchange for permission to play their music. That piece of legislation followed a previous bill, the Fair Play Fair Pay Act — also introduced by Blackburn and Nadler — that set out to achieve the same goal.
The AMFA was introduced in the House by Reps. Ted Deutch (D-FL) and Darrell Issa (R-CA) in June 2021, with the legislation announced during a press conference attended by singers Dionne Warwick and Sam Moore and Dropkick Murphys singer/bassist Ken Casey. A companion bill was introduced in the Senate by Sens. Alex Padilla (D-CA) and Marsha Blackburn (R-TN) this past September.
Unlike satellite/online radio and streaming services, AM/FM stations pay only songwriter royalties on the music they broadcast. To rectify that, the AMFA legislation would establish fair market value for radio performance royalties in the same way it has been for those other platforms.
The bill was a response to the Local Radio Freedom Act, a non-binding resolution introduced in May 2021 by Rep. Steve Womack (R-AR) and Rep. Kathy Castor (D-FL) that opposes the imposition of a performance royalty, which proponents argue would be financially devastating for broadcasters. A companion resolution was introduced in the Senate by Martin Heinrich (D-NM) and John Barrasso (R-WY). Both resolutions are backed by the National Association of Broadcasters (NAB), which has long been opposed to enforcing a performance royalty payout on terrestrial radio.
In a statement on Wednesday’s vote, Recording Academy CEO Harvey Mason jr. called it “an important step,” adding, “I am grateful to Chairman Nadler, Rep. Issa, and members of the committee for supporting the music community’s right to fair pay. It is vital to the health of our industry that creators are compensated for the use of their intellectual property on terrestrial radio, and the Recording Academy will continue to advocate for AMFA until this bill is signed into law.”
The Recording Academy is a key supporter of the AMFA along with organizations including the AFL-CIO, the American Association of Independent Music (A2IM), the American Federation of Musicians, the Recording Industry Association of America (RIAA), SAG-AFTRA, SoundExchange and the musicFIRST Coalition. Over the past several weeks, more than 100 artists including Warwick, Common, Harry Belafonte, Jack White, Becky G, Cyndi Lauper and Gloria Estefan have signed their names to a letter urging lawmakers to support the bill.
“To be clear, this fight is far from over,” said musicFIRST chairman and former Democratic congressman Joe Crowley in a statement. “We still have further to go before this important bill can be passed into law and improve the lives of artists across this country, and we know that Big Radio corporations will continue to oppose us every step of the way.”
In his own statement celebrating Wednesday’s vote, SoundExchange president and CEO Michael Huppe called on the full House to pass the bill. “Tens of thousands of music creators – our family, friends, and neighbors – are counting on Congress to do the right thing and help them get paid for their work. We cannot let them down,” he said.
On the other side of the issue, NAB CEO and president Curtis LeGeyt thanked the committee members who voted against advancing the AMFA, along with members of Congress who have supported the Local Radio Freedom Act resolution that stands in opposition to the bill.
“These lawmakers understand that AMFA will harm local broadcasters and audiences around the country, undermine our ability to serve their communities and ultimately fail artists by leading to less music airplay,” said LeGeyt. “Broadcasters urge the recording industry to join us in serious discussions instead of using the few legislative days left in the calendar to pursue divisive legislation that faces broad congressional opposition.”
In a year historically high inflation has wreaked havoc on the costs of both touring and producing music, musicians and record labels received a bit of reprieve — thanks to high inflation.
The Copyright Royalty Board, which sets royalty rates for some streams in the United States, announced on Dec. 2 that per-stream rates for noninteractive webcasters’ streams will take a big jump in 2023: commercial webcasters will pay 0.3 cents per stream for subscription performances, up 7.1% from 0.28 cents in 2022, and 0.24 cents per stream for ad-supported performances, up 9.1% from 0.22 cents. Non-commercial webcasters’ per-stream royalty rate for 2023 is 0.24 cents for all digital audio transmissions in excess of 159,140 aggregate tuning hours in a month on a channel or station.
The CRB’s calculated the adjustment by multiplying the base rate by the percentage change in the CPI-U published by the Bureau of Labor Statistics before Dec. 1, 2022 (298.012), and the CPI-U for Nov. 2020 (260.229). In 2015, the CRB decided to add an annual cost-of-living adjustment to royalty rates paid for plays of programmed streams for 2016 to 2020. The rates for the current period, 2021 2025, are also adjusted annually. Previously, the CRB established a slate of increasing rates for a five-year period and did not revisit the rates annually.
