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Metallica will be seriously in your face come this Friday (March 14). The heavy metal legends announced on Tuesday (March 11) that their 2024 Mexico City show has been optimized as an immersive experience on the Apple Vision Pro headset. The concert featuring such beloved hits as “Enter Sandman,” “One” and “Whiplash” will be beamed […]

The landscape for top music executives remains overwhelmingly white and male, according to a new report by USC’s Annenberg Inclusion Initiative, which notes that representation at the highest levels of the music industry have remained minimal despite declarations of diversity, equity and inclusion (DEI) in by major music companies in 2020 — with many of them performing worse today than when data was last collected in 2021.  
On Wednesday (March 12), Dr. Stacy L. Smith and the Annenberg Inclusion Initiative released their second Inclusion in the Music Business report — in partnership with Believe and Tunecore — that focuses on the gender and racial/ethnic identity of music executives, with data pulled from a survey of 2,793 executives across 106 music companies.

In one key finding, 86.8% of top executives (i.e. CEOs and presidents) at a smaller subset of 37 major and independent music companies were men, while 92.1% were white. All three non-white executives, two of whom were women of color, ran independent companies.

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“Much has been made of the ‘Year of the Woman’ in music, highlighting the work of artists like Taylor Swift, Beyoncé, Chappell Roan or Sabrina Carpenter,” the report reads. “While the music stage may be perceived as increasingly open to women artists, the executive ranks have maintained the status quo. Women fill fewer than 20% of top leadership positions and are still rarely part of senior leadership teams at top companies.” 

“In comparison to 2021, there was no increase in the percentage of senior executives who were women, people of color, or women of color in these roles — in fact, the percentage of underrepresented top executives decreased,” the report adds.

In focusing on just six major music companies (Sony Music Entertainment, Universal Music Group, Warner Music Group, Spotify, iHeartMedia and SiriusXM), the report discovered that just a third of all senior management executives at those companies were women, while 16.7% were from an underrepresented racial/ethnic group. In total, there were just eight women of color working in those roles, amounting to 10.3%.

In a broader analysis of senior leaders across the 106 companies — boiled down to 77 companies when taking into account subsidiaries — men held 84.4% of CEO/president roles while women held just 15.6%. The majority of those top executives (82.2%) were white, while just 17.8% were from underrepresented groups. Women of color held just 4.4% of these top roles. 

According to the report, among all companies surveyed, the presence of women executives falls significantly as the level of responsibility increases. Across the executive hierarchy categories of chief/president, executive vp/senior vp/GM and vp/head, women are most likely to hold positions at the vp/head level at 43.9%. This percentage drops to 38.1% of executive vp/senior vp/GM roles, while the percentage falls further, to 25.6%, at the chief/president position.

A similar pattern is found for underrepresented executives, who make up 25.9% of vp/head roles but only 19.7% and 21% of executive vp/senior vp/GM and chief/president roles, respectively. Only 10% of all executives in these categories were women of color.

The report suggests that the lack of female representation in higher roles could be due to two primary consequences of gendered leadership beliefs. “The first is that [women] may not be projected into leadership positions because they are not perceived to have the traditionally masculine traits associated with leadership,” the report reads. “The second is that when women do behave in ways that violate their gender role, perhaps by exhibiting leader-like behavior, they are punished. Thus women may be excluded from promotions for reasons that are not based on their actual performance but on gender role expectations that still play a role in how they are evaluated.” 

Dr. Smith and her team (which includes report authors Dr. Katherine Pieper, Zoe Moore and Sam Wheeler) also broke the findings down by five sectors: music groups, record labels, publishing, streaming and music distribution.  

The music distribution sector has the highest percentage of women executives (47.8%), which is significantly greater than the other four company types, none of which reached 40%. Women fill 39.4% of executive positions at record labels, 38.3% at music groups, 37.6% in publishing and 37.2% at streaming companies. 

Alternatively, record labels are a leader in underrepresented executives, who make up 30.1% of executive roles at labels. That percentage still lags behind proportional representation with the U.S. population (at 41.6% underrepresented, according to U.S. Census data) but is better than music groups (25.1%), music distribution (23.1%), streaming (17.9%) and publishing companies (16.3%). “Compared to the 2021 analysis, the current landscape shows a significant decline in the representation of underrepresented executives within the streaming sector,” the report reads. “There were no meaningful changes for the other industry categories.” 

A closer look at women of color in executive roles indicates that record labels (13.4%) were significantly more likely than streaming (7.5%) and publishing (6.9%) companies to be inclusive of underrepresented women in leadership. Music groups (11.8%) and music distribution companies (9.9%) held a middle position. 

