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Sean “Diddy” Combs was hit with another wave of six civil abuse lawsuits late Sunday, including several cases alleging attacks as late as 2022 and one claiming he sexually assaulted a 13-year-old girl.
Filed by anonymous Jane Doe and John Doe plaintiffs, the lawsuits are the latest from attorneys Andrew Van Arsdale and Tony Buzbee, who filed six other cases against Combs last week and warned earlier this month that they represent at least 120 such alleged victims.
In one case, a Los Angeles businessman says Combs exposed himself and groped him during a 2022 promotional event for his Ciroc vodka brand. In another, a musical artist says the rapper drugged and raped her at a 2022 party in New York City. In yet another, a personal trainer says the star similarly dosed him and forced him to engage in repeated sex acts during a 2022 awards after party.
“While in and out of consciousness, individuals at the party forced plaintiff into sexual acts with both men and woman,” the lawsuit reads. “Plaintiff’s physical disposition made it impossible for him to reject their advances or otherwise control his body. These individuals, including Combs, essentially passed Plaintiff’s drugged body around like a party favor for their sexual enjoyment.”
In the most shocking allegation, one case alleges that Combs “drugged and raped a thirteen year-old girl at a house party,” an incident that allegedly followed the 2000 MTV Video Music Awards and took place in the presence of other unnamed celebrities who also participated in the assault.
A representative for Combs did not immediately return a request for comment on the new cases. In a previous statement on Buzbee’s earlier suits, his legal team said he has “never sexually assaulted anyone” and that he has “full confidence in the facts, their legal defenses, and the integrity of the judicial process.”
Once one of the most powerful men in the music industry, Combs has faced a flood of abuse accusations over the past year, starting with a bombshell civil case from his former girlfriend Cassie Ventura and then followed by a dozen additional lawsuits. Last month, he was indicted by federal prosecutors over allegations that he ran a sprawling criminal operation for years aimed at satisfying his need for “sexual gratification.” If convicted on the charges, which include sex trafficking and racketeering, he faces a potential sentence of life in prison.
Many of the previous lawsuits deal with allegations stretching back years, some dating to the early 1990s. Some of Sunday’s new cases include similar claims, including one from an Arizona woman who claims Combs drugged and raped her following a party at Las Vegas’ Planet Hollywood hotel.
But the new cases also include accusations that reach up until December 2022, less than a year before Combs began facing public abuse allegations. In that case, filed by the unnamed musical artist, the plaintiff claims she attended a New York City party hosted by Combs that month; after having a single glass of wine, she says she soon began “slipping in and out of consciousness.”
“Due to the effects of her drugged drink, Combs raped and sexually assaulted plaintiff,” her lawyers say. “Plaintiff could not stop him from doing so, as if she was trapped inside her body not participating but not able to resist.”
Three of the cases on Sunday were filed by men and three by women; five of them were filed in New York federal court, as were Buzbee’s previous lawsuits. But one was filed in Manhattan’s state court, where an unnamed security guard says that Combs drugged him at a 2005 party and “reached into plaintiff’s pants and grabbed plaintiff’s penis and genitals.”
Also on Sunday night, Combs’ lawyers filed a motion asking the judge overseeing the criminal case for a gag order that would bar alleged victims and their attorneys from issuing “extrajudicial statements” about Combs to the press. They argued such victims are potential witnesses in the upcoming criminal trial and that media statements “threaten Mr. Combs’s right to a fair trial.”
Demetrius “Big Meech” Flenory, the convicted drug trafficker and money-laundering kingpin who was involved in the early careers of rappers Jeezy and T.I. in the 2000s via his label BMF Entertainment, has been released from prison, Billboard has confirmed. Flenory, who was sentenced to 30 years in prison in 2008 after being convicted on several […]
James Leach, vp of creative services and West Coast operations for SESAC, passed away on Thursday (Oct. 17) in Los Angeles. The well-respected music industry executive died following a battle with cancer.
Beginning his tenure at SESAC in 2001 as director of writer/publisher relations, Leach covered pop, R&B and rock. During his 23 years with the performing rights organization, Leach signed funk legend George Clinton, Lalah Hathaway and Ab-Soul as well as songwriter/producers such as Nate “Danja” Hills, Harvey Mason Jr. (The Underdogs) and John “Jaylien” Wesley. He also established the company’s Los Angeles office.
Paying tribute to Leach, SESAC commented in part on its website, “Emanating from his warmth, kindness and enthusiasm for life, James will continue to shine light on those he knew … James was not just a leader for the Los Angeles-based creative services team but a constant wellspring of support and inspiration for SESAC-affiliated songwriters and publishers. In addition to his deep love of music and unwavering dedication to nurturing talent was his advocation of culture and DEI. He continuously promoted awareness and understanding. His ethos of service and making things better was the keystone of his work.”
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Hailing from Montclair, N.J., before relocating as a teen with his family to L.A., Leach graduated from Pepperdine University with a degree in broadcast management. His lifelong love affair with music and the arts laid the foundation for a multi-faceted career that included stints in TV and radio sales, as a recording studio owner and as the head of his own music placement firm, Leach Entertainment. Internships at Famous Music and Michael Jackson’s ATV Music (prior to its merger with Sony) led to his being appointed director of creative affairs at ATV. During his seven years there, Leach signed writer/producers like Keith Crouch and Derek Allen and also worked with the catalogs of Jackson, The Beatles and Sly & the Family Stone.
