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Mainstream buzz around NFTs is fading, but the Web3 music space is quietly gaining momentum. Sales volume across the top 10 projects in October rose sharply for the second month running, largely driven by a high-profile drop from Warner Records’ new Web3 label and a new project featuring Linkin Park‘s Mike Shinoda.
Independent artists are also building strength, with primary sales doubling in October on Sound.xyz — the leading platform for independent drops — to a total of $200,000 according to Token Terminal. Meanwhile, last month saw a music project on the Solana blockchain enter the top 10 for the first time.
Total volume across the top 10 climbed 50% in October to reach 2,164 ETH. In dollar terms, the volume climbed 73%, hitting $3.38 million helped by the rising price of crypto. Based on analysis of sales data from 19 different NFT platforms, independent releases and secondary sales volume on OpenSea, here are the 10 biggest-selling music NFTs and collections in October 2022.
1/ Probably A LabelMonthly trading volume: 1,196.95 ETH ($1,873,226 at month-end conversion rate)Primary sales (Oct.): 499.95 ETHSecondary sales: 697 ETHDrop date: Oct. 6
Probably A Label is the new Web3 imprint from Warner Music UK. It sold 5,555 NFT access passes at the start of October, minting out in seven minutes through an exclusive drop page on OpenSea. NFT holders will shape how the label is run, collaborate on the development of a virtual artist and even share IP rights in some future projects. “This is a vehicle for us to explore new ways of working as a label,” Sebastian Simone, vp of audience and strategy at Warner, tells Billboard. “We believe Web3 allows artists to create with more freedom and connect with fans on a much deeper level.”
The label is a joint venture with Probably Nothing, an established Web3 brand founded by former restaurateur Jeremy Fall. The team is now preparing the first airdrop for holders — a free music NFT featuring production from Diddy.
View the collection on OpenSea.
2/ SAN OriginMonthly volume traded: 502 ETH ($785,630)Primary sales (Oct.): N/ASecondary sales: 502 ETHDrop date: Sept. 16
SAN Sound is a project that aims to launch a Web3 music streaming service, using a “listen-to-earn” model where holders earn crypto tokens while streaming. It exploded to the top spot in September and remained strong in October through secondary sales.
Over the last month the project has encouraged holders to ‘soulbind’ their NFT — which ties it permanently to their wallet — allowing fans to access the streaming platform. Those that bind their NFT will also be eligible for a free airdrop of governance tokens enabling them to vote on how the platform develops.
View the collection on OpenSea.
3/ Secret Garden – “Wind Chime ft. Mike Shinoda”Monthly volume traded: 153 ETH ($239,445)Primary sales (Oct.): 114 ETHSecondary sales: 39 ETHDrop date: Oct. 12
Secret Garden is a unique beat making tool built on the Ethereum blockchain. Fans can interact with it by choosing which stems (drums, bass, synths) to activate until they find a beat they like. The project had some early success through collaborations with electronic producers Robotaki and Smle, but Secret Garden launched its biggest mint yet in October with Mike Shinoda.
Shinoda joined the project as an advisor and created the music stems for the latest Wind Chime collection. It sold 2,000 NFT players and went on to generate 39 ETH in secondary sales. Secret Garden is under the umbrella of the Capsule House NFT project which is among the most successful anime profile picture (PFP) projects founded by renowned digital artist Seerlight.
View the collection on OpenSea.
4/ KINGSHIP – “Keycards”Monthly volume traded: 85 ETH ($133,025)Primary sales (Oct.): N/ASecondary sales: 85 ETHDrop date: July 15
The Bored Ape Yacht Club band remains in the top 10 for the fourth month running due to strong secondary sales on OpenSea. In October, the project teased an upcoming airdrop where holders will get a free NFT or item sent to their wallet. Producers Hitboy and James Fauntleroy are still busy in the studio preparing music for the project.
View the collection on OpenSea.
5/ BlocktonesMonthly volume traded: 49 ETH ($76,685)Primary sales (Oct.): N/ASecondary sales: 49 ETHDrop date: Sept. 16
Founded by Grammy-winning producer Gino the Ghost, Blocktones is a collection of 2,500 generative music NFTs. Each one was created using a random combination of music stems. One of the collection’s rarest NFTs, with production by Timbaland, sold for 5 ETH ($7,825) this month. The team also ran an experiment where holders could sign a non-exclusive license using their wallet to allow Blocktones to stream their NFTs on a YouTube radio channel. Holders were sent $10 back as a royalty straight to their wallet.
View the collection on OpenSea.
6/ Alan Walker & Ava Max – “Alone Pt. II”Monthly volume traded: 46.6 ETH ($72,929)Primary sales (Oct.): 35 ETHSecondary sales: ~11.6 ETHDrop date: Oct. 20
“Alone Pt. II” is among the biggest dance tracks in the world with almost 500 million streams on Spotify. Now, fans can own a small piece of the future streaming royalties. This is the third drop launched on rising platform Anotherblock.