“The lack of underrepresented executives in key leadership roles is particularly disappointing because in recent years, finding ways to promote talented people of color has been a priority for the industry,” the report states. “Efforts to address ongoing gaps have included the launch of industry-wide coalitions, task forces, and company-specific plans. Despite this, the underlying biases that thwart hiring and promotion have clearly not been addressed. To see more underrepresented leaders in the music industry, valuing the abilities, insights, and leadership traits that people of color bring to these roles is essential.” 

For women of color, the hurdles to reach the top echelons of the music industry remain the highest. Among the smaller subset of 37 music companies, a mere 5.3% of the highest-ranked executives and 10.3% of senior management teams are composed of women of color.

“The lack of women of color in leadership roles stands in contrast to the strong showing of women of color as artists and songwriters over the past several years,” the report states. “Clearly the music industry values women of color — but not the ways that women of color lead.” 

The report offers three actionable opportunities for change. First, it recommends using specific and measurable criteria in the hiring, evaluation and promotion process. Second is to create pathways to promotion that account for the different experiences needed to lead well while ensuring that performance metrics are met. The third is to pursue solutions that are sector-driven.  

“The music industry has faced a difficult season with layoffs across multiple companies,” the report states. “Additionally, the wider cultural moment is dismissive or even hostile to so-called DEI initiatives, creating wariness or even abandonment of principles and activities designed to cultivate and foster talent. Despite these challenges, the music business need not forego adopting strategies that will allow for the most qualified employees to rise to positions of greater responsibility and leadership, no matter their identity.” 

Check out the full report, including additional information on solutions, here.  

Multimedia company REVOLT is staking its claim in the music distribution arena with the launch of 440 Artists. Described as more than a conventional distribution platform, 440 Artists pledges to “redefine independence for the next generation of artists,” says REVOLT. And it will do so by providing artists with an array of resources including global distribution, creative freedom and full ownership of their work plus a 90/10 majority share of their royalties.
440 Artists will also provide exclusive access to REVOLT’s media network: linear and digital TV programming, a full-scale marketing agency, high-impact live events and state-of-the-art production studios. Beyond providing distribution to over 250 DSPs, 440’s offerings range from real-time analytics and release support to opportunities for sync deals, brand partnerships and live performances.

In explaining the reason behind establishing 440 Artists, REVOLT CEO Detavio Samuels tells Billboard, “The independent music game is crowded, but the system is still broken. Artists have more ways to distribute their music than ever, but distribution alone doesn’t build careers. Getting on DSPs is just step one — breaking through takes real visibility, opportunity and strategy.”

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Akinwole Garrett, REVOLT’s vp of business development, adds, “With the recent shift towards artists wanting to remain independent and forgo label deals, we saw a great opportunity for REVOLT to expand its impact. The natural next step was to marry our deep-rooted connection to hip-hop with a platform that truly empowers independent artists — giving them the visibility, industry access and financial opportunities they deserve.”

Detavio Samuels

Courtesy of REVOLT

Cena Zarin, head of music programming & talent relations for REVOLT Media & TV, and Mike Brown, senior administrative coordinator to REVOLT’s CEO and CBO, also played instrumental roles in developing and shaping 440 Artists. “Without their leadership and vision,” says Garrett, “440 Artists wouldn’t exist.”

The launch of 440 Artists will be officially celebrated at REVOLT House tomorrow (March 13) during SXSW 2025. Being held at Vulcan Gas Company in Austin, REVOLT House will feature performances from rising artists such as LaRussell, 310babii, Zeddy Will, K Carbon, Lebra Jolie, Lex Bratcher, Luke Bar$ and WhoKilledKenny. Also on tap: a live showcase of the REVOLT Podcast Network and interactive fan activations.

Samuels and Garrett share further insight below about 440 Artists, whose moniker was inspired by the audio frequency 440 Hz — the universal tuning frequency in music. For additional information about 440 Artists, visit the website.

What else prompted the decision to expand into distribution?

Samuels: We created 440 Artists not just to distribute music, but to plug artists into the full power of REVOLT’s ecosystem. Other platforms stop at distribution. We take it further. No other distribution service is backed by a global media brand with the ability to push artists through a multiplatform, multi-format ecosystem, showcase them on major stages and connect them with brands investing in culture.

Garrett: What started as a move to uplift hip-hop artists has now expanded into a much broader ecosystem — one that supports multiple categories and sub-genres, ensuring that independent talent across the board can grow, break through and succeed on their own terms. Despite the industry’s many players, we bring a unique approach and exclusive opportunities to artists that they can’t find under one roof. As the largest Black-owned media business in the country, with a fully staffed sales team, we offer countless opportunities to integrate 440’s artists into national brand campaigns. Moreover, beyond music videos and performances, we will create additional content opportunities — including podcasts, scripted and unscripted film and television projects, and digital content— to expand an artist’s presence across the media and entertainment landscape.