Returning to Famous Music as director of creative affairs/urban music, Leach signed then-unknown songwriter/artist Akon. After leaving Famous, Leach worked as a music supervisor and consultant. His credits in that arena include the popular ‘90s series New York Undercover and Magic Johnson’s The Magic Hour.
A Billboard R&B/Hip-Hop Power Players honoree in 2019, Leach was presented with the Entertainment Advocate Award by the Living Legends Foundation in 2015. He also served on the foundation’s advisory board.
Calling Leach “the consummate professional,” Living Legends Foundation chairman David C. Linton tells Billboard, “He brought such value to enhance our mission of ‘service, scholarship and preserving the legacy of Black music executives.’ His presence will be missed both professionally and personally. Our prayers go out to his family and all who know and love him.”
Leach is survived by his mother, Claudia Leach, in addition to his siblings and other family members. The family is asking that donations in his honor be made to The Mr. Holland’s Opus Foundation.
Twitch’s head of music, Cindy Charles, has died after being involved in a traffic accident last week in The Netherlands.
Twitch CEO Daniel Clancy confirmed Charles’ death Friday (Oct. 18) on LinkedIn. Clancy remarked that “anyone that uses music on Twitch owes a debt of gratitude to Cindy’s work. She always had a bright smile on her face even as she negotiated unprecedented music licensing agreements for Twitch including the recent DJ agreement.”
That deal, which specifically covers DJs who live-stream on the platform, was announced in June and involved Twitch signing music licensing deals with all three major labels — Universal Music Group, Warner Music Group and Sony Music Entertainment — as well as many indie labels represented by Merlin.
Charles was meant to speak on a panel Thursday (Oct. 17) at the Amsterdam Dance Event, an annual dance music industry conference in the Dutch capital, offering expertise for DJs using Twitch.
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Before her six years at Twitch, Charles worked as an independent digital media consultant and also spent three years at Amazon, where she worked as the head of business development in the music department of Amazon Ticketing, along with working in the Video Shorts department. Earlier in her career, she spent seven years at Viacom, where she managed digital legal and business affairs for entities within MTV Networks.
Beyond those positions, Charles served as an advisor to the board of governors at the Recording Academy, was a co-founder of Women in Digital, which has more than 1,500 members, and co-founded the San Francisco chapter of She is the Music.
Charles was based in Berkeley, Calif., and grew up in Queens, N.Y., majoring in political science at SUNY Buffalo. She is survived by her husband, Ricky Fishman, and her two sons.
“Every success, every setback, every moment of working toward our shared mission felt deeply personal,” Twitch’s Kira Karlstrom wrote in a remembrance of Charles, “because Cindy made it that way. She cared about her team with all her heart, and our work was an extension of that care.”
Ricky Montgomery began rehearsing for his tour in late January. The singer/songwriter played shows across America before heading to Europe, Asia and Australia, returning to the U.S. in June. “It had been a long year, and I was also sick,” he says. That’s when he found out his label had dropped him.
“There was a disconnect as far as creative direction,” he explains. “The label didn’t really know what to do with me, and instead of listening to my ideas, they just tried to apply standard pop templates. Ed Sheeran was the one they thought would work.”
That “disconnect” is the subject of Montgomery’s upcoming single, a downcast acoustic ballad out October 24 called “Superfan.” He sings with a deflated quaver: “Team just got the numbers in/Said try it more like Ed Sheeran/But he’s not me, and I’m not him.”
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Being dropped hasn’t hurt Montgomery’s career, though. In fact, he’s now earning more streams — around 2 million streams a day across his catalog — than he was previously. “For better or worse, it’s a social media content game now,” says the 31-year-old singer, who has close to 2 million TikTok followers. “So if you’ve been investing your time into that, the odds are that you’re going to be totally fine if a label decides to drop you.”
Getting dropped is in vogue this year: Two of the biggest breakout artists of 2024, Chappell Roan and Shaboozey, were both cut by major labels before their recent explosive success. And more acts could soon join their ranks, because the major labels have been cutting costs by slashing staff — and dropping artists.
“Each time there have been major staff layoffs across the label systems, concurrently there were artists released from rosters,” says Leon Morabia, a partner at Mark Music & Media Law. “Some artists are really happy about it and relieved, and some artists are very upset. Their reaction ultimately depends on how much they depend on the record company to do what they do.”
Dropped acts lose access to an extended support team; plans for upcoming releases must be jettisoned or heavily reworked; tours can be scrapped. That said, Lulu Pantin, founder of loop legal, is adamant that “being dropped has no bearing on long-term success.” And this is probably more true than ever.
During a recent interview with Bloomberg, Sony Music CEO Rob Stringer pointed out that when he joined the music industry in 1985, labels had a lock on manufacturing, distribution and radio. “We had a lot more power,” he said. Today, in contrast, “the artists have at the very least equal power to us.”