The company typically partners with a songwriter or producer to unlock a small percentage of a song’s streaming rights. In this case, the ownership share comes from The Very Good — the publishing company behind many of Sweden’s biggest songwriters. “The Alone Pt. II” drop offered 500 editions, each granting 0.001% of future streaming royalties.
View the collection on OpenSea.
7/ Daniel Allan – “Glass House Remixes”Monthly volume traded: 35.02 ETH ($54,806)Primary sales (Oct.): 9.9 ETHSecondary sales: 25.12 ETHDrop date: Oct. 20
Independent artist Daniel Allan first appeared on this list back in July with his landmark Glass House collection. Now he returns with the remix package. Allan dropped four remixes from the Glass House EP via Sound.xyz’s new protocol — allowing him to host the drop on his own website and Sound.xyz simultaneously — making almost 10 ETH in primary sales. He also generated a flurry of secondary sales on this collection and his back catalog through October.
View the collection on OpenSea.
8/ Oshi – “U&I” and “Fight For This”Monthly volume traded: 27.84 ETH ($43,569)Primary sales (Oct.): 10.54 ETHSecondary sales: 17.3 ETHDrop date: Oct. 6
Independent artist Oshi has been at the heart of the Web3 music scene since 2020. He was also the first artist to release an NFT on Sound.xyz when it launched in 2021. In October, he dropped two new tracks, generating more than 10 ETH in primary sales. Secondary activity also picked up with around 17 ETH traded on OpenSea and Sound.xyz’s newly-launched marketplace.
View the collection on OpenSea.
9/ Kids of the Apocalypse – Noise GenesisMonthly volume traded: 1,283 SOL ($41,825)Primary sales (Oct.): Free mintSecondary sales: 1,283 SOLDrop date: Sept. 30
Kids of the Apocalypse (KOTA) is the first music project on the Solana (SOL) blockchain to make the monthly top 10. It’s an ambitious music project with a dystopian graphic-novel storyline which has been in development for several years, before Web3 was a popular concept. The 666 genesis NFTs grant holders access to the KOTA community and will act as a key for all future music drops.
The project was founded by Stefan Storm, a Swedish producer whose credits include Lady Gaga and Tiesto, and Derek Davies — the founder of Neon Gold Records. The NOISE Genesis project was free to mint but quickly generated more than 1,000 Sol in secondary trading volume.
View the collection on OpenSea.
10/ ChillrxMonthly volume traded: 21 ETH ($32,865)Primary sales (Oct.): N/ASecondary sales: 21 ETHDrop date: Sept. 16
Founded by Grammy-nominated producer Sidney Swift, Chillrx is a community record label where holders of the 10,000 NFTs get to participate in label decisions. The big goal, according to Swift, is to “win a mf-ing Grammy” as a community, via the label’s virtual artist called ChillPill. In October, Chillrx launched a new ‘staking’ feature. Holders can lock up their NFT (so that it cannot be sold). In exchange, they receive a loyalty token $CHILL which they can use to buy exclusive songs and eventually get access to other NFTs. The Chillrx floor price doubled after staking went live and more than a quarter of all NFTs are currently staked.
View the collection on OpenSea.
Methodology: The chart was compiled using data from primary music NFT sales across 19 different NFT platforms, independent releases and secondary volume data from OpenSea. Data was captured between October 1 – October 31, 2022. Conversion rates from crypto to US dollars were calculated on September 30.
Yahritza Y Su Esencia has signed a label deal with Columbia Records, Billboard can confirm. The deal is a partnership between Columbia and the trio’s regional Mexican indie label Lumbre Music, who first signed them in February.
Composed of 15-year-old singer-songwriter Yahritza Martinez and her brothers Armando (guitar) and Jairo (bass), the sierreño band is currently managed by their older sister, Adriana Martinez. In April, Yahritza y Su Esencia made chart history with their heartbreak track “Soy El Unico” as the youngest Latin performer to enter the Billboard Hot 100 debuting at No. 20. Since then, major Latin and mainstream record labels had expressed interest in signing the regional Mexican act.
“Lumbre is really happy to partner with Columbia Records for Yaritza Y Su Esencia. It speaks volumes for an American-Mexican indie label like us to work hand in hand with a major label,” says Ramon Ruiz, CEO of Lumbre Music. “We have been working hard to develop and really get the kids’ music out to the masses and we have done some great work with them, including their first diamond certification, but are so excited to take them to the next level. We are all so passionate about this project it was important that whoever came into the project felt that same passion, and both the artists and Lumbre felt that with Columbia from the get-go. It felt like the right choice. Great things are coming for Yahritza Y Su Esencia!”
