diversity
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Harvard University publicly rebuked the Trump administration’s demands for the school to eliminate diversity efforts and screen international students.
On Monday (April 14), Harvard University responded to a letter it received from the Trump administration on Friday (April 11) which demanded that the university eliminate its diversity, equity, and inclusion programs as well as to screen international students for potential support of antisemitism, terrorism, and “the American values and institutions inscribed in the U.S. Constitution and Declaration of Independence.” Harvard emphatically rebuked the demands, writing in a post on X, formerly Twitter: The university will not surrender its independence or relinquish its constitutional rights. Neither Harvard nor any other private university can allow itself to be taken over by the federal government.”
“No government — regardless of which party is in power — should dictate what private universities can teach, whom they can admit and hire, and which areas of study and inquiry they can pursue,” Harvard President Alan Garber wrote in a statement detailing his reasoning as to why he wouldn’t comply. “Although some of the demands outlined by the government are aimed at combating antisemitism, the majority represent direct governmental regulation of the ‘intellectual conditions’ at Harvard,” he continued. In response, the Department of Education and the U.S. General Services Administration issued a statement saying that they would freeze $2.2 billion in multi-year grants and $60 million in multi-year contract value to the school.
President Donald Trump wrote a scornful reply on his Truth Social media platform on Tuesday morning (April 15): “Perhaps Harvard should lose its Tax Exempt Status and be Taxed as a Political Entity if it keeps pushing political, ideological, and terrorist inspired/supporting ‘Sickness?’ Remember, Tax Exempt Status is totally contingent on acting in the PUBLIC INTEREST!”
Harvard’s stance has compelled other schools to fight back. “This is of momentous, momentous significance,” said J. Michael Luttig, a former federal court judge and prominent conservative. “This should be the turning point in the president’s rampage against American institutions.” The Massachusetts Institute of Technology issued a statement detailing its intent to sue the government in the wake of nine international students having their visas revoked. Many applauded the school’s response. His view was echoed on social media by many, with a user named Lincs on X, formerly Twitter writing, “It’s great to see some institutions with backbone.”
Recording Academy CEO Harvey Mason Jr. sent a letter via email to all Recording Academy members on Wednesday (April 2) sharing a report that the academy created and quietly posted on its website in January. In the report, the academy attempts to quantify its impact and summarize the changes it has made over the five years since Mason stepped into the top job at the organization (initially as interim CEO following the departure of Deborah Dugan).
“While many people know us as just an awards granting institution, we are actually a purpose-driven impact organization serving music makers and aspiring music makers around the world 365 days a year,” Mason wrote in his letter. … “This Grammy Impact 2024 report puts into one place all the ways the Recording Academy positively affected music people last year.”
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In an interview with Billboard, Mason shed further light on his aims with the report, which takes the form of a slick and visually appealing deck brimming with facts and figures. But Mason says the numbers aren’t the point. “To me, the bottom line is that they get a sense that the academy is making a real impact on the lives of music people beyond just giving trophies,” he says. “What I’m trying to do is hopefully build support for the academy, through seeing it maybe through a different lens, rather than just who got snubbed or who won or who didn’t win. That’s the objective of this report.”
Mason has long tried to get people to see the academy as more than just the dispenser of shiny gramophones. “When I took the role, one of my objectives and goals was to heighten the awareness of what happens the other 364 days of the year,” he says. “I did experience a lot of interaction with music people in studios as I was coming up where people just thought of the Grammys as a night to get an award, whereas I was always encouraging them to see the bigger picture; to see all the service work that’s being done; the advocacy, the education, the philanthropy, MusicCares; all the different parts of the academy.
“A lot of people know and love the awards ceremony,” he continues. “I’m thankful for that, but it is a challenge for us as an organization to tell the larger story as to why we exist. [This report is] a new way of positioning the academy. We needed to do a better job of explaining why the academy exists beyond to celebrate one night a year. So, this was an intentional effort for us over the last few years to make sure we’re telling that story in a new way.”
Perhaps the most eye-popping statistic in the deck presentation is one that was already reported in the academy’s 2024 membership report, which was released Oct. 3 and reported in Billboard that same day: That a whopping 66% of current academy voting members have joined since 2019.