That’s because they can make music cheaply, and promote it internationally, without ever leaving the house. “Artists have to be as good, if not better, at marketing as any professional marketer now,” Montgomery says. “They are, by default, the most experienced person in the room in marketing meetings.”
At the same time, the buttons that labels can push — to get radio play, appearances on award shows and late-night television, and prominent press placements — no longer guarantee real fans. As a result, Montgomery says, “Labels only want to focus on Tiktok or Reels or YouTube Shorts right now. I had three times as many meetings about TikTok strategy as I did about music. There’s no reason you can’t do that stuff on your own.”
Still, getting dropped can be jarring, a corporate version of a breakup. And like a breakup, disentangling takes a while, as it requires additional negotiation between the artist’s team and the label. “It’s not just, someone waves a magic wand and then you’re dropped,” says an A&R who left a major label job earlier this year.
This legal wrangling can be crucial for the next phase of an artist’s career. In a typical record deal, the label enjoys exclusive rights to any songs delivered during the contract period — even if they haven’t come out yet. For artists who are being shown the door, then, “the key point is who gets ownership of the unreleased music,” Pantin says.
Record companies are reluctant to give these rights up, since they helped fund the songs’ creation. To secure the return of unreleased music, artists may have to give the label a concession, either in the form of “an ‘override’ payment or a royalty on sales and streams,” Pantin adds.
If the label refuses to give up the rights to unreleased songs, artists have one other option. “I’ve called labels and asked them to waive the re-recording restriction,” says Tiffany Almy, founder of PKA Law. The re-recording restriction is in place to prevent an artist from putting out a competing version of a song the label already released, a tactic made famous by Taylor Swift with her Taylor’s Version album re-recordings. But the restriction serves no purpose if the label never put out the track in the first place. And if the artist succeeds in convincing the record company to nix that provision, they can then re-cut their music — on their own dime this time — for release.
Another point of negotiation when artists and labels are uncoupling: The act may be able to obtain some additional money, depending on the structure of their contract. “The deal could be worth $500,000, and $150,000 is given to the artist on signing and the rest is for recording,” the former A&R executive explains. “Then when you deliver the album, whatever’s left from the fund is supposed to go into the artist’s pocket.”
Attorneys try to prepare for these situations long before the label is even thinking about trimming rosters by including what’s known as “a pay-or-play provision” in the artist’s initial contract. (The initial deal negotiation period is when lawyers push for other protections as well: “I always try to build in caveats that the re-recording restriction doesn’t apply if the track doesn’t get released within a certain period of time,” Almy says.)
The pay-or-play clause ensures that, “If you get dropped in the middle of the contract period, you will be entitled to at least a portion of the remainder of the fund,” explains Oren Agman, an entertainment attorney. “Labels are now capping that, so they’ll give you maybe 30% or 40% of the balance. [But] if you have no pay-or-play provision, then you’re not getting anything other than the advance.” Jodie Shihadeh, a music lawyer, calls this provision “one of the last key points” when negotiating a record deal.
While the lawyers for both sides go back and forth after an act is dropped, the artist may be stuck twiddling their thumbs. “I’ve seen labels delay responses for months, extending the process and keeping artists in limbo,” Pantin says.
That limbo period matters because an artist technically can’t sign a new deal before getting out of the old agreement. Some do so anyway, figuring a label that dropped them isn’t likely to spend money suing them for breach of contract. “It can be a game of chicken,” the former A&R notes.
For an artist’s collaborators, it may be more than that — they don’t have the potential cushion of a pay-or-play clause. Many labels give a producer half their fee for a track up front, and fork over the rest only when that track comes out, Almy says. A dropped artist may mean a shelved track; for a producer, a shelved track represents lost income. “I’ve called the A&R at the label that dropped the artist and asked them to consider paying the producer for the work that they already did,” Almy says. Mixers are often in the same predicament.
Artists have it easier, because they can just start recording and releasing as they see fit. “I’ve seen some artists where it really helped that they got dropped, even though they didn’t want to be,” Shihadeh says.
Another recent post-drop success story is Gigi Perez, who parted ways with Interscope earlier this year. “I was stuck inside of a machine that didn’t work or make sense for me and I was unhappy,” she wrote in a lengthy message on Instagram on March 8. “I think a ton of artists were/are in this position as this new model of the music industry changes.”
She ended her post on an upbeat note: “Let’s go, bitches.” And in July, she released “Sailor Song,” a muscular folk track that works as well in an arena as it does around a campfire. It proved to be effective on TikTok as well: Users were soon soundtracking tens of thousands of videos with at least three different snippets of the single.
Streams of “Sailor Song” shot up. And on October 8th, Perez announced a new label home: Island Records.
Instagram announced a new feature on Thursday (Oct. 18) that makes it easier for users to save songs they discover while perusing the app.
The social app aims to make the music-saving process as frictionless as possible — and users don’t have to leave Instagram to do it. If they find a song they like, they can simply click on the track to reach its audio page and then tap the “add” button. Saved tracks show up in their “Liked Songs” playlist on Spotify. Currently, no other streaming services are integrated with Instagram.