Yahritza Y Su Esencia, up for best new artist at the 2022 Latin Grammys, broke out on TikTok earlier this year where they uploaded covers and quickly created a zealous fan base. In March, after being discovered by Lumbre Music on the platform’s For You Page, they released their first single, “Soy El Único,” which peaked at No. 1 on Billboard’s Hot Latin Songs chart.
Since, they scored their first No. 1 on the Regional Mexican Albums chart with their debut album, Obsessed, released in May. Elsewhere, the five-track set debuted at No. 7 on Top Latin Albums, and it also entered the all-genre Billboard 200 at No. 173.
Yahritza Y Su Esencia added in a statement: “We are so excited to be working now with not only Lumbre but also a big label like Columbia! For us it’s just another step forward in accomplishing our dreams. We still have to go to school, but we are working hard on recording new music for our fans that we love so much and who helped get us to where we are today. We are very grateful to our entire team for all their support, and we can’t wait to see what the future holds.”
On Nov. 1, 1894, Billboard published its first issue, one that’s vastly different from today’s magazine, as well as Billboard’s expanded platforms. The premiere issue wasn’t even focused on the music industry; Billboard’s eventual trademark concentration on music, and, of course, charts, would develop over decades.
THE FIRST ISSUE
Before it became a weekly publication, and a 24/7 presence online, Billboard launched as Billboard Advertising. Its original mission? One that helps explain its name: “A monthly résumé of all that is new, bright and interesting on the boards.”
Upon its premiere, the eight-page magazine (priced at 10 cents an issue, or, 99 cents per year), was “devoted to the interests of advertisers, poster printers, bill posters, advertising agents & secretaries of fairs.”
The magazine’s first cover subject was R.C. Campbell, then-president of the Associated Bill Posters’ Association. “No more fitting tribute can be paid to Mr. Campbell than to state that he is a man of infinite resource, progressive ideas and tireless industry,” Billboard noted in the inaugural issue.
“In selecting his photograph for the first number of this magazine, the Editor was actuated by the fact that he is the acknowledged leader, the first and foremost and most eminent man in the field which we aim to cover.”
THE CHARTS
As 128 years have passed (and Campbell has ceded the cover to, most recently, Steve Lacy, Brad Pitt and Damien Quintard), Billboard’s mission to report on and analyze the entertainment business remains on point, although with, for the past seven-plus decades, a more specific focus on the music segment of the industry.
The magazine’s first national music chart, the 10-position “National List of Best Selling Retail Records,” appeared in the July 27, 1940, issue. Previously, Billboard had highlighted the national “Sheet Music Best Sellers,” “Records Most Popular on Music Machines” (compiled from national reports from phonograph operators), and “Songs With the Most Radio Plugs” on a handful of New York radio stations. The “National List of Best Selling Retail Records,” however, was the first to poll retailers nationwide on record sales.
Tommy Dorsey crowned the first retail list with “I’ll Never Smile Again.” The eventual standard, featuring vocals by Frank Sinatra, would total 12 weeks at the summit. The scorecard paved the way for the industry-standard Billboard 200 albums chart (which became a weekly chart on March 24, 1956) and Billboard’s present-day menu of Luminate data-based format-centric song and album rankings and more. The Billboard Hot 100 songs chart premiered Aug. 4, 1958, with Ricky Nelson’s “Poor Little Fool” the first of the tally’s 1,144 No. 1s and counting – right through Taylor Swift’s historic haul in the top 10 of the latest list, reflecting that, 128 years on, unprecedented feats can still be achieved in any week.
In more recent years, Billboard’s charts offerings have expanded to include surveys covering social and streaming activity, with streams added to the Hot 100’s weekly tabulation. Billboard has also launched the weekly Billboard Artist 100, expanded touring tallies, weekly surveys ranking songwriters and producers, the Billboard Global 200 and Billboard Global Excl. U.S. lists and more.
‘LET ITS GROWTH BE NATURAL’
Meanwhile, Billboard has grown to encompass multiple platforms, including the top-rated Billboard Music Awards, Women in Music, industry conferences, podcasts, and Billboard Live on SiriusXM, in addition to the weekly magazine and more.
“Although only in its swaddling clothes, [our] success is already absolutely assured,” Billboard proclaimed on page four of the maiden issue. “The publishers aim to have it always newsy and to maintain a high and exacting standard of excellence in all articles appertaining to the interest of its readers.”
As a “What They Think of Us” feature reflected, “Responses to the very modest prospectus demonstrated that beyond all doubt or peradventure … surely a journalistic youngster was never started under such auspicious circumstances.”
“Start the new paper in a small and inexpensive manner, and let its growth be natural. Do not force it. You will not need to. There is a field for it,” advised Col. Burr Robbins.
Added Al. Bryan of Cleveland, “It should have been started long ago.”