“It’s great [in the] sense in that we are continuing to remain relevant,” Mason says, “to attract new music-makers, people who are at the height of their careers, or coming into their careers, and we are moving away from having people who have been members…” Mason pauses and starts anew. “We always want to keep our long-term members, but we want to make sure they’re continuing to qualify as voting members [by being able to show recent credits]. We don’t want people that have had music careers in the 1960s or ’70s still voting on music that maybe they’re not involved in making, so we’re making sure we’re refreshing the membership; making sure the membership’s relevant to professionals in the industry working today.”
The deck also includes the statistic, also first reported in the membership report, that people of color now constitute 38% of the voting membership. “I’m pleased with the progress,” Mason says. “We still feel like we have some room to go. You think about why are these numbers important: Why do you care about changing the make-up of our membership? It’s mostly because we want to make sure our membership reflects the industry.”
Mason says he has no set points in mind as to when the academy will have achieved its membership goals. “We’ll never be done, because these numbers are going to fluctuate,” he says. “They’re going to adjust based on what’s happening in our community, in music; changing based on genre popularity, so we’re going to be in a constant search to perfect our membership. We’re always going to continue to work and tinker with the numbers because we have to remain relevant. I don’t think we’re where we want to be yet. I’m not sure we’ll ever accomplish the perfect membership, but we will continue to [work on it].”
At this year’s Grammy Awards, artists and songwriters of color won three of the four highest-profile awards: album of the year (Beyoncé’s Cowboy Carter) and record and song of the year (Kendrick Lamar’s “Not Like Us”). Does Mason see that as a reflection of the academy’s overhaul of its membership?
“Not necessarily,” Mason says. “I see it as a reflection of the quality of their individual work. I like to think having a relevant membership — regardless of their race — is probably what gives us the best outcomes, but I think those people had amazing years creatively and our voters recognized that.”
The deck also repeats the stat that the Recording Academy has added more than 3,000 women voting members since 2019, surpassing its 2019 goal to add 2,500 women voting members by 2025. Women now make up 28% of the voting membership.
“We really needed to increase the number of women voters,” Mason says. “A great first step is adding 3,000 new members. We’re not [yet] where you want to be.”
The deck also speaks to the academy’s “bold global expansion, working with stakeholders in Africa and the Middle East to help foster the dynamic music markets there.” (The academy first released this information on June 9.)
Asked why that effort is a priority for the U.S.-based academy, Mason replies, “Obviously, a big focus is on our American members, and it will continue to be that. We are an organization that represents music all around the world. If we’re going to do that, we have to have people that represent those genres. It very much can be said in the same way about Latin music: Why do you care about Latin music? Why did you build a Latin Academy? It’s because the music is very popular. It’s a thriving music community and it continues to affect people as they listen to it and consume music, and the same can be said for other parts of the world.
“We are not living in a time when music only comes from American creators,” he continues. “Music is coming from creators all around the planet. As a group that serves music people and hopefully uplifts music people, we want to be able to do that for people regardless of where they’re from. As long as they’re making music, we want to have an impact on those music groups.”
Here’s Mason’s letter to the academy membership in full:
Academy members,
I am writing today to share an exciting report that we recently created. You frequently hear me say that music is a powerful force for good in the world, and that the people who make it deserve an organization dedicated to their well-being. I feel so incredibly privileged to work for the organization that exists to do that.
But our highest purpose isn’t merely to serve music creators, it’s to make a positive impact on their lives and careers. And that’s exactly what we work to do, every single day of the year, through the tireless and amazing effort of our board and our teams.
While many people know us as just an awards granting institution, we are actually a purpose-driven impact organization serving music makers and aspiring music makers around the world 365 days a year. Every piece of legislation we help pass has a tangible impact on the music people we serve. Every event hosted by a chapter or wing, every dollar distributed by MusiCares, every scholarship we provide, and every time we open the Grammy Museum doors to a child, it impacts our music community. And yes, every Grammy nomination and award alters the trajectory of someone’s life and career.
This Grammy Impact 2024 report puts into one place all the ways the Recording Academy positively affected music people last year. As we say in the report, it is the combined work of the more than 300 dedicated employees of the Recording Academy, the Latin Recording Academy, the Grammy Museum, MusiCares, and thousands of music creators who volunteered their time in service to their peers.
