Radio
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While the Radio Music Licensing Committee awaits an appeals court decision in its so-far unsuccessful attempt to combine rate court proceedings with ASCAP and BMI under a single judge, the trade group has filed federal petitions to begin the processes separately in the Southern District of New York.
Usually, such rate proceedings petitions are initiated after negotiations between the performance rights organizations and the RMLC prove fruitless. Under these petitions, the PROs will each make the case for what rate it thinks their songwriters and publishers are entitled to receive when their songs are played on the radio. This time out, for the period of 2022-2026, the RMLC is seeking to maintain the same rates it had under the prior agreement which covered 2017-2021.
In July 2022, the RMLC tried to get ASCAP and BMI combined into a single rate proceeding, thus showing its hand that it felt rate negotiations had failed. For decades, each PRO had its own separate rate proceeding, but about seven or eight years ago, the RMLC began a new rate court strategy of trying to assign market share to the four U.S. PROs â ASCAP, BMI, SESAC and Global Music Rights â in attempt to keep the rates in parity with market share, irrespective of each PROâs song catalog. In filing its petition to consolidate the rate proceedings to the Southern District of New York, which oversees both rate proceedings and the ASCAP and BMI consent decrees, the RMLC said the act was justified by the Music Modernization Act of 2018 that changed how the the Southern District assigns the rate court proceeding.
The step to combine the rate proceedings into one was seen by some music industry executives as a further attempt to pursue that rate strategy. Having a single judge, instead of bifurcated rate court proceedings, could benefit the RMLC because it would likely pit BMI and ASCAP against each other, vying for a higher rate than the other with both PROs arguing over market share.
But in May this year, Southern District Court Judge Stanton ruled against the RMLCâs consolidation petition so the radio trade group subsequently appealed that decision. The Second District Appeals Court has yet to issue a ruling on the RMLC motion, but in the meantime, the RMLC is getting the ball rolling with the rate court by filing amended petitions on BMI on Aug. 10 and on ASCAP on Tuesday.
Despite filing petitions for the two rate court proceedings, the RMLC petition for the ASCAP rate court proceeding says that if the Second Circuit Appeals Court ultimately agrees with the RMLC position to combine the two rate court proceedings into one, âit reserves all rights at the appropriate timeâ to pursue a unitary action against ASCAP and BMI.
The ASCAP rate proceeding covers the current five-year term which began on Jan. 1, 2022. In the prior term (2017-2021), RMLC said it paid a combined 3.51% of net revenue as a royalty pool for the two PROs, with ASCAP getting 1.73% of that based on market share claims it made at the time â which the RMLC now says was âa representation that turned out to be false.â Meanwhile, BMI received 1.78% of radio stationsâ net revenue.
Nevertheless, in May 2022, according to the petition, the RMLC asked ASCAP and BMI if they would be willing to roll forward the combined 3.51% of net revenue royalty pool, provided that ASCAP and BMI would agree on a mechanism for assessing each of their market shares.
Although the rate level would be the same, the RMLC implies it is actually an increase because the combined ASCAP and BMI share of total performances on RMLC stations likely has diminished since when the prior agreements began, the RMLC argues in its petition.
Meanwhile, it looks like BMI is requesting a rate increase from 1.78% to 2.95%, according to what the RMLC states in the BMI petition; while the RMLC ASCAP petition doesnât disclose the rate ASCAP is seeking.
The RMLC didnât immediately respond to a request for comment.
âThe RMLC would rather continue to waste time and money on expensive litigation than simply paying songwriters a fair royalty for the use of their music,â ASCAP CEO Elizabeth Matthews said in a statement. âItâs not that complicated. Simply treat music creators who support your successful and profitable businesses with dignity and respect and everyone wins.â
While the PROs and the RMLC wait for the rate court proceedings to make a determination, all parties have agreed to an interim rate that allows radio to continue to play music without copyright infringement.
SoundExchange is suing SiriusXM over allegations that the satellite radio giant has been âgaming the systemâ in order to withhold more than $150 million in royalties owed to artists.
In a lawsuit filed Wednesday in Virginia federal court, the royalties group claimed that SiriusXM has been using bookmaking trickery â namely, manipulating how it bundles satellite services with web streaming services â as part of a scheme to âgrossly underpay the royalties it owes.â
âThrough its contrived and improper apportionment, Sirius XM has engineered a windfall for itself and deprived artists of the important compensation to which they are legally entitled and desperately need,â wrote lawyers for SoundExchange in the complaint.
The allegations concern the royalties paid under so-called statutory licenses â government mandates that automatically give certain streaming services the ability to broadcast songs for a set price. Crucially, that system sets different rates for revenue from satellite broadcasts (like SiriusXMâs traditional satellite radio) versus that from so-called webcasting services, which are transmitted through the internet.
In Wednesdayâs complaint, SoundExchange says SiriusXM has intentionally bundled the two products together as a single offering in recent years, allowing the company to mix the revenue in order to improperly lower its royalty bill.
âSirius XM is gaming the system: to grossly underpay the royalties it owes, Sirius XM has unreasonably characterized revenue from its bundled product as âwebcasting revenueâ that in actuality is â[satellite] revenueâ,â SoundExchange wrote. âSirius XMâs revenue apportionment is beyond the pale, and harms music creators.â
According to SoundExchange, that maneuver has allowed SiriusXM to shortchange artists to the tune of $150 million. The company has also allegedly refused to comply with an indepdent audit that found millions in such shortfalls.
âSirius XM has not paid its bills,â SoundExchange wrote. âBy purporting to comply with the statutory license without paying what it owes under the license, Sirius XM has unjustly enriched itself to the detriment of recording artists and copyright owners upon whose music Sirius XM has built its business.â
A representative for SiriusXM did not immediately return a request for comment.
In a statement, SoundExchange CEO Michael Huppe said the group had only resorted to litigation as a last resort. âIn recent years we have viewed SiriusXM as a willingly lawful and compliant company that shares our desire for a robust streaming marketplace. But SiriusXM has and continues to wrongfully exploit the rules to significantly underpay the satellite royalties that it owes.â
Radio companies, suffering from sluggish radio advertising and underwhelming stock prices, might be starting to see the light. B Riley Securities analyst Daniel Day expects national advertising to pick up in the second half of 2023. That hint of optimism, along with Cumulus Mediaâs better-than-expected second-quarter earnings released Friday, sent radio stock prices soaring over the last few days.
Cumulusâs net revenue of $210.1 million was down 11% year over year and 25% below the same quarter in pre-pandemic 2019, the company announced Friday. Earnings before interest, taxes, depreciation and amortization (EBITDA) of $30.7 million was down 32.6% from the prior-year period, but was helped by wringing out $12 million of cost reductions. Revenue was in line with the companyâs expectations while EBITDA exceeded expectations. Adjusted EBTIDA of $28.7 million was 32% above the estimate of Noble Capital Markets analysts.
That was good news for some investors. Shares of Cumulus climbed 14.5% to $5.54 on Friday and rose another 14.4% to $6.34 on Monday. Even after Cumulus gave back some of those gains on Tuesday (Aug. 1) and dropped 11.7% to $5.60, its share price was more than 2.5 times above the 52-week low of $2.57 from May 9. On Monday, B Riley upped its Cumulus price target from $10 to $11 â implying 96% upside from Tuesdayâs closing price â and maintained its âbuyâ rating.
The trends could portend good news for other radio companies. On Monday, shares of iHeartMedia rose 12.4% to $4.73. Even after dropping 3.2% to $4.58 on Tuesday, iHeartMediaâs stock stood at more than double its 52-week low of $2.21 set on May 26. iHeartMedia will report second-quarter earnings on Aug. 8.
For Cumulus, the quarter was all about optimizing what it can control while mitigating the downside of what it cannot control, said president and CEO Mary Lerner during Fridayâs earnings call. âThis proven skill set is serving us well as we make the best of the current tough ad environment,â said Lerner.