Artists are ensured to feel the bump in royalty rates because webcasting royalties are paid by streaming services to SoundExchange, which distributes payments directly to performing artists from noninteractive webcasters such as Pandora. In contrast, on-demand services cannot operate under a statutory license and must secure licensing agreements from record labels. So, royalties from on-demand services such as as Spotify and Apple Music are paid directly to labels, which in turn pay artists according to the terms of the recording contract (or don’t pay artists if expenses have not been recouped).
A raise from noninteractive webcasters affects only a minority of an artist’s digital revenues, however. SoundExchange distributions – which also include royalties for performances by satellite radio and cable broadcasters — in the first half of 2022 declined 4.5% year over year to $464.9 million, according to the RIAA. That was about 7.2% of total streaming royalties, down from 34.4% in 2016. Today, most streaming royalties come from paid subscription services, which accounted for $4.5 billion of revenue in the first half of the year and are growing at nearly at double-digit rate.
Still, noninteractive streaming royalties have risen considerably over the years thanks to the cost-of-living adjustments. In 2016, a webcaster such as Pandora paid out 0.22 cents per stream for subscription plays and 0.17 cents for ad-supported plays. Low inflation meant the rates increased only once over the next five years. A new slate of rates for 2021 to 2025 brought the rates to 0.24 cents for subscription plays and 0.21 cents for ad-supported plays in 2021. The cost-of-living adjustments for 2022 took the rates to 0.28 cents and 0.22, respectively.
This story is part of Billboard‘s The Year in Touring package — read more stories about the top acts, tours and venues of 2022 here.
At some point during Daddy Yankee’s ongoing La Ultima Vuelta tour, which kicked off this summer, publicist Mayna Nevarez looked around and took stock of what was happening around her.
“I was with him at sold out arenas in Seattle, Denver, Sacramento and, I swear, it brought tears to my eyes,” says Nevarez, who owns Nevarez PR in Miami and has been Yankee’s publicist for over 15 years. “For so long it was cities like Miami, Los Angeles, New York — big Latin hubs — and we forget that the United States is so much more than that.”
Daddy Yankee is no stranger to big tours; in 2007, for example, he played 17 U.S. shows, and in 2019, he played a fabled 12 sold-out dates at Puerto Rico’s Coliseo de Puerto Rico. But La Ultima Vuelta (The Last Tour) has been his biggest trek by far, selling over 1.1 million tickets for a $125.3 million in gross ticket sales during the tracking period, from Nov. 1, 2021-Oct. 31, 2022, landing him at No. 13 on Billboard’s Top Tours tally.
Yankee’s numbers point to Latin music’s potential for big touring success beyond Bad Bunny and beyond the cities that were long considered Latino strongholds. In 2022, Latin artists of all sizes and genres filled arenas, theaters and festivals, underscoring the huge potential and growing presence of Latin music across the country.
The fray, of course, is led by Bad Bunny, who tops this year’s Top Tours chart with a $373.5 million gross across 65 shows in arenas and stadiums with a combined attendance of nearly 2 million. Bunny’s World’s Hottest Tour broke venue revenue records in 12 of the 15 U.S. markets that it played, including Yankee Stadium, Chicago and Washington, D.C. The North American leg of tour averaged $11.1 million per show — the biggest per-show average gross by any artist in any genre in Boxscore history (dating back to the late 1980s).
At this moment in time at least, Bad Bunny is “a unicorn,” says Henry Cardenas, de CEO of CMN, which promoted Bunny’s U.S. tour in partnership with Live Nation. “No one does what he does.” But at a touring level, “What Bad Bunny really did is take Latin music to industry execs who aren’t Latin, and make them realize there was a viable market,” says Nelson Albareda, founder and CEO of marketing and promotion company Loud and Live.
Loud and Live, which is owned by Albareda, is a prime example of Latin’s growth in touring. The entertainment, marketing and promotion company was launched four years ago and in 2019, pre-pandemic, produced around 50 shows. This year, it came in at No. 14 on the Top Promoters chart, with $96.5 million in gross ticket sales for 386 shows.
“Overall, touring is definitely stronger, and shows are doing better, including in emerging markets like Seattle, Salt Lake City,” says Albareda. “Secondary markets are here to stay and it’s not just the A acts. It’s not a fluke. I think you’ll see the Kansas City, Minneapolis, Nashville, Raleigh, Salt Lakes also do well. The Latino population is now much greater and definitely they’re in every city.”