Please take a moment to read through the report, and reflect on the ways you and your colleagues personally contributed to these outcomes. I hope you feel a sense of pride and purpose in what was accomplished, and for the role you play every day in serving the music people who rely on us.
Of course, we’re now into 2025, and while we celebrate the achievements of last year, we are also looking ahead to the impact we will make this year and beyond. Grammys on the Hill is right around the corner, the Day that Music Cares is coming soon, and much more awaits us in the months ahead.
Thank you for your ongoing commitment to our work. It is making a lasting impact.Gratefully,Harvey Mason jr.
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Jamie Foxx had some words about the Trump administration’s anti-DEI policies and rhetoric during an interview.
The federal government under President Donald Trump has been virulently against diversity, equity, and inclusion policies (DEI) since he took office. Many are upset and vocal about those attacks, including Academy Award-winning actor Jamie Foxx. Foxx voiced his opinion in an interview with Essence at the purple carpet premiere for a new documentary by Apple+, Number One on The Call Sheet.
https://x.com/Essence/status/1900294939684331625
Foxx expressed shock over the rhetoric, seeing as how everyone loves what the Black community offers the world. “Stop playing with us,” continued Foxx. “All that DEI goofiness you talking about man, stop playing. Give us our props. Stop messing with our history. The more you erase, the more we replace. I don’t get why they so mad at us.” He then spoke about how former President Barack Obama’s presence and actions while in office made him take more pride in being Black.
“Somebody said why does it have to be ‘Black excellence’? Why not? Why not…perception is everything,” Foxx said. “You know what [Obama] did for me? He changed my perception because when I would travel the world, the world had a different perception of me as a Black man.” He then went into a quick impression of former President Obama. “They love what we do. I know y’all out there b—ng right now. Y’all love us, y’all love our music,” Foxx concluded. “If y’all talking about DEI then give some of our stuff back, like our R&B. Stop playing with us. Stop singing like us, stop dancing like us. Give us our s—t back. Nah, I’m just kidding.”
The attacks on DEI have been a constant by the Trump administration through executive orders. One recent example is the White House’s refusal to send storm relief aid to Asheville, North Carolina, due to one line in the funding plan, which read: “prioritize assistance for Minority and Women Owned Businesses (MWBE) within the scoring criteria outlined within the policies and procedures.” The move was confirmed by Housing and Urban Development Secretary Scott Turner, who said in a statement: “Once again, let me be clear DEI is dead at HUD. We will not provide funding to any program or grantee that does not comply with President Trump’s executive orders.”
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Rev. Jamal Bryant made a public declaration to boycott Target due to its shift in DEI policies assumed to be in response to the Trump-Harris administration’s stances. Rev. Jamal Bryant is urging that the Target boycott take place for 40 days in conjunction with the holy lenten season period, which began on March 5 and extends into April.
As spotted on Newsweek, Rev. Jamal Bryant, Senior Pastor of the New Birth Missionary Baptist Church in Dekalb County, Ga., joined forces with the Black Chamber of Commerce and OurMoneyUnited.com to launch the Target Fast. A quick scan of the website for the organized boycott effectively explains the aims of the 40-day ban from shopping at the major retail giant.
From Target Fast: (click to learn more)
This Lent, we will begin a corporate fast, starting with Target, as a spiritual act of resistance. Just as Jesus overturned the tables in the temple, challenging the exploitation and hypocrisy of his day, we too must disrupt business as usual. Fasting is not just about what we abstain from—it is about what we embrace. By redirecting our resources toward businesses that uphold justice, we embody our commitment to God’s vision of equity and love in action.
This is a fast for accountability. A fast for justice. A fast for a future where corporations do not bow to pressure at the expense of marginalized communities. As we journey through these 40 days, let us pray, reflect, and act—knowing that our collective sacrifice can bring about transformation.
The company has already faced backlash for its rollback of DEI policies, reporting lower than normal earnings totals since making the announcement. The effort from Bryant and the other organizing bodies could extend toward other entities and will assess data collected during the fast, which will end on April 17.