Cumulus cut $5 million of fixed costs, repurchased $5.7 million of its common stock in the second quarter, bringing the total repurchases to $39 million, and retired about $32 million of bonds at an average discount of 26%. It also announced the sale of WDRQ-FM for $10 million that is expected to close this quarter. Digital revenue of $37.5 million was down just 0.7% from the prior-year period. Cumulusâ digital marketing services businesses were up 21% year over year while its podcast audience was up 19%.
What Cumulus cannot control is the willingness of brands to buy advertising. A weak national advertising environment since late 2022 âremained the main factor driving a decline in total revenue,â said Frank Lopez-Balboa, Cumulus executive vp, treasurer and chief financial officer. Local spot advertising revenue â which accounts for 80% of Cumulusâs total stock revenue â was down 7% while soft national advertising caused total broadcast radio revenue to fall 16.5%.
The U.S. Court of Appeals for the District of Columbia Circuit ruled last week to uphold the Copyright Royalty Boardâs Web V rate determination, published in the Federal Register on Oc. 27, 2021.
That determination, which impacts non-interactive, programmed plays on digital radio like Pandora and iHeartRadio, set inflation-adjusted rates at $.0026 per paid subscription stream, up from $0.0024 cents. For ad-supported streams, the CRB set a rate of $0.0021, up from $0.0018 per play. (On-demand streams from services like Spotify and Apple are not included in this determination.)
These payments from digital radio, webcasters and simulcasters are made to SoundExchange, which in turn distributes royalties to labels and recording artists. Some labels have direct deals that get them paid directly from the large radio networks â in which case they turn over the artistâs share to SoundExchange, for distribution to artists.
The Web V rate determination covers the five-year term of 2021 through 2025, but since it includes inflation-adjusted rates, on Dec. 1, 2021, the 2021 rates set in the determination were adjusted to higher rates of $0.0028 per paid subscription stream and $0.0022 per ad-supported stream.
Around the same time as the adjusted rates were set, various participants in the Web V proceedings appealed certain aspects of the initial rate determination. They included the National Association of Broadcasters (NAB), which sought lower rates than the determination; and SoundExchange, which sought higher rates for commercial non-subscription, ad-supported services than the determination; and the National Religious Broadcasters Music License Committee. The Appeals Court ruling rejected their arguments.
In addition to upholding the per-play rates, the Appeals Court also reaffirmed the doubling of the minimum rate to $1,000 per station, up from $500 per station annually, with a maximum aggregate minimum fee of $100,000 for large commercial radio broadcasters with more than 100 stations.
In a statement, SoundExchange said: âWe appreciate the courtâs thoughtful attention to our appeal regarding royalty rate-setting methodology, and we are pleased that the appeals court rejected broadcastersâ efforts to reduce royalty rates at the expense of hard-working artists and creators and preserved the status quo for webcasting rates through 2025.â
This ruling confirms that broadcasters compete with audio music services for listeners and, therefore, should continue to pay royalty rates on a level playing field. The appeals court determined that the broadcasters failed to adequately give reason why artists and rights owners should subsidize the broadcasting industry even more than they already do. After all, broadcasters still inexplicably get a free pass for the use of sound recordings on their AM/FM transmissions.
Meanwhile, NAB said in a statement to Radio Ink and confirmed to Billboard that it was pleased that âthe Court rejected SoundExchangeâs aggressive and deeply flawed arguments in favor of higher digital royalty fees and acknowledged that broadcasters could pay a lower rate for simulcasts in the future.â
(The reference to possible lower rates for simulcasts in the future comes from the Appeals Court ruling âthat future records may warrant new rate category distinctionsâ between simulcasting and other types of commercial webcasting.)
The NAB statement continued, âWe will continue advocating for reasonable streaming rates that allow broadcasters to expand their digital offerings and stream music, which will benefit performing artists, songwriters and our tens of millions of listeners.â
When Dolly Parton debuted her latest single, âWorld on Fire,â during the Academy of Country Music Awards on May 11, Nate Smith was aghast.
RCA Nashville was set to release his single with the same name to radio four days later.
âWhat are the odds of that?â Smith asks. âThatâs crazy to me.â
The odds of two different songs with the same title being worked to the marketplace at the same time are not that large, though the likelihood that a title has been used before is pretty good:Â
⢠Chris Stapletonâs âWhite Horse,â the top debut on the current Country Airplay chart, uses the same two-word moniker as a 2008 Taylor Swift single and a 1984 pop single by Laid Back.
⢠Gabby Barrettâs âGlory Daysâ shares its name with a Bruce Springsteen classic and a recent Chapel Hart single.Â
⢠Parker McCollumâs âBurn It Downâ mirrors the title of a 2012 Linkin Park single that topped Hot Rock & Alternative Songs. Jason Aldean also launched a Burn It Down Tour behind the similarly titled âBurninâ It Down,â and back in the â90s, Marty Stuartâs âBurn Me Downâ and Clint Blackâs âBurn One Downâ were fairly close.Â
⢠Meanwhile, the July 26 death of SinĂŠad OâConnor, best known for âNothing Compares 2 U,â occurred just nine days after the release of Mickey Guytonâs properly spelled âNothing Compares to You,â featuring Kane Brown.
Using the same title isnât a sin, as âGlory Daysâ co-writer Seth Mosley discovered early in his career. His first hit was The Newsboysâ âBorn Again,â which peaked at No. 2 on the Christian chart in 2010. It came a year after Third Day reached No. 3 with its own take on âBorn Again.â
âYou can write the same title five different ways,â says âGlory Daysâ co-writer Emily Weisband.
Actually, five is a low number. There are nearly 300 songs with the name âGlory Daysâ in the Songview database, an online catalog of titles represented by performing rights agencies BMI and/or ASCAP. The index also features over 330 songs named âWorld on Fire,â more than 650 called âBurn It Downâ and more than 50 titled âNothing Compares to You.â Morgan Wallenâs âLast Night,â in fact, is one of at least 1,000 songs with that moniker.
âI guess if everybody else has been trying to do it, maybe we were on to something,â âBurn It Downâ co-writer Hillary Lindsey reasons.
Whether or not a title has been written before hinges in great part on the familiarity of the phrase. Songwriters tend to lean toward songs that feature common language. Thus, the everyday phrase âChange of Heartâ -â associated with hits by The Judds, Cyndi Lauper, Tom Petty and Eric Carmen â appears nearly 800 times in Songview, while the Joe Nichols semi-novelty âTequila Makes Her Clothes Fall Offâ is the only song with that title.
The age of existing hits with a particular title can influence whether a phrase gets reused. Springsteenâs version of âGlory Days,â for example, was a hit in 1985, a full 15 years before Barrett was born. When the title came up in the writing room, she didnât know about the Bossâ version, and nobody told her about it, either. The live-in-the-moment plot she and her co-writers developed is distinctly different from Springsteenâs nostalgic take on it.Â
Similarly, the writers on Carrie Underwoodâs âDirty Laundryâ had little or no awareness of Don Henleyâs 1982 anti-media take on that title. And Old Dominionâs current âMemory Lane,â a title that appears more than 900 times in the Songview database, has not been a top 20 title since Paul Whitemanâs Pennsylvanians took it to No. 1 in 1924. And Brothers Osborneâs first top 10 single, 2015âs âStay a Little Longer,â came 70 years after Bob Wills & His Texas Playboys recorded a Western swing hit with the same name.
âShit, if you know the Bob Wills song, then more power to you,â T.J. Osborne said at the time.
Still, standard titles â such as âGeorgia on My Mind,â âI Will Always Love Youâ or âYour Cheatinâ Heartâ â are mostly out of bounds.
âThere are some that when you hear it, you would never touch it or you look like assholes, like âYesterday,â â says âBurn It Downâ co-writer Liz Rose.