The Spotify-Instagram integration comes roughly a year after TikTok launched its “Add to Music App,” a very similar feature that allows users to save music they find on the platform. TikTok had more partners for its feature — not just Spotify initially, but also Amazon Music and Apple Music.
“TikTok is already the world’s most powerful platform for music discovery and promotion, which helps artists connect with our global community to drive engagement with their music,” Ole Obermann, TikTok’s global head of music business development, said in a statement last year. The new feature “takes this process a step further, creating a direct link between discovery on TikTok and consumption on a music streaming service, making it easier than ever for music fans to enjoy the full length song on the music streaming service of their choice, thereby generating even greater value for artists and rights holders.”
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The “Add to Music App” has become even more of a priority for TikTok recently. In September, the company announced that it was shutting down its subscription streaming service, TikTok Music, to focus more on integrating with existing streamers. “Our Add to Music App feature has already enabled hundreds of millions of track saves to playlists on partner music streaming services,” Obermann said.
On Wednesday (Oct. 16), TikTok announced that another streaming service would join the “Add to Music App”: Melon, which is popular in South Korea.
“Since the launch of Add to Music App, we have seen the TikTok community fully embrace the opportunity to save the songs they discover to the music streaming service of their choice,” Michael Kümmerle, global head of music partnership development, said in a statement. “Our new partnership with Melon means that millions more music fans in Korea will be able to save, share and listen again to music they fell in love with on TikTok.”
Dorothy “Dottie” Leonard Miller, an entrepreneurial executive who founded several influential gospel and Christian music companies during a career spanning decades, died Friday (Oct. 11) at age 79.
After launching her own distribution company, New Day Christian Distributors, in 1981, Miller went on to create a veritable empire in the faith-based music business, with subsequent ventures including DayWind Soundtracks, DayWind Records, DayWind Music Publishing, two recording studios, and a cassette and CD manufacturing facility. More recently, she expanded her businesses to encompass DayWind Worship (choral music), Spiritus Distribution (Catholic products), Billy Blue Records (bluegrass), Billy Jam Records (country and Americana), Billy Blue Publishing and the DayWind Music Foundation, which provides an internet radio station focused on Southern Gospel.
“Dottie was a visionary, a pioneer, she was determined, humble, and generous,” said Rick Shelton, vp of DayWind Publishing, in a statement. “Serving her vision, her artists, her songwriters and the industry she loved has been a tremendous honor. What she did with her life touched the lives of so many.”
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Across her various music ventures, Miller worked with a laundry list of gospel and Christian artists including the Cumberland Boys, Greater Vision, the Crabb Family, Karen Peck and New River, Brian Free and Assurance, The Isaacs, Triumphant Quartet, Down East Boys, the Perrys, the Hoppers, Jonathan Wilburn, the Steeles, the Nelons, Lefevre Quartet, Michael English, Appalachian Road Show, Doyle Lawson and Quicksilver, Tennessee Bluegrass Band, Carolina Blue, Kristy Cox and Grasstime, Joe Mullins and the Radio Ramblers, and Bob Minner.
Miller’s success garnered her a slew of awards over the years, including lifetime achievement awards from the Gospel Music Association, BMI and the Southern Gospel Music Guild. She was also inducted into the Southern Gospel Music Hall of Fame and the Gospel Music Hall of Fame.
“Dottie Leonard’s story is a woman with vision, faith, and courage to make a difference,” said Jackie Patillo, president of the Gospel Music Association, in a statement. “Her work and tenacity will be forever remembered as will her legacy as a single mother, founder of Daywind Records, and New Day Distribution, and member of the GMA Gospel Music Hall of Fame. On behalf of the GMA Board of Directors and the entire gospel music community, we say farewell to Dottie and offer our deepest condolences to her family as she has now received her greatest reward.”
Born Aug. 10, 1945, in Wilmington, Del., Miller’s early jobs included clerical work at an accounting firm and a law firm, selling Jhirmack hair products, and working for the Democratic Party of Tennessee on campaigns for Senator Jim Sasser, President Jimmy Carter and more. As a single mother raising two children in Hendersonville, Tenn., she made ends meet throughout this early period by working a second job in ER admissions at a local hospital.
Miller’s first music industry job came when she was hired as a receptionist at Calvary Records in Nashville. She went on to work with radio stations and Christian bookstores promoting artists including the Hinsons and the Telestials. She later took a job at Windchime Records, where she worked with artists including the Paynes and Heavenbound before founding New Day with funding from her father, brother Bill Golt and family friend Ray Lorrig.
In addition to her family, co-workers, friends and artists, Miller enjoyed spending time in Florida and at her cabin in Lafayette, Tenn., where she had alpacas, donkeys and goats. Her travels took her throughout the U.S., Europe, Africa and the Caribbean.
Miller is survived by her daughter, Susan Leonard Sovine, and grandchildren Taylor McKellar and Kennedy Sovine; her son, Ed Leonard, his wife Kathleen, and their children Eddie Leonard, Mary Leonard, Evan Leonard, Aidan Leonard (Caroline Leonard), Rachael Zuckett (Joey Zuckett), Caroline Leonard, Ian Leonard, Liam Leonard, and Emily Leonard; her great-grandchildren Leo Zuckett and Eloise Joyce; her sister, Cynthia Paranczak; and her longtime companion, Jere Miller. She was preceded in death by her brother, Bill Golt, and her parents, William and Dorothy Golt.