This allows for vertical growth that may not be always visible on the touring charts. Loud and Live’s roster, for example, includes touring stalwarts like Ricardo Arjona, who ends the year at No. 63 on the Top Tours list ($31.5 million gross on 32 shows), but it also includes rising star Camilo, who just fell short of the Top 100, grossing $11.4 million and selling 149,000 tickets in 28 shows.
Tours by smaller acts, says Jorge Juarez, co-founder of management and promotion company Westwood Entertainment, can still yield impressive margins. Rising Mexican rapper Santa Fe Klan, for example, played 23 markets on his first U.S. tour, selling some 7,000 tickets per market at an average $100 ticket price, per Juarez. And regional Mexican acts have seen a surge in ticket sales as well.
“There’s been a general tendency of growth here for the last two years. Certainly, a lot of factors post-pandemic that gave a surge, but we were already on a trend of growth,” says Hans Schafer, senior vp of Latin touring for Live Nation. “It was inevitable that we would reach this point one way or the other […] The sort of evolution that we’re seeing in different genres within Latin is all adding to that. More music, more new artists. Better production at all levels. Connectivity with multigenerational fans.”
On top of that, the growth of the U.S. Latino population and its middle class cannot be discounted as a factor in the overall growth of touring and consumption. According to Nielsen’s “The Evolving Hispanic Consumer” study from 2021, in the next 40 years Latinos will contribute more growth than any other U.S. population segment, contributing 53% of population growth in the next five years and 58% of the growth to 2060. In terms of buying power, from 2010 to 2019, Hispanic buying power increased by 69%, outpacing non Hispanics (41%).
According to a Pew Research Center Statistical Portrait of Hispanics published in July 2022, Latino demographics have grown “in just about every corner of the nation. While California, Texas and Florida hold about half of the U.S. Latino population, the fastest growth rates are in states like North Dakota (up 148% between 2010 and 2020) and South Dakota (up 75% over the same period).”
The growth has profound impact at many levels. In the last decade, for example, Latinos became the largest racial or ethnic group in California for the first time, a fact that explains why cities like Sacramento and San José are now major touring destinations for Latin artists of all stripes.
The direct result of a Latin population with acquisition power can be seen at the new SoFi Stadium, which opened in 2020 in the midst of the pandemic and hosted its first full stadium shows with Los Bukis, the romantic Mexican group that had its heyday in the 1990s, on Aug. 27 and 28, 2021. The stadium also hosted two nights of Bad Bunny this last September.
“The way we position ourselves is, we’re in Los Angeles, we’re in Inglewood, we’re 50% Latino,” says Adolfo Romero vp of programming for SoFi Stadium, Hollywood Park and YouTube Theater, which has held sold out shows by the likes of Rosalía and Mexican rockers Caifanes this year. “We looked at many different artists [for SoFi opening night] and when we saw this opportunity with Los Bukis, we were very aggressive. I think it kind of opened the eyes to the industry to see that Latin acts could do stadiums. That led us to do two nights of Grupo Firme in 2022, and now we have two nights of Bad Bunny.”
Romero says that when he booked Los Bukis for what would be their first-ever U.S. stadiums, the prospect of selling over 70,000 tickets for a Mexican nostalgia act didn’t make him loose sleep. “I come from [major league] soccer. If we can sell 70,000 plus for soccer here, what’s the difference?” he says. “It’s the same demographic. We have disposable income. A lot of our community was working in the service industry. Now, many of their kids are college grads.”
Irving Azoff‘s latest signing to his Iconic Artists Group is “The King of Cool,” Dean Martin.
On Wednesday (Dec. 7) Iconic Artists Group announced a new agreement with The Dean Martin Family Trust to “manage, develop and expand” the legendary singer and actor’s legacy to new generations. The deal encompasses Dean Martin‘s name, image and likeness along with a range of rights from his career, including the trust’s interest in his self-titled variety shows and specials, the Dean Martin Celebrity Roast series, feature films and sound recordings from his time with Capitol and Reprise Records.
Over the course of his career, Martin, who died in 1995, sold over 50 million albums worldwide and appeared in 85 films and numerous TV shows, according to Iconic Artists Group’s press release. His hit songs include “That’s Amore,” “Ain’t That a Kick in the Head,” “Volare,” “You’re Nobody till Somebody Loves You” and “Everybody Loves Somebody.”
Martin rose to fame alongside Jerry Lewis, with whom he had a massively popular show at the 500 Club in Atlantic City, New Jersey beginning in 1946. The live show launched them as an in-demand duo, and they went on to team up for a total of 16 feature films and a string of appearances on The Colgate Comedy Hour.