Akinwole Garrett

Courtesy of REVOLT

What’s the criteria for being selected to join 440 Artists?

Garrett: We seek artists who are talented, driven, and recognize the unique value that REVOLT and 440 bring to the table. Beyond an artist’s streaming performance, physical sales, and other metrics, we prioritize those with a loyal and engaged audience — regardless of size — who have a compelling persona that we believe 440 can elevate to the next level.

Last June, REVOLT became an employee-owned company. How does 440 Artists fit into your overall business model?

Garrett: REVOLT’s employees will play an active role in the success of 440. As majority owners, they will serve as A&Rs within their own networks, engaging with independent artists and making recommendations for those who could be a great fit for the 440 platform. 440 is also a core component of REVOLT’s broader creator strategy and platform. As the creator economy continues to expand and diversify, REVOLT has already established its presence across multiple verticals: working with YouTube creators through the YouTube Creator Network, podcasters via the REVOLT Podcast Network and digital publishers through the REVOLT Publisher Network. 440 Artists serves as the fourth pillar of this ecosystem, collectively forming the REVOLT Creator Network (RCN).

Samuels: 440 Artists embodies what REVOLT stands for: empowering creators and shifting ownership back to the culture. But this wasn’t my idea. 440 is 100% employee-driven. A group of employees saw a gap in the industry, created the vision, designed it and built it from the ground up. Now they get to see their idea come to life in the real world. It wasn’t on my vision board, but it was on theirs. And that’s exactly why we’re doing it.

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Michelle Obama is launching a new video podcast with her brother Craig Robinson, with a live episode set to be recorded at South By Southwest this week.

Former First Lady Michelle Obama is reentering the podcast genre with a new show and her brother as co-host. On Monday, Higher Ground announced the debut of IMO (short for In My Opinion). Higher Ground is the media company formed by Mrs. Obama and her husband, former President Barack Obama. The former First Lady will host with her older brother, basketball executive Craig Robinson. It’s the first video format podcast for the media group, in sync with the current standard of podcasts released today.

The first episode features the siblings reflecting on the surroundings of the apartment that they were filming in and contrasting it to the modest home in their hometown of Chicago, Illinois, where they both shared a bedroom. The conversation between the two sees them discuss certain challenges they’ve faced, with Robinson reflecting on what he’s learned after divorce, and the former First Lady discussing her initial reluctance about her husband’s presidential run. They also shared fond memories of their parents – their father, Frasier Robinson III, passed away in 1991, and their mother, Marian Robinson, passed away last May. The second episode boasts a celebrity guest – actress, producer, and writer Issa Rae. She and the hosts talk about maintaining adult friendships.
There are also several light-hearted moments through the released episodes, with Michelle Obama revealing that she’s just now getting back to driving after years of being driven by the Secret Service. Future guests on the show include actors Seth Rogen and Keke Palmer, along with director Tyler Perry and others who’ve appeared on The Michelle Obama Podcast, which was released on Spotify in 2020. Each episode is slated to be an hour in duration.
IMO is releasing both episodes to the public on Wednesday (March 12) and will record a live episode at the South By Southwest (SXSW) Festival in Austin, Texas, on Thursday (March 13). The show’s episodes will be produced with Audible, which is owned by Amazon. Sponsors of the show include Pine-Sol, Theraflu, and Rivian.

Chandler Moore earns third No. 1 overall, and his first without any billed collaborators, on Billboard’s Gospel Airplay chart, as the Maverick City Music member’s “Lead Me On” ascends a spot to the top of the tally dated March 15. Explore See latest videos, charts and news See latest videos, charts and news During the […]

Sabrina Carpenter paid homage to a song that her parents probably rocked out to when she was not even a figment of their imaginations during her show at London’s O2 Arena on Sunday night in London. The 25-year-old singer busted out a sprightly, bouncy cover of English new wave band Dexy Midnight Runners’ 1983 Billboard […]

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Back in the early 2000s when Dame Dash signed The Diplomats to Roc-A-Fella Records, rumors began to swirl that there was a confrontation between Dipset and Roc-A-Fella members that caused animosity in the camp (some even said Juelz Santana slapped Jay-Z). And now, we might’ve gotten some clarity as to what actually happened—and allegedly, someone indeed got slapped.

In a recent interview for The Art of The Dialogue, former Dipset member Freekey Zekey revealed that the tension between Dipset and Roc-A-Fella stemmed from a dust up between Jim Jones (of course) and Roc-A-Fella executive, Lenny Santiago. Reminiscing about the incident that began the drama, Zekey said things went left when Dipset called Lenny in order to get some studio time on a Sunday to which Santiago responded, “Kiss my ass, it’s Sunday. What you talkin’ about?”