Titles and basic ideas cannot be copyrighted â it would be unrealistic to ask writers to avoid âWithout Youâ (a hit for Badfinger, Keith Urban and Dixie Chicks) as a title, or to not address a widely familiar topic such as heartbreak, simply because those subjects had been broached before.Â
It would also be difficult to referee disputes when more than one version of a title emerges at the same time. When âDay Drinking,â for example, became a hit for Little Big Town in 2014, it was one of several songs with that title that had circulated around Music Row simultaneously. That sometimes happens when specific themes become popular and multiple songwriters attempt to capitalize on the trend. It could, however, derive from something deeper.
âSome people say that being creative, itâs just out there in the universe, and you have to just be open to it to let it flow through you,â Lindsey notes. âI believe in all that stuff. I havenât dove all the way into all that stuff, but I believe it.â
That title, âI Believe It,â has already been written more than 150 times, and it has yet to become a hit.Â
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Shadoe Stevens, best known as host of American Top 40 from 1988 to 1995; Bob Rivers, an air personality and prolific producer and songwriter of parody songs; and Nina Totenberg, legal affairs correspondent for NPR, are among the eight 2023 inductees into the Radio Hall of Fame.
Other honorees include Gerry House, who was heard on WSIX-FM in Nashville for many years and also wrote hits for such top country stars as George Strait, Reba McEntire and LeAnn Rimes; John DeBella, who played a major role in developing the Morning Zoo format; and Pat St. John, who began his radio career in Windsor, Ontario in 1969, but is best known for the 42 years he spent in the New York City radio market.
Six inductees were determined by a voting participant panel comprised of more than 950 industry professionals. The two remaining inductees were voted on by the Radio Hall of Fame nominating committee.Â
âMy congratulations to our newest inductees,â Kraig T. Kitchin, co-chair of the Radio Hall of Fame, said in a statement on Monday (July 31) when the Museum of Broadcast Communications announced the selections. âIâm thrilled to see each individual receive this recognition from the industry theyâve devoted their professional lives to.â
Dennis Green, co-chair of the Radio Hall of Fame, added: âOn behalf of the Radio Hall of Fame nominating committee, we are proud to induct eight individuals into the Radio Hall of Fame who have made an indelible impact upon the industry. It is a pleasure to honor the careers of these individuals who quite simply define excellence in the industry and have earned the right to be called a Hall of Famer.â
The inductees will be honored at the in-person 2023 Radio Hall of Fame Induction ceremony on Thursday, Nov. 2, at the InterContinental New York Barclay Hotel in New York City. Christopher âMad Dogâ Russo, a 2022 Radio Hall of Fame inductee, will serve as master of ceremonies for the event. Tickets are on sale now at www.radiohalloffame.com. A portion of each ticket purchase is a tax-deductible charitable donation to the Museum of Broadcast Communications.
The Radio Hall of Fame was founded by the Emerson Radio Corporation in 1988. The Museum of Broadcast Communications took over operations in 1991.Â
Hereâs a complete list of 2023 Radio Hall of Fame inductees:
John DeBella
Gerry House
Deborah Parenti
Bob Rivers
Pat St. John
Shadoe Stevens
Nina Totenberg
Charles Warfield
As of Thursday (July 27), the U.S. Senate Committee on Commerce, Science and Transportation has officially transferred the AM For Every Vehicle Act to the Senate floor. The bill is eligible for a full Senate vote, though no date has yet been set. The AM For Every Vehicle Act would mandate that AM radios be […]
WARNING: This story contains allegations of sexual violence and other graphic content that may be upsetting or triggering to some readers.
Former electro-rock singer Noire says her dream of becoming a professional artist ended May 18, 2009, after Toronto radio promoter Adrian Strong lured the then-28-year-old from Toronto to South Carolina with the promise of a potential record deal. Strong, the president of DMD Entertainment â then the premier radio promotion service in Canada for Top 40 records â and a music industry veteran with a history of breaking singles at Canadian radio, told Noire that the founders of a new Atlanta label urgently wanted to meet her in Hilton Head Island, S.C., after he played them her dark-pop demos. Instead, she alleges he drugged, raped and held her captive over an 18-hour period at a Marriott hotel in Charleston, and cut a nearly one-inch-long piece of her scalp.
âThe cruelest thing Adrian did was leaving me alive,â says Noire, who asked that her birth name not be used. Now 42, she lives in Los Angeles and long gave up her aspirations of a music career. She tells Billboard she âran awayâ from Toronto in July 2010 because she had a mental breakdown. âPeople are like, âWell, you survived that,ââ says Noire who wears her hair in a side-sweep to hide the scar and bald patch. âBut you donât understand how I keep my head together: Itâs not by telling myself âI survived it;â itâs by telling myself, âNo, I died in that. This is the afterlife.ââ
Encouraged by the #MeToo movement and concerned that Strong â whose company has worked singles to radio by The Weeknd, deadmau5, Arcade Fire, Marshmello, Sofi Tukker, Steve Aoki, Sum 41 and Broken Social Scene â still works in an industry rife with young women looking for a break, Noire decided to go public on Nov. 1, 2019, by posting a photo of him on her Instagram page, @californianoire, with red arrows pointing at his face and the words, âINCEL RAPISTâ scrawled in red above him. Accompanying the image was a graphic account of what she says happened to her that weekend in 2009, including her charge that Strong cut âa section of my scalp out as a souvenir.â
The post rapidly circulated around the Canadian music industry but had little impact, if any, on Strongâs career. The holidays came and went, followed by the pandemic. DMD continued to be hired.
Courtesy Photo
Shortly after Noireâs post went live, Strong, who was very active on Instagram and Facebook â where he boasted about the successes of his clients â stopped posting but kept his accounts.
Noire posted about Strong again on April 25, 2022, after seeing a photo of him with other Canadian music figures at that yearâs Coachella music festival, where The Weeknd performed with Swedish House Mafia. She reposted the picture, calling out Strongâs âindustry friendsâ and accusing him of being a âCanadian music industry serial rapistâ and âthis monster who raped and mutilated me.â The following day, Strongâs Instagram, @strongstyles, was deleted; less than three months later so was his Facebook account. (On July 7, 2023, Strong restored his Facebook and Instagram accounts, the latter with all photos deleted.)
(Editorâs note: Bliss, a long-time music journalist in Canada, has known Strong for decades and was able to verify his email and messenger handles. She was also Facebook friends with him and followed his Instagram until they were deactivated.)
Over the three-plus years that followed Noireâs initial post, five women sent empathetic messages on Instagram, telling her they had similar experiences with Strong. Of those, two agreed to be interviewed for this story provided they were identified by pseudonyms. The women â one was 18 when she met him; the other was in her mid-20s â both accused Strong of using his power and position in the music industry to extort sexual favors.
Another woman who is not connected to the entertainment business and initially spoke on the record, said she was raped by Strong the first time they met in person after connecting on the dating site Seeking Arrangement and remained in contact with him for years because she says he had taken explicit videos of her without consent and was afraid he would leak them online. After sharing her story in a two-hour Zoom interview, she decided she was not ready to share full details of her account publicly but confirmed that aspects of her experience with Strong were similar or nearly identical to the other womenâs accounts.
In response to emails sent to Strong detailing the allegations against him, he issued a statement through his U.S. attorney, Daniel Watkins, a partner at Clare Locke. âI categorically deny sexually assaulting or drugging anyone,â says Strong, who provided one email, four photographs and one message exchange â which are referenced in this story â that he adds, âconfirms that these serious charges are untrue.â
âIn the past decade, our industry has gone through a lot of change when it comes to understanding power dynamics,â Strongâs statement also reads. âIn my 20s and 30s I had romantic relationships with artists â that were consensual â which was not uncommon in the industry. I am now accused of being sexually abusive and using my position in an exploitative way during that time. I wholeheartedly deny these claims,â he continues, adding, âThese allegations have given me pause to reflect on what I have done or could be doing better. I never intended to cause anyone pain.â
In June, Strong took an administrative leave from DMD. Weeks later, the company was shuttered, and two of Strongâs former colleagues opened a new radio promotion company.