After splitting professionally with Lewis, Martin went on to host the hugely successful Dean Martin Show from 1965-74, for which he received two Emmy nominations for outstanding variety series. That was followed by The Dean Martin Celebrity Roast, a series of 54 specials that aired from 1974 to 1984.
Martin was posthumously honored with a Grammy Lifetime Achievement Award in 2009.
“Dean Martin was America in film, recordings, nightclubs, comedy & TV,” said Azoff in a statement. “He was the epitome of coolness. It is both an honor and privilege to welcome this cherished American talent to our Iconic family.”
Martin’s long-time business manager and trustee of The Dean Martin Family Trust, Laura Lizer, added, “Dean Martin’s work and cultural influence across so many media platforms, including music, television, movies, radio, and live performances, makes his diverse catalog and legacy one of the most unique assets in entertainment history. Aligning the Dean Martin Family Trust with Irving Azoff’s Iconic Artists Group secures Dean’s legacy for generations to come.”
Founded in January 2020, Iconic Artists Group has made several attention-getting deals over the last couple of years. In January 2020, the company purchased a controlling interest in The Beach Boys‘ music catalog, including sound recordings, select musical compositions, brand and memorabilia. The company also signed a partnership with the family of Nat King Cole to sell asset rights from his estate, acquired Linda Ronstadt‘s recorded music assets and purchased the catalogs of former Crosby, Stills & Nash bandmates David Crosby and Stephen Stills in separate deals.
A new copyright lawsuit claims that Roddy Ricch stole elements of his chart-topping 2019 song “The Box” from a 1975 soul song that’s been repeatedly sampled – legally – by other rappers.
In a complaint filed Tuesday in Manhattan federal court filed against Ricch (real name Roderick Wayne Moore Jr.) and Atlantic Records, songwriter Greg Perry says the smash hit (which spent eleven weeks at the top of the Billboard Hot 100) clearly borrowed from his decades-old song “Come On Down.”
Perry’s lawyers say that an average music fan would be able to hear the “strikingly similar” tempo and melody of the two tracks simply by listening to it, but that more thorough investigation by music experts has more conclusively proven the theft.
“Comparative analysis of the beat, lyrics, hook, rhythmic structure, metrical placement, and narrative context by a musicology expert demonstrates clearly and convincingly that ‘The Box’ is an unauthorized duplication and infringement of certain elements of ‘Come On Down’.”
In specific terms, Perry claims that Ricch infringed the “ascending minor scale played by violin” that plays at the beginning of “Come On Down” and repeats six throughout the song. He says a very similar musical segment is featured in “The Box” and “permeates” the Ricch’s song, repeating 24 times.
According to Perry, “Come On Down” is a popular sample in hip hop – featured in both Yung Jeezy’s 2008 “Wordplay” and in Yo Gotti’s 2016 “I Remember.” But he says that both of those songs were fully cleared and licensed by giving him a songwriting credit and an ownership stake.
“Other [artists] in the rap world that have chosen to copy elements of ‘Come On Down’ have done so legally and correctly,” Perry’s lawyers wrote. “Defendants chose not to license the musical composition from plaintiffs and instead chose to intentionally infringe upon the copyright.”
Typically, a copyright accuser like Perry needs to show that Ricch and the other “Box” songwriters had so-called access to “Come On Down,” meaning they had a chance to copy the song in the first place. But Perry’s lawyers say his was “so popular in both the R&B and Rap Community” as a sample that such access is already “firmly established” at the outset of the case.
The lawsuit does not specify how much Perry is seeking in damages, but his lawyers claim he was given a 50% cut or greater on each of the earlier songs that sampled from “Come On Down,” which could potentially mean millions of dollars in royalties for a chart-topping song like “The Box.”
A rep for Ricch at Atlantic Records did not immediately return a request for comment.
Read the full complaint here:
South By Southwest has announced a second wave of invited artists for next year’s 37th annual showcase event and conference, taking place March 13-18 in Austin, Texas. A scan of the 301 artists reveals a number of standouts, including baroque rock legends The Zombies and the hard-to-categorize Lemon Twigs, along with R&B singer Ambré and garage-punkers Osees.
When listed alphabetically, the Zombies aren’t even the last act in the list — that goes to zzzahara out of Los Angeles. Other standout names include 7ebra (Sweden), ALASKAALASKA (not from Alaska, but London), Baklava Blues (Toronto), Chickasaw Mudd Puppies (Athens, GA), Kill Lincoln (DC, naturally), Puppy Angst (Philly), Revenge Wife (New Hampshire) and Snotty Nose Rez Kids (Kitimat, Canada), among others (full list below).