Amazon Music will expand its ad-free offering for Prime members from 2 million songs to more than 100 million songs, the company announced on Tuesday (November 1). There is one caveat, however: Prime members can only listen on shuffle, unless they upgrade to Amazon Music Unlimited.
Along with the increased access to music, Amazon announced that Prime members will also have access to a wide-selection of ad-free podcasts, plus a newly launched Podcast Previews feature that lets listeners easily test snippets of episodes to see if they like them.
“When Amazon Music first launched for Prime members, we offered an ad-free catalog of 2 million songs, which was completely unique for music streaming at the time,” Steve Boom, vp of Amazon Music, said in a statement. “We continue… to bring even more entertainment to Prime members, on top of the convenience and value they already enjoy. We can’t wait for members to experience not only a massively expanded catalog of songs, but also the largest selection of ad-free top podcasts anywhere, at no additional cost to their membership.”
This expansion follows the news from April that Amazon Music Unlimited raised its price for Prime subscribers from $7.99 per month to $8.99 (or from $79 per year to $89) and similarly upped the cost of its single-device plan (for Amazon’s Echo and Fire TV devices) from $3.99 to $4.99 per month. Other prominent streaming services recently took similar steps, with YouTube’s Premium Family plan — which includes its music subscription service — jumping from $17.99 to $22.99 per month, and Apple Music individual plans climbing from $9.99 to $10.99.
Amazon launched Prime Music with over one million songs, primarily catalog material, in 2014. Two years later, the company rolled out a multi-tiered offering, Amazon Music Unlimited, with many more titles.
“From our perspective, with Prime we helped push the music industry away from the one-size-fits all approach to music streaming, and to go after different customer segments,” Boom told Billboard at the time. “We’re going to grow the market [and add] new customers to streaming with a great way to get into streaming with really low friction.”
In 2020, Amazon said it had “more than 55 million” subscribers across its various listening tiers.
WME has signed Rock & Roll Hall of Famer Yusuf/Cat Stevens in all areas.
Yusuf is embarking on a global tour in 2023 and is working on myriad other creative endeavors, including a new album that will mark his first set of new music since 2017’s Grammy-nominated The Laughing Apple.
Over the last few years, Yusuf has focused on revisiting his catalog as projects reach their 50th anniversary. In 2020, he released a re-recorded version of 1970’s Tea for the Tillerman as Tea for The Tillerman 2 and put out a boxset heralding the album, which includes his breakthrough U.S. hit, “Wild World.” Following the release of 50th-anniversary boxsets for Mona Bone Jakon and Teaser and the Firecat, a newly remastered 50th-anniversary edition of his 1972 album, Catch Bull at Four, will come out in December.
Last year, Yusuf, who is managed by his son, Yoriyos Adamos, landed on the New York Times’ Best Seller list with his children’s book Yusef’s Peace Train; he is also finishing work on his autobiography. As he told Billboard in a 2020 interview, with his book, “I’m trying to fill in the gap for so many people who almost have a mythological view of me so I’m trying to clarify who I am and how it happened. I’ve been illustrating [the book] as well.”
As Yusuf told Billboard in the same interview, the same quest has guided his musical exploration — and life — from early on. “When I started looking up at the sky from very early on, one of my biggest questions was where does the sky end? It was a metaphysical question I had from a young age,” he says. “And that’s been my task and my mission: to go explore the universe to find out where it’s leading to.”
Sony Music increased its annual forecast for revenue and operating income on Tuesday (Nov. 1) as it reported quarterly revenues were up 5.9% on the strength of its subscription streaming income and chart-topping hits.
Releases from artists including Beyoncé, Harry Styles, Future and Doja Cat helped Sony dominate Spotify’s Top Songs Global chart, with an average of 48 out of top 100 coming from the music major’s artists so far this year, executives said. That is up from an average of 36 songs in 2021.
Total Sony Music revenues rose 5.9% year-over-year to $2.58 billion (¥359.3 billion) for the second fiscal quarter ending Sept. 30. Operating income rose 23.9% to $570 million (¥78.7 billion) over the same period compared to a year ago.
Recorded music revenue rose 14.2% to $1.62 billion (¥224 billion). Within that segment, streaming for recorded music revenues rose 6.8% (in US dollars), physical revenues declined 4.2% (in US dollars) and “other” revenues, which includes sync licensing, merchandise and touring revenues, rose 33.4% (in US dollars) as the industry rebounded from a pandemic-led slowdown.
Publishing revenues overall rose 24% in US dollars. The visual media and platforms segment’s revenues declined 9% due to a softening in the Japanese company’s anime business.
Sony Music’s parent company believes the risk of a global economic slowdown is increasing due to rising tensions with China, high energy costs, persistent inflation and interest rates hikes in various countries. “We are taking steps to prepare for further deterioration of the business environment in each of our businesses,” said Hiroki Totoki, Sony’s executive deputy president and chief financial officer, during the earnings call.