The women who spoke to Billboard â their accounts span a 10-year period, with Noireâs being the earliest, and the most recent in late 2019 â provided screenshots of text, email and social media direct message exchanges from Strong, along with evidence of gifts, such as spa treatments and money transfers sometimes in suggestive amounts of $69 or $169. Strong often referred to himself as âDaddyâ and asked the women to wear short skirts and knee socks. Those who allege Strong sexually assaulted them say that in the days that followed, he would insist that they âhad a good timeâ and sometimes asked if they were âokay.â
Another five sources for this story, four of them men, say they witnessed Strong exhibit sexually aggressive or inappropriate behavior towards young women. One says he was out of town at a music conference and saw Strong behave âall grabbyâ towards his employee, a young radio tracker, who later called him âslurring her words and believing [Strong] put something in her drink.â When he went downstairs to the hotel lobby to ensure she got to her room safely, he says he watched security intervene when Strong tried to physically prevent his employee from entering the building.
Another man says his female friend, then a 22-year-old singer, felt so threatened by Strongâs advances during a business trip to Savannah, Ga., that he bought her an airplane ticket to fly home. (The flight receipt was reviewed by Billboard. Through the men, both women declined to share their stories.)
All the women interviewed say Strong dropped famous clientsâ names, which they perceived as attempts to impress them. Two of the women were pursuing careers in music at the time; another said Strong claimed he could make her famous using Auto-Tune, even though she couldnât sing and had no interest in doing so. A fourth was pursuing an acting career.
Except for Noire, none of the women filed police reports. Noire lodged complaints with Canadian law enforcement upon her return home, and later with Charleston police. Copies of those reports viewed by Billboard indicate that the case was closed âdue to lack of prosecutionâ and jurisdiction issues.
Three of the women who spoke to Billboard say they left Canada and their friends and family to rebuild their lives far from Strong. (One has since moved back.).
Since the impact of the #MeToo movement in 2017, considerable strides have been made in the way sexual assault is treated by police, and the willingness of women to go public with their experiences, even years or decades later.
A 2019 report issued by the Canadian government on systemic problems plaguing law enforcementâs handling of sexual offenses and the effects of the #MeToo and #BeenRapedNeverReported movements, detailed a âdistrust of the system, from making a complaint through to a courtroom verdictâ as a âprofound and longstanding barrier to the enforcement of sexual offences.â The report also cited an investigation by national newspaper The Globe and Mail that âconfirmed and reinforced victim distrust of the systemâ and found that one in every five reports of sexual assault made to the police was dismissed and catalogued as âunfounded.â This meant on average 5,000 cases of sexual violence per year were reported, but dropped because the complainants were ânot believed.â Quoting the article, the government report posited that this âreinforce[d] damaging myths that women lie about sexual victimization,â which could act as a âdeterrent to already low reporting.â
In Canada, there is no statute of limitations for sexual assault. It is also a criminal offense to surreptitiously take, distribute, publish, transmit or advertise intimate photos or video of a person without consent.
According to Strongâs recently deleted LinkedIn profile, he became president of DMD in 2002, and the following year began working radio in Canada for Patrick Moxeyâs then-upstart EDM label Ultra. In 2006, he created the music publishing and management company StrongSongs, under which he had a management contract with one of his accusers. In 2010, while still president of DMD, he was named co-president of Ultra Records Canada.
As is typical in radio promotion, DMDâs bigger clients were mostly record labels, such as Ultra, Sony Music Canada and Wax Records, which hired the company to promote their artistsâ music. As a result, spokespersons for several of the acts DMD claimed as clients say they had no direct contact with â and in some cases, had never heard of â Strong or the company he ran. Ultra Records Canada co-president Asim âAwesomeâ Awan, and Wax Records co-owners Ron Morse and Jamie Appleby, did not respond to requests for comment. Sony Music Canada had no comment.
Noire, who was born in Trinidad and Tobago and immigrated with her family to Toronto in 1986, met Strong â who goes by his middle name, Adrian, not his first, Nicholas â in Toronto at the Canadian Music Week conference and festival in March 2009. âI had just completed a 10-song album and was at CMW to make connections with people in music who could help me with my next steps,â she says. âI hadnât released any music but was already playing little shows out in Toronto with two backup dancers.â She says Strong approached her in the hotel lobby, told her he is a radio tracker and offered to introduce her to his contacts.
Noire
Courtesy of Noire
Over the next two months, Noire accompanied him to industry events and a music video shoot and met key players in the business. She says Strong attempted to flirt with her on occasion, but she had no interest in the then 36-year-old short, balding man she describes repeatedly as âJabba the Huttâ and âdisgusting.â At that time, she believed Strong was genuinely interested in helping with her career and understood their relationship was strictly professional.
On May 17, 2009, the Sunday during Canadaâs Victoria Day holiday weekend, Noire says Strong called to tell her he was in Hilton Head and had a big career opportunity for her. He then sent an email suggesting she take a cheap AirTran flight from Buffalo, N.Y. to Charleston so she could meet record execs from a new Atlanta-based label that might want to sign her. At the bottom of the email, which Noire shared with Billboard, Strong wrote that she only needed to take a carry-on bag, followed by: âSexy lingerie is light right? lolâ and a wink emoticon.
She bought a round-trip ticket for $273.90 to leave that same day.
A screenshot provided by Strongâs attorney Watkins that, he contends, shows the âproper contextâ of the interactions between Strong and Noire, includes five Facebook messages between the two leading up to Noireâs trip to South Carolina. On May 14, she texted Strong in a conversation, âI am so fucking high right now,â and the following day asked, âwhat are u doing this weekend. Iâm going to Ottawa next weekâŚâ (Noire says she had not taken drugs, but at the time often used the word âhighâ to convey a sense of happiness â not intoxication â and was excited watching a Star Trek marathon. Billboard was unable to review earlier messages in the conversation.) On May 16, Strong texted Noire that he was in South Carolina, and on May 18, the day she arrived in Charleston, she messaged him, âNo way, Iâm in South Carolina too, golly gee,â followed by a smiley face emoji.
When her flight landed in Charleston that night, Noire expected Strong to meet her at the airport for the drive to Hilton Head. He didnât.
âIt was raining terribly when I arrived,â she says, and when she finally spoke with Strong by phone, he said he wasnât there to pick her up because âit was too dangerousâ to drive on unlit roads in the storm.
During the call, Noire also learned that Hilton Head was three hours away, which she hadnât realized. âThat upset me so much I was screaming at him,â she says. âHe told me to spend the night at a nearby Marriott and he would be there to pick me up in the morning. He assured me it would be worth it when I was meeting with these label people.â
When Strong did finally show up, at âmaybe four, four-thirtyâ the next afternoon, Noire says, he insisted they go to a restaurant. Although she was fed up with the constant delays, she agreed. She adds that she was âdisgustedâ by the ââgatorâ and fried food on the menu and ate little. When the meal ended, Strong claimed it was too late to drive to Hilton Head. Stressed out from âhis unnecessary ridiculousness and time wasting,â Noire says she told Strong she wanted a cup of tea.
He took her to a nearby cafĂŠ, where she says Strong flat-out told her he wanted to be more than friends. âI shouldâve recognized [it was] the last chance he was giving me to consent,â she says. âHe was like, âWhy canât it ever work between me and you?ââ and said that being together âwas a good choice for my career.â Noire shot him down, insulting his looks and âsaw that it stung him.â
When they returned to the car, she was surprised when Strong said that DMD Entertainment would pay for her hotel room that night. âHe was being âso, so nice to me, I started feeling like I was being a jackass,â she says.