A celebration of Miller’s life will be held at a later date.
You can read more tributes to Miller below.
“For the more than forty years of our friendship, Dottie was a champion for our genre’s Music. She was a pioneer in her field, and she was passionate about her mission to get The Gospel to as many people as possible. I will miss her enthusiasm and our conversations, which always included lots of laughter. My friend is with The Lord, but we WILL meet again, soon!” – Gerald Wolfe, Greater Vision
“Dottie was one of my greatest heroes and influences. She blazed the trail for many of us in Southern Gospel Music. I love that she always trusted the Lord in fulfilling her dreams of spreading the Gospel of Jesus Christ into all the world. Those dreams became realities. Now she is reaping the harvest of the many souls she touched for the cause of Christ. I love and appreciate Dottie more than words can express. She will be greatly missed. Her legacy will live on forever.” – Karen Peck-Gooch, Karen Peck & New River
“Almost 30 years ago I met a wonderful, smart, classy lady named Dottie. She had the ability to make you smile even when you didn’t necessarily feel like it. She lit up a room the moment she walked in no matter who else was there. She also showed the world she was a savvy businesswoman by starting the best record company in the world. I’ll miss you Dottie and so will many other people but I’m glad you’re not in pain anymore. I’ll never forget your smile.” – Brian Free, Brian Free & Assurance
“I’ve been with Daywind Records for over 20 years. I’ll never forget Dottie taking a chance on signing me after I got out of rehab and I was only six months clean and sober. She will be truly be missed” – Joseph Habedank
“She was a front runner in a world where businesses were run by men. She was an incredibly strong woman. She gave a lot of families hope and jobs. Nothing got in the way of her vision. On a personal side, our family has been a part of Daywind for over 25 years. We love Dottie. When Shellye and I first got married, we were doing everything we could to make ends meet. Dottie would give us her condo to have a vacation. Dottie was special to all of us. She is forever going to be miss. BUT can you imagine what she’s doing right now? She’s having a time. We wouldn’t bring her back for nothing. Dottie, enjoy it. You told everybody about. You helped everybody tell others about it. Welcome into the kingdom.” – Jason Crabb
“We can only imagine the reunion our beloved friend Dottie is having with so many artists she helped and loved along the way. She is home and at perfect peace with her Savior who is no doubt smiling with her because of the incredible heavenly choir she helped ensure with her earthly faithfulness. We will join them one day and we will all finally feel complete. Dottie, you are so loved and will be missed so much.” – The Isaacs
“Our beautiful Dottie Leonard has taken her flight like a mighty eagle. What an exceptional woman of faith, wisdom, foresight, courage and excellence; she paved the way for so many of us! She was a true fan of Gospel Music and believed it was her lifelong calling to ensure that great gifts in us are to be celebrated & given worldwide platforms. On a personal note…. she was/is a dear friend whose legacy will live forever. She was the treasure of encouragement. We didn’t ‘lose’ her… we know exactly where she is! Please give Mama Dottie Rambo a hug from me. Love you so much… see you at The House.” – Reba Rambo
“Dottie was one of the most respected and admired people in Southern Gospel music and beyond! Her work ethic was what one should strive to emulate. Awarded here, rewarded on Heaven’s shore!” – Doyle Lawson
“We will always remember Dottie as a sweet, dedicated, woman of God, who changed the world with her love of gospel music, and we will be forever grateful for the gift of her encouragement in our lives.” – Jim and Melissa Brady
“I met Dottie over 30 years ago, and I knew then I had met a “life friend”. She was a friend, business partner, and great counselor. Life was made sweeter because of her love for me. I will meet her again because of our belief in the savior, Jesus Christ.” – Jonathan Wilburn
“Had it not been for Dottie Leonard Miller, you would have never heard a song I’d written, a track I’d produced, or an orchestration I’d created. She believed in me when others didn’t. She believed in me when I didn’t believe in myself. She gave us the truest example of how faith in motion works. And now her faith has become sight. I am heartbroken, but I know I will find her again.” – Wayne Haun
“Dottie Leonard Miller wasn’t just a pioneer; she was a trailblazer with a heart full of faith and a vision that reshaped the landscape of Southern Gospel music and the Christian bookstore industry. Through Daywind Records and New Day Christian Distribution, she brought light, and hope to so many, empowering artists, songwriters, bookstores, publishers, record labels and touching countless lives. Her legacy is one of unwavering dedication and belief in the power of the gospel to change hearts. We have lost a true giant and a treasured friend, but her spirit will continue to inspire us every day.” — Dusty Wells, Director of A&R and Label Relations, Daywind Music Group
“Dottie Leonard Miller was a true inspiration and encourager to many across this country and around the world. Her love for others and leadership through Gospel Music will continue to impact lives for decades to come.” – Gary Casto, Tribute Quartet
“Dottie was a visionary and a pioneer. People with that gift and calling are a breed apart, often questioned and sometimes misunderstood, but fiercely dedicated to allowing the dream inside them to manifest itself in the physical realm. Dottie’s dedication to that dream and its’ subsequent value will only fully be recognized in eternity. The music she championed reverberates not only on earth but in heaven as well, and countless lives have been changed, hearts have been encouraged, and burdens lightened by the message of the resources provided by New Day Distribution and Daywind Records. Thank you, Dottie, for being true to the call God had on your life. We are all blessed by the fruit you bore and your faithfulness to never give up.” – Billy Blackwood, Blackwood Brothers Quartet
“Dottie Leonard Miller’s passion for music was unmatched. And, her vision and God-given ability to use the power of that music to reach people in a positive way through the companies she has built, has literally impacted millions of lives over her long and illustrious career. She was easily one of the strongest women and most faithful servants of God I have ever known. She was so proud of our Daywind, New Day, and Billy Blue family, and she loved and appreciated each and every artist and member of our family. She will be greatly missed, but her legacy will be honored by continuing to spread the Gospel and love of Jesus Christ through the music and products we create.” – Jerry Salley, A&R/Creative Director, Billy Blue Records
Time to drop the needle on the latest Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music.