However, Totoki is less concerned about the prospects of its music division. Sony Corporation raised Sony Music’s revenue target for the full fiscal year by ¥90 billion yen to ¥1.37 trillion ($9.8 billion at Sony’s assumed exchange rate for the second half of the fiscal year). Executives also raised Sony Music’s operating income target by ¥35 billion to ¥265 billion ($1.9 billion at the assumed exchange rate). “Streaming is very successful and we don’t really have that much of a concern,” he said when asked by an analyst about what risks the music segment faces.
In addition, the company’s recorded music and publishing segments’ operating income benefitted from a one-time benefit of $41.2 million (¥5.7 billion) in the quarter from settlements of multiple copyright infringement lawsuits.
Volatile foreign currency markets in the quarter negatively impacted Sony’s sales and operating income, executives said, and caused a divergence in the company’s earnings as reported in Japanese yen versus the U.S. dollar. This positively impacted Sony Music’s earnings as calculated in yen – about 61% of the yen-denominated gain came from the impact of foreign exchange rates – and negatively impacted the company’s earnings when converted to dollars.
The company’s operating income margin rose 22%, or 3.3 points year-over-year, while its EBITDA margin, a key measure of company profitability, was up 26.5%, or roughly 3 points.
Former Warner Music Group executive and the Orchard co-founder Scott Cohen said on Tuesday (Nov. 1) he is taking a new job as chief executive officer of a fintech platform aimed at selling fractional shares in song catalogs.
Cohen, who stepped down from his role as chief innovation officer at WMG in September, said the aim of the new venture is to “fractionalize ownership of music royalties.”
Fractional shares are a familiar concept in finance, and brokerages like Robinhood and Fidelity Investments sell them as a way to buy a slice of a share for less than the price of the whole stock. The market for buying and investing in music publishing rights has traditionally been open to only the world’s largest music companies and, more recently, money managers.
Introducing fractional shares could change that by making it possible for more smaller investors to participate alongside the deep-pocketed private equity funds and major labels.
In an email to Billboard, Cohen said has already secured rights from major artists and catalogs, and his team is now working to build the platform’s technology.
“We have a very aggressive timeline,” said Cohen, declining to provide a specific date when the venture would launch to outside investors.
Prior to joining WMG in 2019, Cohen founded the Orchard with Richard Gottehrer in 1997 and built it into the largest independent distributor on iTunes when the download platform launched in 2003. Cohen and Gottehrer sold the Orchard to Dimensional Associates, the private equity arm of JDS Capital Management, the same year, and subsequently expanded into video, music licensing, marketing & analytics, royalty collections, sports media, neighboring rights and more.
In 2015, Sony Music Entertainment bought out Dimensional Associates for $200 million, and in 2017 merged it with RED into a single global distribution entity operating under the Orchard brand.
While Cohen’s new venture has not yet settled on a name, he described its aspirations and potential as “transformational” for the music industry.
“I am only interested in doing things at scale,” Cohen wrote.
Sony Music has set up a joint venture with label ONEWAY. Records focused on English-language repertoire from Israel.
ONEWAY. Records, which was founded by music executives and brothers Josh and Sam Fluxgold, who formerly managed Dennis Lloyd, the Israeli indie-pop artist known for his 2016 single “Nevermind” (released by Warner Italy).
The new venture will work to discover and develop new artists from Israel with “international appeal,” Sony says in a press release.
The Fluxgolds discovered Lloyd and helped guide his international success, which has featured Gold and Platinum records across several markets and sold-out world tours in the U.S., Europe and Australia. “Nevermind” peaked at No. 86 on the Billboard Hot 100 in August 2018 and reached No. 3 on Billboard’s Alternative Airplay chart.
“Josh and Sam have a proven track record for breaking Israeli talent abroad,” said Daniel Lieberberg, president of Sony Music Entertainment Continental Europe and Africa, in a statement.
The Fluxgolds will remain in Toronto, Canada, where they run ONEWAY., a Sony Music spokesperson confirms.
“During our time working in the Israeli market, we recognized the substantial talent that is being overlooked and underrepresented in the region,” the Fluxgold brothers said in a joint statement. “Together with our partners at Sony Music, we look forward to showcasing the unique Israeli sound and artists that the world has been missing.”
Sony will continue to lead its Israel business from its Continental Europe and Africa Head Office in Berlin, a spokesperson says, in contrast to its two main rivals, which have set up operations there over the past three years. Universal Music Group opened an office in Tel Aviv in 2020, becoming the first major label to set up standalone operations in the country; it is led by Yoram Mokady, a lawyer and entertainment executive. Universal Music Publishing Group followed suit in 2021, hiring Itamar Shafrir as general manager of the new outpost.