Participants are asked to use the Voter Wallet tool to find Black businesses to support in place of any retailers named in the economic fast.
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Photo: Anadolu / Getty
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A nationwide economic boycott of Target has led to a significant decline in its valuation, with another extended boycott set to begin.
According to reports, a one-day economic blackout held last week (reportedly initiated by the Peoples Union USA group) had a strong impact on Target’s earnings, just as the big box chain is facing another extended boycott of its stores. The data revealed that Target saw an 11% drop in customer traffic in its stores last Friday (Feb. 28), and a 9% drop in visitors from 5.2 million to 4.7 million through its website. Their dedicated app also saw a significant decline, going down 14% from 4.2 million to 3.5 million when compared to figures from Feb. 14.
The findings come weeks after Target’s announcement at the end of January that it had come to the end of a three-year program that focused on building Black careers at the company as well as promoting Black-owned businesses and improving the experiences of Black shoppers. The program was started by the Minneapolis-based retail chain in the wake of the murder of George Floyd by officers from that city in 2020. Target also announced that it would roll back other diversity, equity, and inclusion (DEI) goals set for that three-year cycle, leading to backlash from the public.
The chain acknowledged a “small decline” in revenue in February but didn’t acknowledge the one-day blackout, instead projecting that there was “meaningful year-over-year profit pressure in its first quarter relative to the remainder of the year” relative to ongoing consumer uncertainty in combination with the current tariff wars enacted by President Donald Trump. Target’s full-year revenues saw a drop from $107.4 billion in 2023 to $106.6 billion in 2024. Notably, their stock valuation dropped 13% from $135.21 to $117.14 a share.
A new boycott is set to begin Wednesday (March 5), initiated by Atlanta-based pastor Dr. Jamal Bryant of the New Birth Baptist Church. The “fast” will take place over the 40 days of the Lent season. “Black people spend on average $12 million a day in Target, so with that large of a consumption pie, we need to be treated with a great decibel of respect,” Dr. Bryant said in an interview, noting that 50,000 people had signed an online petition stating they’d participate.
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An agency at the Pentagon has paused observing Black History Month and Martin Luther King Jr. Day at the behest of President Donald Trump.
According to reports, the Defense Department’s intelligence agency has halted observances of Black History Month, Dr. Martin Luther King Jr. Day, and other cultural and historical events. The directive, revealed in a leaked memo, is following an executive order signed by President Donald Trump targeting diversity, equity, and inclusion (DEI) on his first day back in office on Jan. 20. An unnamed official verified the memo’s authenticity.
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“We are receiving questions across the workforce on the way forward,” the memo said. “DIA will pause all activities and events related to Agency Special Emphasis Programs effective immediately and until further notice.” The memo calls for a halt of observing 11 events including Asian American Pacific Islander Heritage Month, National American Indian Heritage Month, National Disability Employment Awareness Month, Women’s Equality Day, and Women’s History Month.
The source said the change would not affect the holidays being celebrated nationally, and it’s not policy across the Department of Defense. But Secretary of Defense Pete Hegseth instructed his staff last Wednesday (Jan. 29) to create a task force to eliminate DEI programs from the Pentagon. “We’re not joking around,” Hegseth said in an interview Wednesday with Fox News when asked about it. “There’s no changing of names or softly manipulating something. DEI is gone.”
The backlash has hit the White House, particularly as Black History Month kicked off Saturday (Feb. 1). White House Press Secretary Karoline Leavitt addressed the controversy Friday (Jan. 31) and tried to downplay it. “As far as I know, this White House certainly still intends to celebrate, and we will continue to celebrate American history and the contributions that all Americans, regardless of race, religion, or creed, have made to our great country,” she said. Trump would then sign a proclamation later that day declaring that Black History Month be observed by “public officials, educators, librarians, and all the people of the United States to observe this month with appropriate programs, ceremonies, and activities,” although there were no further details on what those programs would be.
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The tech bros are kissing Donald Trump’s ring, and companies like Target are using his push to make America white again as an excuse to roll back diversity programs.
Following Orange Menace’s executive order calling for the end of diversity, equity, and inclusion programs in the federal government, Target’s discount store chain followed in the footsteps of Walmart and other American companies, which began ending diversity, equity, and inclusion programs.