Read on for good news and also check out Billboard‘s annual list of music’s highest compensated executives, plus our weekly interview series spotlighting a single executive, our helpful calendar of notable events, and have you ever wanted to look at tchotchkes inside the office of an executive while reading their in-depth answers to the most important questions facing the biz? From the Desk Of is probably your jam.
Capitol Records appointed Justin Grant as senior vice president and head of urban digital — putting him in charge of digital marketing efforts for R&B and hip-hop artists across Capitol, Motown and Priority Records. Grant spent a decade at Atlantic Records, rising from intern to vp of digital marketing & sports partnerships, where he worked with artists like Cardi B, Lil Uzi Vert, Kodak Black and NBA YoungBoy. Additionally, Capitol promoted Dante Smith to head of Motown digital. Smith will manage digital campaigns, direct-to-consumer efforts and brand development for the storied label. Since joining Capitol in 2020, Smith has collaborated with artists such as Ice Spice, Quavo, Lil Yachty and Kali Uchis. Grant will be based in NYC while Smith works out of Capitol’s Hollywood headquarters. In comments about both executives, Capitol Music Group chairman and CEO Tom March said Grant “knows what it takes to break artists” and is “hugely respected and exceptional at what he does,” while Smith has “delivered brilliant marketing campaigns for a number of years now for artists across the roster.”
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Creative agency WMA appointed Sony Music veteran Mike O’Keefe as global vice president of creative, effective immediately. With three decades of experience under his belt, O’Keefe joins in a creative and strategic consultancy role and will help oversee bigger 360 creative projects at WMA. O’Keefe started his career in the early 1990s with Conspiracy Films and Oil Factory before joining Sony Music in 1995. At Sony, he worked on notable projects like Jamiroquai’s groundbreaking “Virtual Insanity” video and later became vp of creative at the label. He has collaborated with artists such as One Direction, Kasabian, Little Mix and Calvin Harris. Celebrating its 10th anniversary in 2023, WMA has delivered award-clinching campaigns for clients like Doja Cat, Billie Eilish, Dolly Parton and Spotify, among others. Founder and Global CEO Seb Weller expressed pride in WMA’s decade-long journey and said he was thrilled to work with O’Keefe again, while global vp Crystina Cinti called it an exciting to be “working with such a legend,” adding, “Mike’s credibility and experience in the industry is immense and he joins us at a significant time.”
Prescription Songs promoted Rachel Wein to senior director of A&R. Throughout her more than seven year with the company, Wein has played a key role in expanding Prescription’s Nashville roster to over 30 songwriters, artists, and producers, contributing to the company’s broader network of 150 acts. In her elevated role, Wein will continue managing roster artists and songwriters, including Morgan Nagler, known for co-writing “Kyoto” with Phoebe Bridgers, a Grammy-nominated hit. Under Wein’s leadership, Nagler has collaborated with mxmtoon, Astrid S, Maddie Zahm, and more. Wein has also been instrumental in developing emerging acts like JORDY, Greyson Chance, and Parson James, while overseeing top producers such as Sean Small (Keith Urban, Lainey Wilson) and Spellz (Wizkid, Burna Boy). Wein joined Prescription Songs in 2017 as the first hire in their Nashville office. Outside of music, Wein actively supports community initiatives, serving on leadership boards for Family Alliance in Music and Salt Lick Incubator. She also mentors LGBTQ+ youth through Youth Villages and was honored with the Marchetti Impact Award for her efforts with the Cystic Fibrosis Foundation. Katie Fagan, Prescription Songs’ head of A&R, praised Wein as an “integral part of our growth as a team here in Nashville and I’m looking forward to seeing her win big in the coming years,” while Wein expressed her excitement about continuing to work with the “simply unmatched” company.