Warner Music Group said in May that it was launching Warner Music Israel and would open an office in Tel Aviv. Running the new imprint is Mariah Mochiach, general manager of Warner Music Israel, a veteran A&R and artist manager who worked for more than 10 years at Lev Group Media, which has acted as an Israeli distributor for Warner Music.
While still a relatively small market, Israel is a growing territory that ranked 27th in global music collections in 2021, with 35.6 million euros ($35.2 million), up 5.5% from 2020, according to international collections body CISAC. Pop artists like Noa Kirel, who is signed to Warner Music imprint Atlantic Records, are big at home but have struggled to cross over, though that could change for Kirel, who is slated to represent Israel at the 2023 Eurovision Song Contest in Liverpool, U.K. (Israel has won the contest four times since 1978.)
Last year, UMG and Simon Cowell’s Syco Entertainment said they would award an international recording deal to the winner of the upcoming season of The X Factor Israel, something previously unheard of in the Israeli music market. Cowell was set to be a judge on the fourth season of the show but pulled out in May of 2021, Variety reported.
In recognition of ADHD Awareness Month, Billboard has partnered with All Day Dreaming, a virtual coworking platform and community for talented ADHD artists and entertainment executives and its founder Hyla to host conversations with some of the creative ADHD brains in and around music.
Here, Hyla speaks with Damien Hooper Campbell, chief impact officer at StockX, the popular online marketplace for sneakers, apparel, electronics and more. After living decades with undiagnosed ADHD, Campbell has learned to manage his condition and has become a formidable business leader reshaping workplace misconceptions about ADHD in the process.
“The best way to establish an inclusive culture is to lead by example,” says Campbell. “As executive leaders, it’s important for us to be real human beings who do not always show up like everything’s perfect. It’s important that we are open to talking about it when it’s appropriate.”
Many people with ADHD are stuck in positions without the resources they need to succeed and many managers have no idea how to utilize their neurodivergent employees. More executives are needed to help set the tone at their companies and tell their story of how ADHD can be a major company asset if you know how to use it. Campbell breaks down his journey and shares the latest insights and techniques for employees, managers and executives on how best to navigate ADHD in the corporate world.
Below is a condensed and edited version of Hyla and Campbell’s conversation. Listen to the full interview on the All Day Dreaming podcast here.
Hyla: How old were you when you first realized you had ADHD?
Campbell: My elementary school years. I got expelled from two schools between kindergarten and first grade. The administrators would tell my mother, “He’s smart, he’s in advanced reading and mathematics classes but he’s got to stop walking out in the middle of class and getting into fights. We think Damien has ADHD.” In the ’80s, there was a negative stigma around any kind of learning disability so my mother, a strong, loving and protective single Black parent, was afraid and felt like, “Oh no, not my baby.” I had to learn to just push through.
At 26 things came to a head in my life. I was in investment banking working 70 to 90 hours a week and I couldn’t understand why I was watching other people zip through stuff. I knew I was smart and had the aptitude, but I was having a challenge. It became desperation.
I went to see Dr. Robert Johnson, dean of the medical school at Rutgers. He’s a Black man who focuses on young adults and adolescents. I didn’t go in talking about ADHD per se but in our first session he clearly picked up on it and asked, “Have you ever been tested for ADHD?”
I soon got tested and he said, “You’re off the charts for this,” and prescribed me Concerta.
How did it feel knowing you would have to take a pill everyday?
There was a bit of a stigma at first, like, do I want people to know that I take a pill every single day? But beyond my insecurity and near-term desire to hide it from the world was hopefulness because I knew that if the diagnosis was correct, and if the medication worked, that it was going to unlock a lot of things for me and make life better.
Also, I thought that this pill was going to solve everything. Like, I take this pill and it would be like the movie Limitless and I’d be good to go, but that’s not the case. You still have to put in your own effort, the pill is just an aid, essentially.
What are other tools and techniques you use to manage your ADHD? What makes you feel your most productive and focused?
At 44 years old, sleep is by far number one. Exercise is crazy important to me and diet goes right along with that. Meditation and prayer too. At one point, I was doing a good deal of chanting, it’s something that I want to get back into, I found that to be very, very centering.
You also need to think about the energy around you. It’s become cliche to say “protect your energy”, but man, it’s true. There are energizers and de-energizers; the older I get, the more intentional I am about the people around me. I’ve got a big heart and I love helping others, but I also need some people who are pouring into me. A big part of that is learning to say “no” and not always feel like I need to give a detailed reason why. Simply saying, “I’m sorry, I can’t but good luck with what you’re doing,” is really important.
When did you feel comfortable telling people at work you had ADHD? What prompted you to do it and how did you prepare?