At the Marriott, they checked into separate rooms. Soon after, Strong knocked on her door. He was eating a chocolate chip cookie from a plastic bag and offered her the last one, which she accepted and ate. She says she began to hallucinate and suspected sheâd been drugged. She imagined vampires whispering in her ears; being stuck to the ceiling; and at one point, being on a surfboard in a body of water.
âWhy that would be concerning to me is I canât swim,â she says. She also recalls seeing Strong on a faraway shore and calling out to him before, she says, âIt all melted away, and Adrian was holding me on him, and I was like, âOh my God.â I started pushing him away, and he said something like, âNo you donât.ââ
Over the next 18 hours, Noire says Strong raped her repeatedly while she passed in and out of consciousness. She also says that he continued to inject her with drugs to keep her immobilized. During one of the interviews she gave to Billboard, she showed scars on her forearms that she says were the result of puncture marks made by the syringe. In a letter, Strongâs Canadian civil litigator Jeff Saikaley of Caza Saikaley wrote that his client âvehemently denies the allegations and asserts that he has never used illegal drugs and even has a phobia of needles.â
At one point, Noire says she tried to move but ended up falling off the bed. Strong, she recalls, looked at her âlike I wasnât even humanâ and âkicked me repeatedly while I was on the floor, calling me a âfâing bitch.ââ She says she then felt him hit her in the head with an object she didnât see, and she lost consciousness again.
âWhen I woke up there was a needle sticking out of my chest,â Noire says. âIt never healed.â She showed Billboard this scar as well, which she calls âthe hole,â along with one on her head, which she says was where Strong cut away a section of her hair and scalp.
About a year later, when Noire was receiving EMDR therapy to treat her trauma at Trillium Health Partners in Mississauga, a Toronto suburb of the Peel region where she lived, she was asked by her social worker, a member of the hospitalâs Sexual Assault and Domestic Violence Services, to recall the âmost disturbingâ mental image from âthe incident.â âAdrian pulled + cut out section of hair, played along with sick fantasyâŚ. Knew he was going to kill me,â she wrote on a âprogress note,â dated Feb. 16, 2010, and signed by the social worker, whose name has been withheld at her request. (Noire shared the document with Billboard.)
Finally, Noire continues, âIn a desperate, shameful attempt to save myself, I chose to pretend to flirt and act like I liked him and didnât remember what had happened, to avoid further violence and irreversible damage to my face and body.â The tactic worked. âOnce he felt he had complete control over me and my mind and the situation,â she says, âthings greatly improved for me.â
She alleges that when Strong finished assaulting her, he covered her with a blanket, gave her water and then curled up on the bed next to her âlike honeymooners.â (The woman who chose to share only limited details of her experience publicly also said Strong cuddled her after he raped her.)
Noire says she awoke the morning of May 19, 2009, to find Strong acting like everything was fine. He asked what she wanted to do that day and suggested an outing to the Charleston Tea Plantation (since renamed the Charleston Tea Garden). She recalls he âmade herâ shower while âin the bathroom with me the entire time,â then helped her dry off and get dressed, even laying out her makeup on the counter. Strong, she says, continued to watch her, âand commented I was being too slow.â She says she was still feeling drugged and âfloppyâ and looked disheveled when they checked out of the Marriott. She recalls that Strong explained away her appearance to staff by putting his arm around her and telling the concierge, âMy girlfriend does a lot of drugs.â
While in the lobby, she says she mouthed âhelp meâ to a passerby but was ignored.
During a trolley tour of the tea farm, Noire recalls Strong had a âdad cameraâ with him that âlooked like a film camera but was digitalâ and told her to âsmile,â then took a photo and showed it to her. She says it was the first time she had seen the camera. Saikaley says his client was trying out a new camera. On their way out, at the gift shop, she says she once again unsuccessfully mouthed âhelp meâ to a cashier.
On the drive to the Charleston airport, Noire says Strong attacked her. âI said something stupid to him, like, âYouâre not going to get away with this,â which prompted him to pull over, grab her by the hair and rattle her head. âHeâs like, âWhat are you going to tell people? We had sex, you fuckinâ slut.ââ
When they arrived at the departures area of the airport, Noire says she jumped out of the car and headed for the terminal. She alleges Strong ran after her and grabbed her by the shoulder, which drew the attention of a man she remembers was wearing a âheather blue shirtâ and âphysically got in the middle of us.â Noire says the stranger told Strong it looked like she didnât want to speak to him and prevented him from following her into the terminal.
A review of Strongâs Facebook timeline that took place before he deleted his account shows that on the day Noire flew back to Buffalo, he made this status update: âNoire is the new black.â
Courtesy Photo
Strongâs other social media posts dating back to 2008 included mentions of locations described by Noire and other women interviewed for this story, including Hilton Head, South Carolina, Savannah and Marriott hotels.
While reviewing her correspondence with Strong for this story, Noire also discovered a direct message sheâd previously missed that Strong sent via Facebook Messenger at 4:24 p.m. on May 18, 2009, when she says they were at the restaurant in Charleston. (She says she didnât remember seeing this message until Billboard requested any correspondence between them that she could still access.) The message read: âHow can I submit an obituary for publication,â followed by the contact information and deadlines to publish a death notice in The New York Times. She has no recollection of any conversation that would have caused him to send this information, and Strong did not provide any explanation when asked about the message.
âIf I had known to check Facebook messages, that would have got my attention,â Noire says.
Courtesy of Noire
Once Noire landed in Buffalo, she drove herself back home to Mississauga. On May 20, she went to the local Credit Valley Hospital (part of Trillium Health Partners), where she explained that sheâd been drugged and assaulted. She says she told the triage nurse, âI need a rape kit.â
She says she abruptly left the hospital because after she told the nurse she had been drugged and raped, she felt the nurse was too focused on her âbeing on drugsâ and âstarted making me feel like I was in trouble.â She then drove some 270 miles to her cousin Mattyâs house in Ottawa, the city where Noire grew up. Matty, who does not want her surname used, says Noire âturned up in the middle of the night unexpected. She was crying, and I was like, âWhatâs wrong?â She didnât want me to tell my husband, so we went outside, and we talked for a little bit.â Matty doesnât recall if Noire gave her the name of the alleged rapist or where the attack took place, but she says, âI knew it was somebody in music because that was when, at the time, she was trying to break out in the music industry.â
Matty and her husband immediately drove Noire to Ottawa Civic Hospital, where Matty worked as an obstetrical nurse. The May 21, 2009, medical report states Noire said she was sexually assaulted and the assailant was known. It noted there had been no police involvement at that point.
At the hospital, though, Noire says she was treated rudely by the nurse who saw her. (Matty says did not go with her into the exam room to give her cousin âsome privacy.â) âI showed [the nurse] my embarrassingly gross cut and oozing scalp and puncture marks and asked her to make note of them after she completed my vaginal rape exam,â Noire says. âShe refused and told me she wasnât going to participate in my âdrama.ââ The medical report refers to scratches on Noireâs body; no photos were taken. A partial rape kit was administered, but the nurse concluded Noire couldnât tolerate the exam, so it was incomplete.