Target announced it would be making changes to its “Belonging at the Bullseye” strategy along with axing a program that helped Black employees build better careers within the company, improve the shopping experience for Black customers, and promote Black-owned businesses, which all came after the tragic killing of George Floyd in 2020 at the hands of law enforcement.
The company claims that it planned on ending its racial program this year, basically trying to say the decision has nothing to do with the conservative backlash against DEI.
Target, which has nearly 2,000 stores nationwide and employs more than 400,000 people, is ending the DEI goals it set three years ago.
In a memo sent to workers, Kiera Fernandez, Target’s chief community impact and equity officer, described the company’s decisions on DEI as the “next chapter” of its efforts to create “inclusive work and guest environments that welcome all.”
“Many years of data, insights, listening, and learning have been shaping this next chapter in our strategy,” Fernandez wrote in the memo shared by Target on Friday. “And as a retailer that serves millions of consumers every day, we understand the importance of staying in step with the evolving external landscape, now and in the future.”
The Social Media Fallout
As expected, the fallout from Target’s decision was instant and immediately led to calls for a boycott. Tabitha Brown, who has partnerships with Target, broke her silence on the matter after followers called on her to end them.
In the video, she explained that ending her partnerships wouldn’t be simple. She could be sued for breach of contract, and she could not boycott but still support the Black-owned brands that have deals with the company. Brown also added that if the Black-owned brands don’t sell, companies like Target can use that excuse to pull those products and replace them with other brands.
She caught a lot of flack for her video, leading to her to send a follow-up response writing:
“Since so many people didn’t watch to the end of my video and have created a false narrative… this is not about me… this is bigger than me. I’m grateful for all the support over the years but if i don’t get it anymore, I OVERSTAND and I’m ok. But it’s bigger than me!”
While Target is catching well-deserved flack for their decision, other companies like Apple, Microsoft, Costco, and JP Morgan are doubling down on their DEI initiatives.
Longtime activist Rev. Al Sharpton led a “buycott” at Costco after the company said it would not end its DEI initiatives.
In the gallery below, you can see reactions to Target and Tabitha Brown speaking out.
3. They definitely we’re not
In July, six women — Taylor Swift, Gracie Abrams, Billie Eilish, Chappell Roan, Ariana Grande and Charli XCX — cracked the top 10 of the Billboard 200, the first time that had happened since 2019. And when Grammy nominations were announced Nov. 8, six of the eight slots for record, album and song of the year were headlined by women — the second year in a row women had such high representation in the major categories. Women artists are ruling pop music in 2024.
At the major companies that power these superstars, however, women have been leaving powerful roles — moves that have rattled other women fighting for inclusion and influence at the top of the business. Between Universal Music Group (UMG), Sony Music and Warner Music Group (WMG) — the three major music companies — there were four labels that started this year with women CEOs: Capitol Music Group’s Michelle Jubelirer, Atlantic Music Group’s Julie Greenwald, Epic Records’ Sylvia Rhone and UMG Nashville’s Cindy Mabe. Eleven months later, that number has dropped: Rhone, who is also one of very few Black CEOs in the major label system, is the only one left at the coastal majors. And a number of other women left music’s C-suites this year as part of major-label restructurings that impacted both genders.
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It hasn’t been all bad news for women execs: Mabe is still in place at UMG Nashville, and Taylor Lindsey, who had been vp of A&R, will take the chairman/CEO role at Sony Music Nashville at the top of 2025. But the high-profile departures have shaken the confidence of many women music executives, says a high-ranking woman in the industry: “It makes them nervous because people like Julie Greenwald didn’t take shit from anybody. And the message is, ‘Oh my God, look at that. If they can let Julie Greenwald go, anybody can go.’”
The CEOs of the industry’s biggest streaming services, promotion companies and most agencies, meanwhile, are all men; many distribution CEOs are, too. Publishing and Nashville both fare better, but the industry is largely led by men in the top jobs. Most of the top indie labels are led by men as well.
Jubelirer, Greenwald, Rhone, Mabe and former Motown CEO/chair Ethiopia Habtemariam, who left her role at the end of 2022 and was not replaced, either declined to comment or did not respond to requests for comment for this story.