Universal Music Group Nashville promoted Damon Moberly to the role of senior vp of promotion. Moberly has been with the label group for over 25 years, most recently serving as senior vp and head of the Mercury Nashville imprint’s radio promotion team. Moberly launched his country radio promotion career with work on the launch of Shania Twain’s Come On Over album and has since aided in the careers of artists including Jamey Johnson, Terri Clark, Chris Stapleton and The War and Treaty, in addition to working special projects including an Eagles single to country radio and the breakout hit “Man of Constant Sorrow” from the O Brother, Where Art Thou? soundtrack. –Jessica Nicholson
NASHVILLE NOTES: Concord named Anke Becker as vice president, information technology. Becker will be based in Concord’s London office and will report to Jonathan Eby, Concord senior vp, information services and technology. Becker previously spent a decade at BMG, where she led the creation of BMG’s proprietary client portal … Gabb, makers of kid-safe tech and the Gabb Music streaming service, hired Sidney Coury as its new digital operations coordinator. Earlier this year, Marco Vega joined the team as music coordinator. Coury previously worked at Olivia Management, while Vega has worked at Universal Music Publishing Group and Flood, Bumstead, McCready & McCarthy. The hires coincide with the opening of Gabb Music’s new office on Music Row in Nashville (1030 16th Ave S), and Gabb HQ’s recent move to an expanded facility in Lehi, Utah.
CD Baby, a division of Downtown Music, appointed Jean Mischler as senior vp of marketing. Based in New York, Mischler will oversee marketing for CD Baby and its direct-to-creator services, including Soundrop and CD Baby Stages. Reporting to CD Baby president Molly Neuman, she’ll lead initiatives to help independent artists grow their fanbase and visibility globally. Mischler previously served as vp of growth marketing at Sofar Sounds, where she boosted ticket sales and revenue through social media, email and partnerships. Neuman noted Mischler’s nearly 20 years of experience, saying “her approach to marketing and deep understanding of the independent music landscape will be instrumental as we expand CD Baby’s reach to independent artists around the world.”
Believe introduced a new global music strategy led by Romain Vivien, its global head of music and president for Europe. The strategy focuses on enhancing artist development and creating more value for artists and labels at all career stages. As prez of Europe, Vivien oversees operations in France, the UK, and Germany — and collaborates with teams across 50 markets to design and implement strategies that accelerate Believe’s “Artist Services” business, supporting digital artists across 14+ countries. He’ll also work to strengthen Believe’s “Label & Artist Solutions” offering by aligning distribution, marketing, digital promotion and publishing services. Denis Ladegaillerie, Believe’s founder and CEO, praised Vivien’s leadership in scaling the company’s global presence. “He has been instrumental in building our music vision across the group,” he said. “Constantly leading his teams to innovate and push barriers to enable the emergence of new talents across hip-hop, pop, electronic music and more – all the while sustaining an impeccable delivery of premium services to our top artists and labels.”
RADIO, RADIO: Juan Navarro was promoted to chief revenue officer of Entravision Communications, replacing Karl Meyer, who was dismissed following challenges related to the loss of Meta’s Authorized Sales Partner program. Despite this setback, Entravision reported a 12% increase in net revenue for Q2 2024. Navarro brings over 20 years of media experience to his new role, having previously served as executive vp of local sales and integrated marketing solutions and as regional vp of integrated marketing solutions … iHeartMedia division and region president Tom McConnell is retiring after nearly 30 years with the company, leading to an executive restructure. Eddie Martiny, currently Houston region president, will become division president for the big four Texas markets (San Antonio, Dallas, Austin, Houston), as well as New Orleans and Baton Rouge. John Karpinski, evp of strategic partnerships, will take on the role of division president for markets in the Carolinas, St. Louis, Indianapolis, Memphis, and Kentucky.
JET Management added veteran manager Elena Awbrey to its team. Awbrey’s career began in Live Nation’s touring department before she transitioned to management, working with Motley Crüe and discovering Mannequin Pussy. She later managed Miguel at Atom Factory, guiding his Grammy-nominated albums. At Career Artist Management and Roc Nation, she developed artists like Chika, a 2020 XXL Freshman and Grammy-nominated Best New Artist. Awbrey, who also founded Moonshot Management, was named one of Billboard’s 2020 Changemakers. Founded in 2020 by John Scholz and Tyler Goldberg, JET’s roster features top-tier talent like Justice, Suki Waterhouse, LP Giobbi, Madeon, Sam Gellaitry, and Girl Talk. JET is also partnered with Firebird, a next-generation music company.
Granderson Des Rochers appointed Joey Seiler as senior counsel in its New Media practice. Seiler, a seasoned music licensing attorney, joins from Block, where he led TIDAL’s licensing team. With over a decade of experience, he has worked with labels, digital service providers and creatives to license music for innovative business models. His career includes roles at Empire and Loeb & Loeb, representing a range of clients from startups to multi-platinum artists.