Noire later complained to Ottawa Civic Hospital and others dealing with her case about her treatment. Hospital notes state she was âextremely upset with handling of her SAEK [sexual assault evidence kit] that it was discarded.â The report quotes Noire saying, âI trusted you guys and now I have no evidence.â She shared an email exchange, dated June 16, 2009, between Ottawa Hospitalâs Richard Tomlinson, coordinator of the Sexual Assault and Partner Abuse Care Program, and Kathryn Dominey, clinical director, Sexual Assault and Domestic Violence Services, at Trillium Health Centre â Mississauga, detailing the investigation into Noireâs complaint, which notes her âconcerns have been addressedâ with the nurse and that a file was opened with human resources. Tomlinson writes, âI asked her if she wanted me to pursue this further and she stated she just did not want this to happen to anyone else. I asked her permission to share her story as a learning experience for her team and she was quite agreeable to this.â
When asked for comment about Noireâs experience with Ottawa Hospital, the hospitalâs media relations officer Rebecca Abelson said in a statement, âWhile The Ottawa Hospital cannot comment on specific patient cases, our Patient Relations team works with patients and their families to gather feedback and provided support where possible.â
Among the 40-some pages of medical and police reports that Noire provided to Billboard, one dated May 21 from Ottawa Hospital, for example, includes details she âwas sexually assaulted by someone she works with in Charleston, NC [sic] on May 19. She believes she was given a cookie by this male, âAdrian.â A short time later she started to feel off balance, began hallucinating, & alcohol was consumed. She recalls vaginal penetration. Does not think there was oral or anal penetration.â
After a lawyer friend advised her to file a police report, Noire went to the Peel Regional Police on May 26, where she met with Constable Wayne Fleming, then of the Special Victims Unit. The resulting reports â which were released to Noire with some information redacted to protect the privacy of âthe person [Strong] to whom it relatesâ â states she was âunder the effects of an unknown drug. [Noire] advised she was sexually assaulted by Strong, which included intercourse throughout the evening.â (Peel Regional Police would not confirm whether Strong was contacted or spoken to about Noireâs charges, citing privacy obligations pursuant to the Municipal Freedom of Information and Protection of Privacy Act.)
Noire also contacted the Charleston Police Department and spoke to Officer Michael Lyczany by phone on June 26, 2009, according to the report she shared with Billboard. Lyczany asked Noire why she agreed to fly to Charleston to meet with Strong. âShe advised that he was an informal business manager. The trip was for professional reasons, and she was hoping that Strong would connect her with business contacts, which he did not do.â Lyczany also asked Noire why she spent part of the following day with him after he assaulted her. âShe replied that she was still partially drugged and didnât know what was going on,â which he believed was âcontrary to her recorded interview.â
The Charleston police report concludes that prosecution of Strong would be extremely difficult due to âlack of any physical evidence; incident reported to Ontario Police 10 days after date [editorâs note: it was actually seven days since she returned home, according to Peel Police documents], victim spent part of the following day with the offender without contacting local police; lack of detail of the assault by the victim. In addition to the above, the victims unrelated statements about the physical appearance of the offender in contrast to her appearance, and her high assessment of self appearance would not favor successful prosecution.â It concludes with the line: âThis case is closed due to lack of prosecution.â
Constable Fleming told Charleston police he âadvised during his interview of [Noire] she did not provide specifics of the assault and, in his opinion, was not credible.â
But the documents provided to and verified by Billboard contradict the reportâs conclusion about a âlack of detail.â In multiple interviews, conversations with her friends and family, and in supporting documents, Noireâs account has been consistent with the allegations she provided to authorities in 2009.
After returning to Canada, Noire told her close friend Priya (who requested that her surname not be used) about the assault and subsequent police visits and medical examinations at Credit Valley and Ottawa hospitals. âShe told me he had hurt her; he had raped her. She was very distressed,â Priya says. âShe couldnât really articulate what exactly had happened, other than he had raped her. It wasnât consensual. She felt like she was drugged.â
Priya says that weeks after Noire confided in her, a Charleston police officer called while they were in Noireâs car, and she put him on speaker phone. âShe was trying to file a report, but they were being really difficult because [Noire and Strong] had left [the United States],â Priya recalls. âThey werenât being very understanding as to her state of mind at the time because she felt like she was drugged, and her mind was scattered. They basically told her to âShush. It happened; youâre back home now, not to worry about it. Thereâs nothing they could do.ââ
Less than a month later, Noire says Strong called her. She says she hung up and contacted Fleming with the Peel Regional Police. This interaction is noted in a June 15 report by the social worker assigned to Noireâs case: â[Fleming] will be contacting assailant this week in regard to recent contact with [Noire] on weekend.â Noire was advised to call 911 if Strong contacts her again âbecause the info will be in the system.â
After the alleged rape, Priya says Noire âjust checked out.â She wouldnât answer the phone and was not her typical outgoing self. The following year, Noire moved to Los Angeles, leaving behind Toronto and her dream of a singing career. She says she currently works in sales.
Over a three-week period, beginning March 29, 2023, Billboard asked Strong for an interview more than a dozen times, in person, by Zoom or phone. He indicated he was âtravelling,â then âwith family over the [Easter] Holidays.â In early April, he was emailed a letter detailing approximately 70 allegations and points of fact contained in this story. On April 18, Strong emailed to categorically deny the allegations made against him, calling them âdisturbing, outrageous, unfounded and absolutely untrue.â He also wrote that, âall of those relationships were absolutely consensual.â In a subsequent email, he said he would respond to the questions by May 1. Billboard agreed to the timeline.
Instead, on May 1, Strong requested another extension until May 26, because he was now âon a trip in rural areas of the UKâ until May 19. On May 5 he emailed again, writing âI need access to my old laptops and cameras that are currently in storage. Once I can review the content I will be able to formulate accurate replies.â
Billboard agreed to give Strong the requested extension â and again asked him to sit for an interview. He had at one point written, âI would be willing to do so in person provided that my side of the story is included in your planned article.â He was repeatedly assured that his account would be included. On the morning of May 26, Strong wrote that a response would be forthcoming âfrom my legal advisor addressing these matters ⌠by the agreed upon deadline.â
In a letter dated that same day, Saikaley wrote that his client would not be granting an interview and called the accusations âfalse and baseless.â
Saikaley then began corresponding with Billboardâs legal counsel and provided a photo of Noire taken on May 19, 2009, sitting fully clothed and wearing sunglasses indoors that Saikaley says Strong took to test a new camera while they were in Charleston. If one magnifies the reflection in Noireâs sunglasses, they will see she is staring at a blank screen on an Apple laptop. The image, he wrote, âdistinctly portrays the accuser devoid of any observable physical injuries or harm hours after the alleged incident.â
Adrian Strong
A few weeks later, Saikaley sent two more photos of Noire with the laptop. The metadata for those pictures indicate that they were taken May 19 between 1:33 and 1:34 p.m. He also sent a photo of Noire, clothed in a black top, under covers in a bed, holding a Starbucks cup with an open magazine on her lap. That photo is dated May 18, 2009, at 6:03 p.m. â the day that Noire alleges Strong raped her and held her against her will.
Adrian Strong
Adrian Strong
Noire does recall wearing a black outfit that weekend but says, âI do not recall that photograph ever being taken.â She adds that, âOut of all the photos it was the most alarming to me because when you zoom up on the image and you look at my face, you can tell that that girl is not okay.â She also notes she is âpropped upâ by multiple pillows and wonders why she would be in bed at 6 p.m. shortly after arriving at the hotel.
After reviewing one of the photos depicting her with the laptop, Noire says she does not remember them being taken. âAnd upon closer inspection of the photo, it appears that Iâm staring at a screen that is completely blank so that computerâs not on,â she says. âI also do not, never owned a Mac computer, so thatâs not my computer. What Iâm trying to understand is why Iâm wearing sunglasses inside while Iâm supposedly working on a laptop. It just doesnât make sense to me.â
She says the photos were staged.
Strongâs lawyers also point to a line from a comment Noire made under her original Instagram post that reads: âPS: I filed separate reports with the peel regional police at the time this occurred. One in March of 2009 for suspected stalking and one in May of 2009 for rape.â Saikaley questions why Noire had agreed to meet Strong in South Carolina months after accusing him of stalking.