Despite the varied reasons for these departures, the decline in the number of women among music’s top ranks marks a step backwards during a decade that started with the Black Lives Matter movement and the major music companies pledging to better embrace diversity, equity and inclusion efforts. As Andreea Gleeson, CEO of TuneCore, puts it, “There’s not a full effort being made and that’s really dangerous. To drive meaningful change in the diversity of your company, you need to be committed to it. That starts at the top.”
Natalie Prospere, founder and CEO of the label, publishing and live events company Friends Only, says she hasn’t been surprised by the recent exits. “I knew this was going to happen. Nobody actually wants to stand for anything other than posting a black square on your Instagram.”
There are still many women in COO, president, GM and other chief-level or department-head roles across the major label system. But the actual CEOs are still almost all white men. According to Believe, Tunecore and MIDiA Research’s fourth annual “Be The Change” women’s equality in music study, in 2024, 49% of women also believe that the music industry is still “generally discriminative” based on gender. The study also found that women in music are twice as likely as men to discover they are paid less than colleagues in the same or similar roles.
“When you see the scarcity of female executives in the music industry, coupled with the way female executives are treated, how, as a young woman in the industry, can you not question your ability to succeed?” says a female former label executive.
At the labels, Jubelirer was the first to go this year. In February, amid reports that Capitol and its parent company UMG were restructuring, Jubelirer stepped down from her post, which she held since the end of 2021, as Capitol’s first female CEO in its entire 80-year history. Had she stayed, Jubelirer would have been effectively demoted, moved from being the head of her own family of record labels and reporting straight to UMG chairman/CEO Lucian Grainge, to being under the umbrella of the newly formed Interscope Capitol Labels Group (ICLG) and reporting to ICLG chairman/CEO John Janick. She was replaced by Tom March, a British-born executive who most recently led Interscope offshoot Geffen Records.
Then, in September, Greenwald announced her exit from her role at Atlantic Music Group, a company she co-led for 20 years, the latter two as its first female CEO in its own 70-plus-year history, amid a similar restructuring in WMG’s recorded music division. She was replaced by Grainge’s son, Elliot Grainge, the founder/CEO of WMG-acquired label 10K Projects.
These high-profile exits come two years after Habtemariam, chair/CEO at Motown, stepped down from her post when rumors began to circulate that Motown would lose its status as a standalone label and would be reintegrated under Capitol Music Group, which ultimately did happen. While the label’s profitability during Habtemariam’s tenure is unclear, Habtemariam took Motown’s U.S. current market share from 0.85% to 1.30%.
The recent executive departures are even more troubling to some women in the industry given the challenges these women had faced getting to their top posts in the first place. When Steve Barnett retired as Capitol Music Group CEO at the end of 2019, Jubelirer, an attorney who worked her way up over a decade to become COO of Capitol, was believed by many to be the next in line. Instead, the role was given to Capitol Records president Jeff Vaughn. (Under Vaughn, Capitol’s current market share dipped from 7.36% in 2020 to 5.64% in 2021. He was replaced by Jubelirer in less than a year). While market share cannot tell the full story of Capitol Music Group financials at the time, Jubelirer then grew CMG market share by almost a full percentage point from 2022 to 2023.
While Mary Rahmani, CEO and founder of Moon Projects, a joint venture label/publisher with Republic Records/Warner Chappell Music, says she came up in the major label business around “lots of women assistants and coordinators,” there were not many women executives to look up to. “If there were any, they were specifically in PR, radio and sync. I didn’t really see many badass women A&R or marketing executives, and I always wished there were more examples for me.”
Years later, when Rahmani was on maternity leave with her first child, she was cut from the major label she worked for during a sweep of layoffs. Reflecting on the experience now, she says it “wasn’t personal,” but feels motherhood is often a reason why it’s harder for women to climb up the ladder in the way men, even men who have children, do. “It’s for sure a big reason. I think a lot of women in the mid-level phase take a step back once they have a family.”