Needless to say, that didn’t go over too well with Jones and company. The next day they went to the studio looking for retribution. Though he wasn’t around for the actual incident, Zekey says, “I’m pretty sure somebody got slapped or something physical happened to Lenny S.” Looking to kill whatever internal beef there might’ve been within the label, Dame Dash’s solution was for Jim Jones and Lenny S. to simply fight mano-a-mano. He got the two men in front of each other and said, “Lenny S., go over there and fight Jim.’”
That really does sound like something Dame Dash would do, too (LOL).
The proposed fight didn’t actually happen though, as Lenny called some reinforcements in the form of Memphis Bleek’s fam who rolled up in a jeep.
“That’s when it kinda.. the diamond started to… we found something hard enough to start to break the diamond. Because it was like, ‘Hold on, this is Bleek’s people with Lenny S. and y’all n-ggas gonna ride?’ That’s where the divide came from. It was just supposed to just be a Lenny S., Jim Jones fight but I guess Lenny S. called somebody and who he called was Bleek’s fam.”
Could that be the reason why Memphis Bleek once said that Dame Dash threatened to kick him off the Roc-A-Fella label, which in turn led to Dame and Jay-Z’s turmoil?
Regardless of what exactly led to the demise of one of the greatest Hip-Hop labels the game had ever seen, it’s disappointing to know that we could’ve gotten hella good music from Dipset and Roc-A-Fella artists during that period in time only for them to beef internally over egos.
Such a shame.
Check out Freeky Zekey’s talk about the incident below, and let us know your thoughts in the comments section.

Another day, another single from Lil Nas X. At this rate we could have the whole album by next week. After surprise dropping the songs “Big Dummy” and “Dreamboy” earlier this week, LNX was at it again on Wednesday morning (March 12) when he served up the latest taste of his upcoming Dreamboy album. This […]

Becky Hill has called out a joke made by Jack Whitehall at this year’s BRIT Awards. At the ceremony earlier this month, host Whitehall called the singer “Wetherspoons Whitney” – referring to the chain of affordable British pubs – on the assumption that she was less well-off because of her Midlands accent.

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“It’s an eclectic mix of nominees this year, from the soaring vocals of the Wetherspoons Whitney Becky Hill, to the atmospheric house of Top Jaw [in reference to the Instagram channel] with decks, Fred Again..,” said Whitehall, introducing the nominees for the dance act category.

Hill, who was born and raised in Bewdley, Worcestershire, called out the jibe via Instagram last night (Mar. 11). Posting to her stories, she shared a screenshot of a message pointing out the privileged backgrounds of various attendees at this year’s BRITs. 

It was highlighted that Charli XCX – who scooped five awards that night – attended the £38,319-a-year ($50,206) Bishop’s Stortford College, while producer of the year winner A.G. Cook went to the £27,747-a-year King Alfred’s School ($37,472). Abigail Morris, lead singer of The Last Dinner Party, is an alumnus of Bedales, which costs £52,075 ($67,351) a year. The post also stated that Whitehall was educated at The Dragon School in Oxford, which has annual fees of £52,000 ($67,254).

“Imagine being called a ‘Wetherspoons Whitney’ by some privately-educated nepo baby who has a TV show with daddy the showbiz agent on national TV,” wrote Hill. “My parents worked so hard to provide a middle class life for me, even tho [sic] they couldn’t afford it, no one gave me a leg up, I wasn’t near London so I couldn’t go to the BRIT School. So if you associate a Midlands accent with a Wetherspoons that says more about the silver spoon in your mouth, jolly ol’ boy.”

In a subsequent post, she shared a selfie with a caption reading: “Me and my working class attitude off to work today. Remember not to be out of touch today kids, even if ur [sic] daddy is rich. Shout out Jack Whitehall for the fuel to my fire.” Whitehall is yet to respond to her comments.

Last week (Mar. 12), Billboard UK reported on the disparity in the music industry between those educated at state schools and those from private institutions, highlighting a 2024 report from the non-profit organisation The Sutton Trust. Their research indicates that best-selling musicians are six times more likely to have been privately educated than educated at a state school, and that the former take up more than half of enrollment at prestigious music conservatoires such as London’s The Royal Academy of Music (60%) and Royal College of Music (56%). 

Hill, meanwhile, is scheduled to perform at the Formula 1 British Grand Prix at the iconic Silverstone circuit in Northamptonshire in July. She released her second studio album Believe Me Now? last year, which peaked at No. 3 on the Official U.K. Albums Chart.

BTS‘ Jin is trapped on a bonkers island in the first trailer for the upcoming Netflix variety show series Kian’s Bizarre B&B. The unscripted Korean series that will debut on April 8 stars beloved webtoon artist and entertainer Kian, who stars in the show alongside the K-pop superstar and SNL Korea comedian Ji Ye-eun, who […]