Noire says the stalking reference had to do with harassing and explicit anonymous texts she received on March 16, 2009, days after meeting Strong at the CMW conference (March 12-14, 2009). She filed a report that day but claims she did not know or think it was him at the time. She says that after what happened in South Carolina, she became convinced Strong was behind the messages.
The police report that resulted from the harassing texts â which Noire provided to Billboard â indicates she âreceived a total of nine messages between 9.05 AM and 9:30 AM that day, all were of a sexual nature.â Noire believes the phone number, which had a 310 Los Angeles area code, was spoofed â something she determined after calling the number and speaking to the man who answered. She says he was shocked and claimed he didnât know what she was talking about. He told her his name and that he worked in the music business, which she confirmed by googling him.
Another woman who found Noireâs post during the pandemic when she âgoogled Adrianâs name out of curiosityâ recounts her involvement with Strong a decade ago during which he provided her with money, a laptop and help with her acting career in exchange for sexual favors. She asked to be identified by a pseudonym because she says sheâs embarrassed that she participated in the arrangement but recognizes that she was exploited because of her vulnerable situation at the time. She does not claim to have been assaulted by Strong.
Mindy was in her mid-20s when she met Strong in 2012 on Torontoâs Queen Street West around midnight, while walking home from a bartending job at a popular restaurant chain near the DMD Entertainment office, which was then on Elm Street. Strong was walking home too and struck up a conversation at a stoplight where he learned she was pursuing acting. He told her she should do voiceovers.
âHe dropped the name Characters [Talent Agency] because they were in [DMDâs building at the time] and his friend has a sound booth [there],â Mindy says. âHe wanted to keep the conversation going and said, âLetâs go have a drink at my place.ââ Instead, she suggested the since defunct all-night diner at the Thompson hotel, where he used a napkin to map out a potential career trajectory and offered to set her up with a demo session the next day at Characters. He then invited her to his place, which was nearby. âYes, this is a sign,â she thought of their chance meeting.
Mindy says Strong seemed âlike a regular guy,â so she went to his condo. It was well past midnight. They started drinking, when, out of the blue, she says, Strong asked her, âHow much would it take to get you into that black dress?â â the required uniform at her workplace. Mindy says she told him no, but he kept asking and raising his offer and when he reached $150, she finally gave in. When she put it on, she says she realized Strong âwas masturbating under a blanket.â When she expressed shock, she says, he told her, âWhat did you think I asked you to put the dress on for?â Mindy says that although she wasnât frightened by the incident, she left within the hour.
The next day, Mindy cut the demo at Characters. She provided an email Strong sent afterwards praising her work. âNext step is to hook you up with voice agents,â he wrote.
Mindy says Strong then started coming into her work regularly and asking servers for her, which she describes as âdreadful.â Nonetheless, she saw Strong another half a dozen times over the next year. Each time they met, she says he asked her to do something sexually or with sexual overtones in exchange for money. âI was kind of desperate for money at a certain point, and I feel like he preyed on that,â she says, adding that after convincing her to put on the black dress, he took âbaby stepsâ toward asking for more, including buying athletic shorts and tube socks for her to model for him and, eventually, agreeing to having sex with him for a new laptop.
âOne morning I woke up to him taking a picture of the back of me,â she says. She grabbed the phone and deleted it, saying that she always worried he had a camera. Their encounters ended when she started dating someone. She estimates he had given her close to 2,000 Canadian dollars (roughly at par with U.S. dollars at the time).
Mindyâs roommate and co-worker from that time corroborated her story. âI met him at the restaurant when I was working. I know he offered her an arrangement where she would meet him and wear strange outfits, and he would pay her or buy her things,â the roommate says. âShe was in acting and getting work in the entertainment industry, and I remember her saying that she was trying to meet with him because she thought it could lead to something.â
The same year Noire says she was raped, Margaret (also a pseudonym), then 18, met Strong in Toronto. While the age of consent is 18 in Canada, she says she was at âan extremely vulnerable place in my life,â having dropped out of university, with the âblind dreamâ to make it as a singer-songwriter. She was playing open mic nights and âscrounging pennies to make a record,â she says, but âI didnât have any connections at all.â
When Strong offered to help her with her career, she says, âIt was the most exciting day of my life because Iâd never met anybody that works in music.â Like Noire, Margaret spent the next several months hanging out with him, discussing her career and meeting industry contacts.
âWe would talk about work and my dreams,â she explained in a lengthy email. âWe talked about the artists he worked with, and how I was talented enough to be as famous as them if I were in the right hands.â (She was also interviewed by phone for this story.)
Margaret admits that she was impressed by Strongâs office. âIt looked like the Emerald City to me at the time,â she writes. âHe had gold and silver record plaques all over his wall with my favorite artists. He knew I loved Arcade Fire, so he gave me Arcade Fire records, along with 20 other records of other artists he âworked with.â He told me he helped âbreak themâ and I believed him. He did seem genuinely interested in my music. Eventually, he told me he wanted to manage me.â
Margaret says Strong introduced her to major players in his music network and after a month or so started managing her through his company StrongSongs. âIt didnât occur to me at all he was interested in me sexually,â she recalls.
One night, Margaret says âeverything changed.â Strong took her to a bar, where she used a fake ID to get in (drinking age in Ontario is 19), and she got âsuper drunkâ with him. âHe knew the bartender and started feeding me shot after shot,â she says. âI had never drunk so much in my life. By the end of the night, I could barely walk.â Although she was not attracted to Strong, she says, âIn my deliriousness, I went back and had sex with him.â The next morning, she panicked, worried he would no longer work with her. She phoned and apologized, saying she was embarrassed and wanted to pretend it never happened. âIt didnât occur to me that the sex we had was technically non-consensual considering the state I was in,â she writes.
Margaret says Strongâs reply was, ââWell, actually, I did want to have sex with you. And I liked having sex with you. And if youâre not able to do that, then I donât think that we can work together.ââ
âThat was the day that it clicked for me that he was an evil guy,â she says.
Margaret says Strong threatened to derail her career, so she agreed to have sex with him again. âThe first time was the worst,â she writes. âI cried the entire time, but he didnât care. The second time was the same, eventually I became more numb to it. He went back to taking me to events, meetings, etcetera. The only condition was that if he called me for sex, I had to oblige.â She says he had explicit photos of her and âhe threatened to send them around and show people.â
âSeveral months of me knowing Adrian was me having this arrangement where I would have sex with him and he wouldnât screw over my career or drop me from the company,â Margaret says.
On the occasions that she turned down Strongâs requests for sex, she says he would throw a tantrum or fake a panic attack. (Strongâs lawyer says he has suffered from panic attacks for years.) âI would be so annoyed with him that I would try to leave his apartment or his car,â she says. Thatâs when he would get physically assertive, block and lock the door, she says, âand rage â get all red and scary.â When that happened, Margaret says she gave in.
When she âcouldnât bear to have sex with him again,â Margaret writes that Strong gave her drugs to ânumb me.â She added, âOne time he even gave me a drugged cookie without telling me and had his way with me when I was basically passed out.â
Much like Mindyâs experience, Margaret also says Strong asked her to âdress in fetish outfits, weird socks, or sometimes gymnastics outfits. He took photos of me and videos of me while masturbating.â She says, âThere were no limits. He literally never took no for an answer.â
âThe abusive manager relationship went on for almost a year,â Margaret writes. âI fell into a massive depression, but I kept making music, and kept up hope that someday I could get away from him, although I didnât know how. One day I had finally had enough.â
While at Strongâs house, she refused to have sex with him. âHe forced himself on me and I fought him off. I managed to open the door and get away. I was done with him.â
That is, until Strong reminded her of her signed management contract. âI agreed to work with DMD/StrongSongs but I didnât want to speak to him anymore,â she writes. She was given a different point person at the company, and Strong respected her space for almost two months. She says he would message her sometimes, seemingly apologetic, telling her he was a sex addict and receiving therapy.