At Billboard’s Women in Music event in March, Jubelirer accepted the award for Executive of the Year and highlighted another way women face extra adversity in the workplace: their presentation. “Women, do these comments sound familiar?” Jubelirer addressed the crowd. “‘You’re too emotional.’ ‘You don’t have to be so direct when you talk.’ We all know that’s code for ‘Stop being a bitch.’ ‘You should smile more.’ … We know that it takes quite a bit of fortitude to present our true selves in the workplace and rebel against those stereotypes that have been expected of women.”
In some other areas of the music business, women fare better in their share of CEO roles. Though it’s far from gender parity, the publishing sector is a bright spot. Many of publishing’s most respected leaders are women, including Universal Music Publishing Group’s CEO/chair Jody Gerson, who has held her post for a decade, and Warner Chappell’s COO/co-chair Carianne Marshall at the majors and Reservoir Media’s founder/CEO Golnar Khosrowshahi and Peermusic’s CEO Mary Megan Peer at the large independents.
“It’s likely a result of a positive feedback loop,” says Khosrowshahi of the publishing sector. “As more women rise to the top of various publishing entities, that leads to the success of more women [beneath them].”
Ironically, though women artists in country music struggle to make their voices heard on country radio, the presence of female CEOs and chairs is stronger in Nashville. Today, all three major labels in town have women in their highest ranks: Mabe is chair/CEO of UMG Nashville, Lindsey is soon to become chairman/CEO of Sony Nashville, and Cris Lacy is co-chair/co-president of Warner Music Nashville.
The C-suites at the majors do have women among their ranks: Alamo, ICLG, The Orchard and Verve all have women COOs in Juliette Jones, Annie Lee, Colleen Theis and Dawn Olejar, respectively; Julie Swidler is general counsel at Sony Music and Erica Bellarosa holds the same title at Atlantic Music Group; Republic Records counts Wendy Goldstein as president/chief creative officer and Donna Gryn as chief marketing officer; Capitol (Lilia Parsa), Columbia (Jenifer Mallory), Virgin (Jacqueline Saturn), Interscope (Michelle An, Nicole Wyskoarko), Atlantic (Lanre Gaba), 10K Projects (Molly McLachlan), 300 Entertainment (Rayna Bass), ADA (Cat Kreidich) and EMPIRE (Tina Davis) all have women with president or co-president titles; and high-ranking women can be found across the corporate majors and individual labels.
But the path to the chief executive’s office remains an especially challenging one — and even then, some women CEOs say they still feel excluded from the conversations, meetings or other gatherings where decision-making happens in their organizations.
When Greenwald was named Billboard’s 2017 Women in Music Executive of the Year, she spoke of how she hoped her platform could lead to more women executives in the next generation. “I love all the women here who put their hands up and say, ‘Listen, at some point I want your chair,’” Greenwald said. “I want someone to come take this chair. I want women to come in with a tape measure.”
The independent music sector has offered executives like Rahmani, Gleeson, Khosrowshahi, Prospere and Milana Rabkin Lewis, co-founder/CEO of STEM Disintermedia, another path, thanks to the growth of indie music’s market share both in the U.S. and abroad. For Rabkin Lewis, who got her start at UTA before founding the distributor/label, she says she wanted to run her own independent company because “I could be more in control. I also wanted to set a new example, and I wanted to create my own path, which potentially had [fewer] road bumps and hurdles than the perceived corporate path.”
Still, a high-ranking female music executive says it’s essential for the next generation to see women in CEO and chairwoman roles at the major labels specifically because “power comes in P&L responsibility, and there’s a scarcity of women at major labels who have P&L responsibility.” Another adds, “The major labels are the front lines… They’re the ones that set the tone for how the industry is going to proceed.”
Representatives for UMG, WMG and Sony declined to comment or did not respond to a request for comment.
The Academy of Motion Picture Arts and Sciences on Wednesday (July 10) announced the second year of the Jonas Gwangwa Music Composition Initiative, a career development program for Black musicians interested in composing music for film. The program, launched in 2022, provides real-world experience, one-on-one mentorship and networking opportunities with an aim to foster broader representation in film music composition.
The program is named in memory of the late South African jazz musician, composer and producer Jonas Gwangwa. Gwangwa, who died in January 2021 at age 83, received a pair of Oscar nominations for best original score and best original song for his collaboration, with George Fenton, on Cry Freedom (1987).