In 2014, I was leaving the finance field in New York and moving to California to work at Google. I was literally trading suits and ties for hoodies. The tech space was so different – the offices had nap rooms, there were free Twizzlers in the cafeteria, people rocked purple hair, you could bring your dog to work, and all the cool things. Talk about sensory overload. I thought to myself, “let me pressure test this and see if they really want me.” I revealed it to the person who would become my manager in the interview process.
After a few rounds of interviews I said I want to be upfront that I have ADHD. I take medication for it every single day. Here’s some of the things it does and here’s what that means. I wanted my manager to understand how that lands on the team an how I work best.
I figured, if I’m going to do this – if I’m going to make this change – let’s go all the way and be completely transparent. That way I know you want me for who I am.
So in the interview process, you’re basically saying, “This is how I work and how I can be an asset to you”?
Sort of, but even to this day, I’m figuring out how I can be an asset with my ADHD. What I knew for sure, was that I was not going to be the most organized individual, and I wasn’t a project manager so I needed them to know that.
If it comes to engaging with other human beings, being creative, brainstorming and even strategy, I’m most certainly your guy. As for the operational execution, that’s something I’m gonna have to work a little bit harder at. While finding the right balance is something I’m still figuring out today, I’ve come to learn that more structure is actually good for me.
What do you say to someone who is afraid to tell their employer they have ADHD for fear it could hurt their standing at work?
First, I would validate them and say that’s a real feeling. It’s easy for me to tell you, “Oh, don’t worry about that. Forget it.” That’s a bunch of BS.
Second, I would ask that the person do a visualization. Close your eyes and think one year out. You’re in that job and you haven’t disclosed your ADHD. You haven’t discussed your needs and you’ve been wearing the mask that we all put on so many times as human beings, the mask that we think our employer wants to see. Think about the moment when the real you starts to rear its face in the form of ADHD. Now you’re having to compensate, and use your energy not towards the job but to cover your ADHD. Maybe you’re underperforming, maybe you’re having to overproduce and overcompensate. Now think about the burnout and anxiety that comes with that.
Third, I’d say you’ve done a bait and switch on your employer. You wouldn’t want them showing you a misleading glossy brochure. Oh, look at this wonderful, beautiful place to work, and everybody’s so happy and then you get there and find out that it’s toxic. You’d be pissed. So why do it to them?
Lastly, I’d say, it’s better to know now that you can be the real you rather than find out later that you can’t be yourself. And you’d have nobody else to blame except yourself. It’s one of those very personal and professional maturity stages that get you to feel confident enough to say “I need to disclose this now because it won’t be good for either one of us if I don’t.”
Would you recommend people bring up their ADHD in the interview process? What’s your advice on how to approach that?
A lot of that depends on where you are in your life, how comfortable you are saying it, and the severity of how you’re affected by it. I don’t have a one size fits all prescription for folks.
The first thing you should do is research the hell out of whatever organization you’re going to work for to see what their company culture is like. Do they have an ERG [Employee Resource Group] or a benefits team that actually focuses on things that one would classify as a disability? Are they the kind of company that actually welcomes people who have those disabilities with open arms?
If you’re junior in your career, and depending on your socioeconomic group, you might not have the luxury of getting passed up on a job that your family might be depending on you for. I can’t front and act like everybody has the luxury of feeling free to tell their employer. However, the more senior I’ve become, I’ve learned that having that conversation on the front-end has led to better resources. For example, getting an executive assistant was a game changer. You mean, there’s somebody who’s going to help me make sense of all the ideas in my mind that sometimes isn’t super productive? Beautiful!
In addition to an executive assistant, what are some resources, at all levels of the org chart, that are reasonable to ask for? Maybe things people wouldn’t think they could have access to.
Again, ask if there’s an ERG, or an affinity group at the organization that’s focused on inclusion. Companies these days often have employee resource groups for women, LGBTQ+, Black and Latinx communities, and more.
Additionally, ask about benefits. We often talk about benefits in the context of monetary compensation like bonus structures or equity, but ask what kind of insurance platform the company uses. Ask about access to therapy. Are they allowing you a certain number of sessions with a therapist? Is it unlimited? If not, how much will it cost me to keep going? Do they actually give you the ability to choose a therapist of color, specific gender or speciality? Does the insurance cover prescription drugs? Do they have a program where your medication can be delivered to you? I can’t tell you the number of times I’ve totally screwed myself because I waited for my prescription to run out. If I can’t get a session with my therapist right away then I’m stuck without my meds.
Third, if project management and organizational structure is a challenge for you, see what resources they have to help with that. We don’t all have to be experts at everything; maybe there are developmental opportunities you can tap into.
I’ve also heard from people in the All Day Dreaming community that you should think about where you sit. Are you more productive around others or better alone? At 8 a.m. or 8 p.m.? Is there flexibility for when you’re available? And asking for things like noise canceling headphones or paying for your Headspace app. It’s your boss’s job to put you in a position to win and these are easy things to help you do that. Also ADHD is covered under the Disabilities Act so there are legal protections employees have.