SXSW announced a first round of nearly 200 artists back in October; that list included Armani White, Algiers and Balming Tiger. The music showcase is just one part of the larger festival, an event founded in 1987 and dedicated to celebrating entertainment and culture. In addition to musical performances, the six-day event also typically gives audiences access to panels and Q&A sessions.
Previously unveiled featured speakers this year include Warner Chappell Music co-chair and CEO Guy Moot, Signal And Cipher chief Ian Beacraft and authors Douglas Rushkoff and Joost Van Druenen.
Among SXSW’s partners for the 2023 edition: Anniversary Group, Atomic Music Group, Athens in Austin, British Music Embassy, Don Giovanni Records, Fire Records, FOCUS Wales, Gorilla vs Bear, Jazz re:freshed Outernational, Pop Montreal, M for Montreal, Music From Ireland, New West Records, Space Agency, and Wide Days Scotland.
Next year will also bring SXSW to Sydney, Australia for seven days and nights from Oct. 15-22, 2023, marking the event’s first foray outside of the United States. Claire Collins was recently announced as head of music for the event Down Under.
SXSW signed a “lifeline” deal with P-MRC, a joint venture between Penske Media Corporation and MRC, the companies announced in April 2021, making P-MRC a stakeholder and long-term partner with the Austin festival. P-MRC is the parent company of Billboard.
Round Two List of Artists:
7ebra (Malmö SWEDEN)Abracadabra (Oakland CA)Adwaith (Carmarthen UK-WALES)Air Waves (Brooklyn NY)ALASKALASKA (London UK-ENGLAND)Ambré (New Orleans LA)Anastasia Coope (Cold Spring NY)Andrea Magee (Austin TX)Andrew Farriss (Barraba AUSTRALIA)Annie Blackman (Brooklyn NY)Annie Hamilton (Sydney AUSTRALIA)Aoife Nessa Frances (Dublin IRELAND)Ask Carol (Auma NORWAY)ÄTNA (Dresden GERMANY)Augustine (Stockholm SWEDEN)Ava Vegas (Berlin GERMANY)Aysanabee (Toronto CANADA)Balaklava Blues (Toronto CANADA)BALTHVS (Bogota COLOMBIA)Begonia (Winnipeg CANADA)Bellah (London UK-ENGLAND)Bella White (Calgary CANADA)Bells Larsen (Montreal CANADA)be your own PET (Nashville TN)Big Cream (Bologna ITALY)Big Wy’s Brass Band (Austin TX)BILK (Essex UK-ENGLAND)Billy King & The Bad Bad Bad (Austin TX)Blxckie (Johannesburg SOUTH AFRICA)Bona Fide (Copenhagen DENMARK)Boy Golden (Winnipeg CANADA)Brad stank (Liverpool UK-ENGLAND)Brittany Davis (Maple Valley WA)Caleb De Casper (Austin TX)Camilla George (London UK-ENGLAND)Candeleros (Madrid SPAIN)The Carolyn (Atlanta GA)Carver Commodore (Florence AL)Casey Lowry (Chesterfield UK-ENGLAND)Catbite (Philadelphia PA)CHAMELEON LIME WHOOPIEPIE (Tokyo JAPAN)Cheekface (Los Angeles CA)CHERYM (Derry UK-N. IRELAND)Chickasaw Mudd Puppies (Athens GA)Child Seat (Los Angeles CA)Christopher Brown (Mamaroneck NY)Cimarron615 (Nashville TN)CIVIC (Melbourne AUSTRALIA)Cloudland Canyon (Memphis TN)CODY JON (Sydney AUSTRALIA)The Color Brown (Carolina PUERTO RICO)Constant Smiles (Ridgewood NY)Corook (Nashville TN)The Courettes (Mariager DENMARK)cowboyy (Portsmouth UK-ENGLAND)Coyle Girelli (New York NY)DAIISTAR (Austin TX)Dana Gillespie (London UK-ENGLAND)Dan Davidson (Edmonton CANADA)Daniel Villarreal (Chicago IL)DAT GARCIA (Monte Grande ARGENTINA)Death Valley Girls (Los Angeles CA)deca joins (Taipei TAIWAN)Decent Criminal (Santa Rosa CA)Del Castillo (Austin TX)DESTA FRENCH (London UK-ENGLAND)Dhruv Sangari and The National Sufi Ensemble (Washington DC)Diatom Deli (Taos NM)Disco Doom (Zurich SWITZERLAND)Dream Wife (London UK-ENGLAND)El Combo Oscuro (Austin TX)Elephant Sessions (Inverness UK-SCOTLAND)English Teacher (Leeds UK-ENGLAND)Enjoyable Listens (Oxford UK-ENGLAND)Enumclaw (Tacoma WA)Estereomance (El Paso TX)Esther Rose (New Orleans LA)Evan Bartels (Tobias NE)Fake Fruit (Oakland CA)Fergus McCreadie (Glasgow UK-SCOTLAND)Floodlights (Melbourne AUSTRALIA)Foley (Auckland NEW ZEALAND)Font (Austin TX)Fonteyn (Salt Lake City UT)The Foreign Resort (Copenhagen DENMARK)Fotocrime (Louisville KY)Fraud Perry (Montreal CANADA)Frost Children (New York NY)Future Crib (Nashville TN)Garrett T. Capps & NASA Country (San Antonio TX)The Garrys (Saskatoon CANADA)Gay Meat (Wilmington NC)Georgia Lines (Auckland NEW ZEALAND)Geskle (Worcester MA)GEWALT (Berlin GERMANY)GIRLI (London UK-ENGLAND)Girl Scout (Stockholm SWEDEN)THE GOA EXPRESS (Manchester UK-ENGLAND)Gold Fang (Sydney AUSTRALIA)Good Looks (Austin TX)GracieHorse (Los Angeles CA)Graham Reynolds (Austin TX)Graham Reynolds & The Golden Arm Trio (Austin TX)Gus Englehorn (Montreal CANADA)Hamish Hawk (Edinburgh UK-SCOTLAND)THE HARA (Manchester UK-ENGLAND)Heartworms (London UK-ENGLAND)Hembree (Kansas City KS)HIEN (Budapest HUNGARY)Holly Montgomery (Falls Church VA)Housekeys (Fort Worth TX)Huntly (Melbourne AUSTRALIA)The Hypochondriacs (Fredericton CANADA)Igor Grohotsky (Kyiv UKRAINE)Iona Zajac (Glasgow UK-SCOTLAND)IOTA PHI (Athens GREECE)Ishmael Ensemble (Bristol UK-ENGLAND)IST IST (Manchester UK-ENGLAND)Jake Whiskin (Leeds UK-ENGLAND)JayWood (Winnipeg CANADA)Jaz Karis (London UK-ENGLAND)JER (Gainesville FL)Jessica Winter (London UK-ENGLAND)JM Stevens (Austin TX)Johnny Chops (Austin TX)Júlia Colom (Valldemossa SPAIN)July Talk (Toronto CANADA)Junk Drawer (Belfast UK-N. IRELAND)Kadeem Tyrell (London UK-ENGLAND)KALLITECHNIS (Montreal CANADA)Kalpee (Lange Park TRINIDAD AND TOBAGO)Kalu & The Electric Joint (Austin TX)Kate Davis (Frederick MD)Katie Toupin (Lexington KY)Katy Rea (Brooklyn NY)KAZKA (Kyiv UKRAINE)Kid Bookie (London UK-ENGLAND)Kill Lincoln (Washington DC)Kindsight (Copenhagen DENMARK)KING STINGRAY (Nhulunbuy AUSTRALIA)KOKO (Pesaro ITALY)Koleżanka (Brooklyn NY)La Paloma (Madrid SPAIN)Larkins (Manchester UK-ENGLAND)Laszlo and the Hidden Strength (New York, NY)Lauren Ann (Newry UK-N. IRELAND)Laveda (Albany NY)The Lemon Twigs (Long Island NY)Lil Cherry & GOLDBUUDA (SAUCE CARTEL) (Seoul SOUTH KOREA)Lime Garden (Brighton UK-ENGLAND)LÓN (Reykjavík ICELAND)Lontalius (Auckland NEW ZEALAND)Lorelei K (Dallas TX)Low Island (Oxford UK-ENGLAND)Luna Luna (Dallas TX)Maestro Espada (Murcia SPAIN)Mandy, Indiana (Manchester UK-ENGLAND)Manwolves (Chicago IL)Marcus Joseph (Leicester UK-ENGLAND)Mariel Buckley (Calgary CANADA)Marshall Hood (Austin TX)Mary Scholz (Los Angeles CA)Mauvey (Vancouver CANADA)MEERNAA (Oakland CA)Mexico City Heartbreak (Los Angeles CA)Micah Edwards (Houston TX)Miranda and the Beat (Brooklyn NY)Mnelia (London UK-ENGLAND)Moon Panda (Copenhagen DENMARK)Moriah Bailey (Oklahoma City OK)Mustangs Of The West (Los Angeles CA)Mya Byrne (Oakland CA)Natalie Shay (London UK-ENGLAND)Nathan Graham (Chicago IL)Night Tapes (London UK-ENGLAND)Noah And The Loners (London UK-ENGLAND)Normal Echo (Vancouver CANADA)Obongjayar (Calabar NIGERIA)Oracle Sisters (Paris FRANCE)OSEES (Los Angeles CA)otay:onii (Haining CHINA)Otis Wilkins (Austin TX)Painted