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Program partners are Universal Music Group’s (UMG) Task Force for Meaningful Change (TFMC), Mercury Studios, Universal Music Publishing Group Classics and Screen, Decca Records and UMG’s Globe.
The program is open to U.K.-based and U.S.-based Black artists and composers with at least three years of work experience as a musician. Four participants, two in the U.K. and two in the U.S., will be selected through an application process. Participants will receive access to Academy members across various branches to gain an understanding of the filmmaking process; one-on-one mentorship with a member of the Academy’s Music Branch to learn about the practical aspects of composing for film; access to Academy events and screenings in London and Los Angeles; and introductions to leading practitioners from all areas of film music, among other mentorship programming.
Participants will be matched with a filmmaker who is in the process of making a short film and will be given the opportunity to compose music for the film. Each participant will receive a grant to help support their film composition projects.
“After an incredibly successful first year, the Academy is excited for the second year of Jonas Gwangwa Music Composition Initiative,” Kendra Carter, academy senior vice president, impact and global talent development, said in a statement. “Our goal for this program is to stimulate long-term career opportunities within the film industry for underrepresented musicians, and we thank our partners within Universal Music Group and our Academy members, whose passion, dedication and expertise enable this work.”
“The life and legacy of Jonas Gwangwa’s commitment as an artist-activist who used music as a tool for social change is undeniable and it’s an honor to celebrate him with this program,” said Menna Demessie, Ph.D., senior vice president, UMG and executive director, Task Force for Meaningful Change. “This initiative will continue to help create space for a more diverse cadre of film music composers and ultimately provide career opportunities that will advance the industry itself.”
Applications for the Jonas Gwangwa Music Composition Initiative are currently open. For more information, visit the Academy’s website.
The late, Grammy-winning conductor Seiji Ozawa; Matt Cameron, drummer for Pearl Jam; and Grammy-nominated concert violinist Anne Akiko Meyers are among the Asian Hall of Fame’s class of 2024 inductees. The class will be announced at a kick-off event, “Celebrate Asia Festival,” on May 1 at the Biltmore Hotel in Los Angeles.
The Celebrate Asia Festival is an annual benefit for the Women Founders Fund, which supports diversity among women in tech, entertainment and the arts. May is Asian American, Native Hawaiian and Pacific Islander (AAPI) Heritage Month.
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Ozawa, who died Feb. 6 at age 88, was recognized internationally through his work as music director of the Toronto Symphony Orchestra, San Francisco Symphony, Vienna State Opera and the Boston Symphony Orchestra. He won a Grammy in 2016 for best opera recording for Ravel: L’Enfant Et Les Sortilèges; Shéhérazade.
Cameron first gained fame as the drummer for Soundgarden, which he joined in 1986. He appeared on each of the band’s studio albums until its breakup in 1997. In 1998, Cameron was invited to join Pearl Jam’s Yield Tour and then became a permanent member of the band. Cameron has won two Grammys for his work with Pearl Jam: best metal performance for “Spoonman” and best hard rock performance for “Black Hole Sun.”
Meyers received her first Grammy nod late last year for Fandango, a live recording with Gustavo Dudamel and the L.A. Philharmonic, which was nominated for best classical compendium. Her 2023-24 season includes performances with the Los Angeles Philharmonic and the Royal Philharmonic.
Here’s a quick look at this year’s three other music-connected honorees:
John Paris, drummer for Earth, Wind & Fire since 2001, played on Asian Hall of Fame’s Down by the Water charity album for human trafficking rescue.
Malea Emma Tjandrawidjaja, who performed “The Star-Spangled Banner” on American Idol at age seven (and was given a golden ticket by judges Lionel Richie, Katy Perry and Luke Bryan to come back and compete in 2027) is the recipient of the Asian Innovation Award. The prize includes a grant check, invitation to record a song with pianist Ed Roth at the private studio of Robby Krieger, and opportunities to perform at the May Festival and October Ceremony.
Lydia Lee, choir director at John Muir Middle School in Burbank, Calif., is recipient of the Asian Women in the Arts Prize for her work in music education. Her choir will perform Beethoven’s “Ode to Joy” in German with a professional adult choir and ensemble at the Oct. 19 induction ceremony.