Totally. There’s some things that you can try to solve for in advance. And then there’s some things that you do once you start, which I call “contracting”. If you’re a manager, you should be contracting with your team about what works best for you and what works best for them around communication. A few examples:
If you receive an email on the weekend, are you expected to respond immediately?What’s the most efficient way for you to communicate? Email, Slack?What forms of communication are you uncomfortable with? Text, social DMs?
Even if you’re not the manager, it’s important to contract on those things and make sure your team knows what works best for you – obviously, within reason – and vice versa.
What’s your advice to a manager or executive who doesn’t know how to best utilize or manage a person with ADHD?
Be clear on your expectations of the outcome, but also give them the space to be creative in how they get there. You want to provide some structure by being really clear about what you expect and what the non-negotiables are. At the same time, you’re also giving them the space and freedom to be creative. People with ADHD often take a route many have never considered to get something done.
The other thing that’s really important is to have frequent check-ins on how it’s going. As roles and projects evolve, what you contracted on day one may need to change on day 90 or year two.
Finally, give ADHD people latitude for creativity. Celebrate them and leverage their spontaneity when team culture gets a little stale. They can be a great asset.
A large percentage of ADHD people work in creative industries. However, I hit a wall when it came to finding music executives at high levels willing to talk about their ADHD publically. This was especially true of the women I spoke to who know the power of their story but weren’t ready to tell it.
You’re one of the few C-suite execs of any industry who is very publicly open about it. What’s your advice for someone at your level who wants to share their story?
I think there’s two layers of going public about it. Start with your team. I talk to my teammates about it, I’m okay with it, and I’m very proud of it. I explain to them how seeing a therapist, getting a diagnosis, and taking medication has changed my life. Then normalize it at the company level.
One of the first times I brought it up in a company-wide all-hands meeting, I was traveling around the world to the company’s different global locations. I misplaced my luggage and was without my medication for four days. I got up on stage in front of 300 employees and I said, “Look, I’m here with you but if you see me rambling a little bit, just know, it’s because I have ADHD.” And told them the story of losing my bags and meds. After that session I had an employee come up to me and say they really appreciated that I shared my story because they had never seen a leader do that publicly. They told me that they also have ADHD and take the same meds.
I’m fortunate at StockX because we have an amazing benefits program that offers therapy and more. We have a CEO who understands the importance – he sits on the board of nonprofits that focus on mental health – so it’s really part of the company culture. While we continue to create new initiatives around inclusion, I’m of the mind that the best way to establish an inclusive culture is to lead by example. As executive leaders, it’s important for us to be real human beings who do not always show up like everything’s perfect. It’s important that we are open to talking about it when it’s appropriate.
Hyla is an award-winning documentary filmmaker, interviewer and the founder of All Day Dreaming, a community for talented ADHD creatives and entertainment executives struggling with focus, productivity and burnout. All Day Dreaming hosts daily virtual co-working sessions, weekly Q&As with experts, a newsletter and a podcast. For more information and memberships go to AllDayDreaming.org.
Amazon has laid off around 150 employees at its recently launched live-radio app Amp, according to a report at Business Insider. Though Amazon would not comment on the numbers in the report, the company confirms to Billboard that it has chosen “to consolidate a few teams” at the division.
“At Amazon we think big, experiment, and invest in new ideas to delight customers,” said the company in a statement. “We also continually evaluate the progress and potential of our products and services to deliver customer value, and we regularly make adjustments based on those assessments. We’ve made the decision to consolidate a few teams so we can focus on the growth and scaling of Amp.”
Amazon is working to identify other opportunities within the company for affected employees.
Launched in March, Amp allows users to host their own shows by streaming music from a catalog of tens of millions of licensed songs from the three major labels, as well as Indies including Beggars Group, PIAS, Believe and CD Baby. Though it’s designed primarily for non-celebrity creators, Amp also hosts or has announced shows from high-profile artists including Pusha T, Tinashe, Travis Barker, Lil Yachty, Lindsey Stirling, Big Boi and Nicki Minaj, who brought her Apple Music show Queen Radio to the platform at launch. In September, Amp announced it would launch a monthly fund to reward emerging U.S.-based creators for building loyal audiences on the app.
The cuts at Amp come on the heels of Amazon’s Q3 earnings report on Thursday (Oct. 27), when the company revealed it had grown its headcount by just 21,000 employees — a sharp year-over-year drop after it added 133,000 employees over the same period in 2021.
On a call with reporters, Amazon CFO Brian Olsavsky said the company was “preparing for what could be a slower growth period” in an anticipation of an economic slowdown, citing inflation and rising energy costs, among other factors. “We are going to be very careful on our hiring,” Olsavsky added. “We certainly are looking at our cost structure and looking for areas where we can save money.”
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