Shield (Seattle WA)Palehound (Brooklyn NY)Paraísos (Barranquilla COLOMBIA)Party Dozen (Sydney AUSTRALIA)Patrick Holland (Montreal CANADA)Peach Luffe (Toronto CANADA)Pearl & the Oysters (Los Angeles CA)Pearl Earl (Los Angeles CA)PENDANT (Los Angeles CA)Personal Trainer (Amsterdam NETHERLANDS)Philine Sonny (Bochum GERMANY)Pink Nasty Meets El Cento (Austin TX)The Pink Stones (Athens GA)Plastic Picnic (Brooklyn NY)The Pleasure Majenta (Berlin GERMANY)Pleasure Venom (Austin TX)Poison Ruin (Philadelphia PA)Pol (Amsterdam NETHERLANDS)Poppy Jean Crawford (Los Angeles CA)popsiclestickairport (Gilbert AZ)POSTDATA (Halifax CANADA)Prim (Modena ITALY)Prima Queen (London UK-ENGLAND)Primo the Alien (Austin TX)Public Body (Brighton UK-ENGLAND)Puppy Angst (Philadelphia PA)Queen Millz (Leicester UK-ENGLAND)Rae Fitzgerald (Columbia MO)Redolent (Edinburgh UK-SCOTLAND)Reilly Downes (Bandera TX)Renée Reed (Lafayette LA)Rett Smith (Austin TX)Revenge Wife (Manchester NH)Rhinestone Pickup Truck (Asheville NC)Rinse & Repeat (Los Angeles CA)Roanoke (Nashville TN)Rob Cannillo (Florida NY)Rock Eupora (Nashvlle TN)Rod Gatort (Austin TX)Rogê (Rio De Janeiro BRAZIL)Roots From The Clay (Katy TX)Rose’s Pawn Shop (Los Angeles CA)Rosier (Montreal CANADA)Ryan Pollie (Los Angeles CA)sadie (Brooklyn NY)SAFER (Brooklyn NY)Salarymen (Sydney AUSTRALIA)Schatzi (Austin TX)The Scratch (Dublin IRELAND)Shae Universe (Watford UK-ENGLAND)Shanghai Baby (Madrid SPAIN)Shooks (Austin TX)Shutups (Oakland CA)Skye Wallace (Toronto CANADA)S.L. Houser (Austin TX)Snooper (Nashville TN)Snotty Nose Rez Kids (Kitimat CANADA)Sobs (Singapore SINGAPORE)Solar Eyes (Birmingham UK-ENGLAND)Sorcha Richardson (Dublin IRELAND)Sorry Mom (New York NY)South For Winter (Nashville TN)SpivOberta (Dobropillia UKRAINE)Spllit (Baton Rouge LA)S. Raekwon (New York NY)Stacey Ryan (Vaudreuil-Dorion CANADA)Stoneburner (Baltimore MD)Strawberry Guy (Liverpool UK-ENGLAND)Sunday Cruise (Chicago IL)Sunflower Bean (New York NY)Super Plage (Montréal CANADA)SURMA (Leiria PORTUGAL)Sweeping Promises (Lawrence KS)Sword II (Atlanta GA)Talia Goddess (Brooklyn NY)Tami Neilson (Auckland NEW ZEALAND)Tayls (Nashville TN)The Tender Things (Austin TX)Thala (Berlin GERMANY)Theodore (Athens GREECE)THICK (Brooklyn NY)Thin Lear (Waldwick NJ)Thor & Friends (Austin TX)The Tiarras (Austin TX)TITA (Guatemala City GUATEMALA)Tokio Myers (London UK-ENGLAND)Tribe Friday (Örebro SWEDEN)Trouble in The Streets (Austin TX)Truth Club (Raleigh NC)T. Thomason (Halifax CANADA)Tufan Derince (Diyarbakir TURKEY)Tulliah (Mornington Peninsula AUSTRALIA)TUSHAR (Adelaide AUSTRALIA)TVOD (Brooklyn NY)TYSON (London UK-ENGLAND)Ulysses Wells (Isle Of Wight UK-ENGLAND)UNI and The Urchins (New York NY)Vanille (Montreal CANADA)Venus Twins (Brooklyn NY)Viper Club (Phoenix AZ)VLURE (Glasgow UK-SCOTLAND)Voka Gentle (Stroud UK-ENGLAND)VooCha (Melissa E. Logan / Chicks on Speed) w/ Gaisma & Yohanna Logan (Berlin GERMANY)Warmduscher (London UK-ENGLAND)The Waymores (Atlanta GA)We Are The Union (Los Angeles CA)The Wends (Turin ITALY)West Texas Exiles (Austin TX)Winona Forever (Vancouver CANADA)Woodes (Melbourne AUSTRALIA)The XCERTS (Aberdeen UK-SCOTLAND)XENZU (Beijing CHINA)Yacko & Tuan Tigabelas (Jakarta Selatan INDONESIA)YAYOI DAIMON (Osaka JAPAN)You Said Strange (Giverny FRANCE)Youth Sector (Brighton UK-ENGLAND)YU-KA (Tokyo JAPAN)The Zombies (St. Albans UK-ENGLAND)zzzahara (Los Angeles CA)