ICYMI:
Takeshi Okada
David Gray was appointed U.K. managing director of Universal Music Publishing Group, succeeding Mike McCormack, who is stepping down from the role after almost nine years in charge to launch a new consultancy and joint venture with UMPG … and Warner Music Japan appointed longtime Universal Music executive Takeshi Okada as the label’s new president and CEO. [KEEP READING]
Last Week’s Turntable: Sphere Sheds CFO
Billboard, in partnership with AEG Presents and Live Nation, has announced the first round of talent and industry leaders for this year’s Billboard Live Music Summit and Awards. The event, taking place Nov. 14 in Los Angeles, will celebrate creativity and achievement in the live music industry through exclusive panels and conversations, featuring some of […]
Indie music giant Concord said on Friday it has acquired parts of the music publishing and recorded music catalog of reggaetón superstar Daddy Yankee.
The deal encompasses certain rights to Daddy Yankee songs including “Con Calma,” his rights as a featured artist on “Despacito” and “Gasolina,” whose “unforgettable hook” and “revolutionary” beat landed it in Billboard’s Top 50 Latin songs of all time. The deal also includes certain name, image and likeness rights, according to a press release from Concord.
Concord declined to comment on price. However, earlier this month in a KBRA report about Concord’s asset backed security, the bond rating agency wrote that Concord acquired the catalog of “a highly successful Latin Music artist and songwriter” in 2024 and that those works were valued at $217.3 million.
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How much does Daddy Yankee stand to benefit from the deal? The Latin hitmaker, whose Barrio Fino was the first reggaetón album to debut at No. 1 on Billboard’s Top Latin Albums chart in 2004, sold this portion of his catalog several years ago to a fund that asked not to be named. That fund sold the assets to Concord, so the artist will not get a cut of this sale of his works.
But Billboard reported in July that Daddy Yankee still owns part of his publishing catalog, which is administered worldwide by Sony Music Publishing and partly by Spirit Music in the United States. From 2021 to 2023, Daddy Yankee’s works averaged 375,333 album consumption units, with 346,000 album consumption units so far this year, according to Luminate.
CRAZY FOR CATALOGS
Catalogs are an important revenue driver for Concord, and the company’s CEO Bob Valentine said this week that through various marketing, distribution, film and commercial licensing agreements, the company regularly generates 5-15% more revenue from the assets it acquires than the prior owner.
“We can then create value for the artist, for our shareholders, for our debt holders, for our pension holders—all the people who are somehow invested in that effort,” Valentine said, speaking at the Mondo.NYC conference in Brooklyn. “The two things we talk about [with artists] is how are we going to protect your legacy and how are we going to make it live.”
Concord’s ownership — the Michigan State Retirement Systems own 93% — and how it has recently financed acquisitions, through asset backed securities, make it a uniquely long-term focused catalog acquirer that aims to hold these assets for 30-40 years.
The company also employs around 750 people worldwide, and it operates a label, music publishing division and one of the most significant theatrical companies with the catalogs of Rodgers & Hammerstein Theatricals, The Andrew Lloyd Webber Collection, and more.
However in some circles, Concord is better known for the 1.3 million songs it has acquired, including some of its biggest money-making assets like John Fogerty’s Credence Clearwater Revival publishing catalog and Phil Collins’ rights to Genesis songs.
Speaking at the Mondo.NYC conference, Concord described these works “as music and genres that fit so perfectly with an era that to own them … means you own that segment of someone’s nostalgia.” Anyone who ever makes a movie about the Vietnam War will likely call Concord to license CCR’s songs, Valentine says.
But Concord also owns the Latin label Fania Records and Mexican record label Musart Records, and several of the Latin artists it represents through its publishing division were nominated for Latin Grammy’s this year: Daymé Arocena’s nomination for Song of the Year for “A Fuego Lento,” writers Julian Bernal and Sammy Soso’s nomination for Best Pop Vocal Album for Orquídeas performed by Kali Uchis, and Camilo Lara’s nomination for Best Cumbia/Vallenato Album for Se Agradece performed by Los Ángeles Azules.
CALL HIM DADDY
Daddy Yankee’s catalog will be managed out of Concord’s recently expanded Miami office, the company said.
“Since he burst onto the scene, Daddy Yankee has been at the forefront of not only reggaeton, but pop music generally,” Valentine said in a statement. “We were incredibly excited by this opportunity to work alongside Daddy Yankee to continue building on his remarkable legacy and significance. His real and lasting cultural impact is clear, and Concord is thrilled to be a part of his story.”
Concord financed the acquisition of Daddy Yankee’s works by issuing a third round of asset backed security notes that were priced this week that bring its total ABS to $2.6 billion. Daddy Yankee’s catalog will be contributed to the ABS’s collateral pool, according to the KBRA report. Concord has used previous ABS notes to acquire Round Hill Music Royalty Fund in 2023 and Mojo Music and Media in 2022.
This type of financing makes sense for Concord because of its scale — which exceeds most banks’ normal financing abilities — and because it affords them a fixed, low interest rate.
“The benefit of an ABS market is we take out a loan and the interest rate is fixed for 5 years,” Valentine said. “It doesn’t change. Suddenly you’re financing with these fixed rates of return that are lower because of our scale and that changes the dynamic of the valuation pretty dramatically.”
This is part of a new column Billboard is launching in which we will unpack one financial issue a week for an artist in the news. Thanks for reading, and if you have suggestions or tips, email me at ediltsmarshall@billboard.com.