BMG has acquired the catalog of Peter Frampton, the company announced today (Dec. 7). The deal includes his publishing, songwriter, artist and session work revenue streams, as well as his neighboring rights, for the entirety of his career, including massive hits like “Baby I Love Your Way” and “Show Me the Way,” as well as his work with Humble Pie. Terms of the deal were not disclosed.
In a statement, Frampton said he was “pleased to join the BMG family. As an artist-first company, I trust BMG will care for my legacy and that my songs are in good hands.”
It’s the latest acquisition deal for BMG, which has also picked up the rights to catalogs of Harry Nilsson, Jean-Michel Jarre, John Lee Hooker and John Legend (in partnership with KKR) in the past year. This deal extends as far back to works by Frampton’s first band, The Herd, and includes his latest album, 2019’s All Blues.
“From his incredible early rise of success to Humble Pie, his countless collaborations to achieving global stardom as a solo artist, Peter Frampton is one of the most inspirational and tireless musicians of his time,” BMG’s president repertoire & marketing for New York and Los Angeles Thomas Scherer said in a statement. “We are proud a legendary artist of his caliber entrusts BMG as the custodians of his most treasured works. A revered musical catalog of this magnitude, paid tribute to by countless artists, will continue to live on for generations.”
Journey‘s new manager, Mike Kobayashi, confirmed late Tuesday he was “just hired,” taking over from player-managers Neal Schon and Jonathan Cain after a roller-coaster year.
The classic-rock fixture sold 296,000 tickets and grossed $31.9 million on its 2022 arena tour, according to Billboard Boxscore, doubling the revenue pace of its previous headlining tour, in 2017, which grossed $31.7 million over 67 shows.
But the band ended 2022 with an internal squabble over an American Express card: Lead guitarist Schon sued keyboardist Cain last month for refusing to give Cain access to an account representing “millions in Journey funds”; Cain responded that Schon was “running up enormous personal charges” on the account.
The lawsuit, pending in California Superior Court, is one of several legal disputes involving Cain and Schon, one of the band’s founders, and other Journey members in recent years. In 2020, the two musicians sued drummer Steve Smith and bassist Ross Valory, accusing them of improperly trying to take control of the band name; Valory filed a counter-complaint, and the lawsuit ended with a 2021 settlement in which Smith and Valory left the band.
And after Schon and Cain trademarked names of many of the band’s hits, such as “Wheel In the Sky,” former frontman Steve Perry filed an action in U.S. Trademark Court in September to stop the process. Perry cited a long-running band partnership agreement that requires Schon and Cain to get his permission to make these kinds of trademark moves.
Kobayashi, who also manages fellow road warriors Def Leppard, did not respond to requests for further comment on his new position with Journey.
Journey hasn’t had a new hit in decades, but the band remains a top-tier touring act and occasionally scores high-profile synchs in shows like The Sopranos and, last spring, Stranger Things, the Netflix series that revived Kate Bush‘s “Running Up That Hill” on the charts.