Margaret notes Strongâs behaved âin these patterns and waves. So, he would go through these waves of [being a] Born Again Christian and not wanting to be the way he is, and then he would act on his compulsions again.â
In 2011, Strong invited Margaret to see Prince play at Air Canada Centre with two other industry people, promising âno funny business.â After the concert he asked if they could talk. âHe wanted to apologize. We went for one drink in a public place, and I donât know how I didnât see it coming, but he drugged me,â she writes. She recalls becoming inebriated âvery quicklyâ and went home. âAfter this I cut off from him completely and decided I needed to get out of Canada altogether.â
She moved out of the country to record an album. Strong let her out of her contract in late 2012 provided she signed a non-disclosure agreement.
Strongâs attorney Watkins provided a 2012 email from Margaret to Strong discussing the termination of her management contract. In it, she indicated that her father was helping her with the negotiations. Watkins contends that the involvement of Margaretâs father, as well as a lawyer who advised her on these negotiations are ârelevantâ to Margaretâs âcontention that Mr. Strong purportedly took advantage of the power imbalance that existed between them.â He also implies that Margaretâs use of positive language in the email, such as âI know you still feel as passionately about this project as I do,â indicates that their relationship was professional and civil.
The former manager who guided Margaretâs career for a period after she extricated herself from DMD/StrongSongs backs up her account, however. He says she confided in him about her arrangement with Strong. He asked not to be identified in this story but provided a statement: âSoon after I began managing [Margaret] in 2014, she shared with me her story of Adrianâs sexual coercion and abuse toward her. I was shocked. We had hired his team [to promote her singles to radio], and when I asked her why she hadnât opposed this working relationship, she explained to me that she feared he would blackmail her and destroy her career.â
Margaret says she decided to speak out because âI have moved on from that time of my life. I am now an award-winning hit songwriter in Canada, and I use my power in the industry, mostly, to help develop young female talent and help their dreams come true. This is the most rewarding thing I could ever do after everything Iâve been through â to be able to be the person I needed when I was trying to find my way through the industry â the person who could have once steered me away from a monster like Adrian Strong.â
âI have emotionally come to terms with everything he did to me, and for the most part at this point, Iâm OK,â Margaret continues. âHowever, what I still canât live with to this day is that Adrian is out there as we speak.â
In June, DMDâs owner and sole shareholder Derrick Ross told Billboard, âThe company takes the allegations raised against Mr. Strong very seriouslyâ and it was conducting an investigation into his conduct, which he later said was being run by Toronto law firm Paliare Roland Rosenberg. Ross added that âStrong has requested, and the company has agreed to an administrative leave, pending the outcome of the investigation.â The company also began removing Instagram posts about key artists from its account.
Behind the scenes, former DMD vp Gareth Jones was setting up a new radio promotion company, You Are Hear, which was announced in a July 14 press release that indicated former DMD head of publicity and marketing Matt Attfield was joining him. You Are Hearâs Instagram page identifies the company as âA Gareth Jones Music Promotion Enterpriseâ and is populated with the names of former DMD clients. Neither Jones nor Attfield responded to Billboardâs requests for comments.
In the wake of this announcement, Ross told Billboard, âDMD has discontinued operations.â He says the Paliare Roland Rosenberg investigation is ongoing.
If you have information pertaining to this story, please email investigations@billboard.com.
Stories about sexual assault allegations can be traumatizing for survivors of sexual assault. If you or anyone you know needs support, in the United States you can reach out to the Rape, Abuse & Incest National Network (RAINN) by calling the National Sexual Assault Hotline (800.656.HOPE) or visiting the organizationâs website for more information. In Canada, visit the Sexual Assault Support website or call the Assaulted Womenâs Helpline 1-866-863-0511. All these organizations provide free, confidential support to sexual assault victims.
Kane Brown released âHeaven,â a love-drunk single that practically radiates romantic bliss, in the fall of 2017. The following May, the track topped Billboardâs Country Airplay chart and climbed to No. 15 on the Hot 100. Despite this success, âwe never tried to cross it overâ to pop radio, says Martha Earls, who manages Brown. âIn what world would you have an almost Diamond-certified single that you didnât try to take over to pop? It was a different time. Back then, that opportunity just was not there.â
Today, Earls says, conditions are different â she âabsolutely wouldâ have promoted âHeavenâ to the Top 40 format. âLetâs take it to pop [radio] tomorrow!â she jokes.Â
This summer, country singles are finally starting to fare better on the Billboard Pop Airplay chart: Morgan Wallenâs âLast Nightâ is at No. 5 on the latest ranking, while Luke Combsâ âFast Carâ hit No. 20. (They also sit at No. 1 and No. 2 on the Billboard Hot 100, respectively.) âMost Top 40 programmers are protective of pop music sounds,â says Steven Shannon, music director at KZFN in Moscow, Idaho. âItâs unusual to have two country songs out at the same time that are in the Top 20.â
With that in mind, âitâs nice to see more people being open to our format,â adds Chris Kappy, who manages Luke Combs. âI appreciate the fact that people can look at country music just like they look at any other genre.â
In the past, pop radio has flirted with country periodically but never really embraced the genre, suggesting that the success of Wallen and Combs could be another temporary blip. (Pop radioâs arms-length approach to country is part of the reason why, before this year, the last track to top both Country Airplay and the Hot 100 was Lonestarâs âAmazedâ in 2000.) âI guarantee that most Top 40 programmers are resistantâ to adding country to their playlists, Shannon says. Sure enough, one pop PD tells Billboard, âIâd rather be playing hip-hop.â
As a result, country executives say they still only consider attempting a pop radio campaign in special cases. But shifts in the music landscape could point to a bigger role for country in the pop airplay mix moving forward. The genreâs audience is surging â countryâs consumption has increased by a whopping 20.3% year-over-year in the first 26 weeks of 2023, according to Luminate, making its popularity tough to overlook. (By contrast, pop is up by 7.6%.)
Country singles get to shine on pop radio roughly once a decade, according to Guy Zapoleon, a veteran radio consultant. He is known in radio circles for his â10-year music cycleâ theory, which divides pop airplay into three distinct periods: the birth phase, the extremes phase, and the doldrums phase. Terrestrial radio is currently very much in the doldrums â âthe worst doldrums of all times,â Zapoleon declares â and during these periods, itâs customary for Top 40 programmers to cast around for hits elsewhere, roping in singles from country or the format known as âadult contemporary.âÂ
In the past, Zapoleon says, this has led to increased airplay for country at Top 40 for periods lasting two to three years. In 1963, Johnny Cash, Skeeter Davis, and Bobby Bare were beneficiaries of this trend; in 1974, programmers embraced Glen Campbell, Charlie Rich, and Mac Davis; in the early 1980s, Dolly Parton, Kenny Rogers, and Eddie Rabbitt were added on to Top 40 playlists, boosted in part in the wake of the success of John Travoltaâs 1980 film Urban Cowboy.
This context suggests that Wallen and Combs may be helping Top 40 through a rough patch, but that the dalliance wonât last. âIf history is an indication, I think maybe this [playing more country at Top 40] might be just a trend,â says Matt Mony, program director for WYOY in Jackson, Mississippi. âItâs sort of like what we saw with all the sample-songs that we were playingâ â think Bebe Rexha and David Guettaâs âIâm Good (Blue)â â âthatâs starting to lighten up a bit.â
Country artists seeking Top 40 airplay donât just have to win over pop programmers, they also have to worry about country programmersâ possessiveness. âIn the past, there was a sense that if an artist crossed over from country they were leaving the format,â Earls acknowledges. With Brown, âwe almost created two careers,â she adds. âWe would have a song go to Top 40â â including collaborations with Marshmello, blackbear, and Swae Lee â but also âmake sure that we released music to super-serve the country fans too.â Â
Adrian Michaels, vp of innovation, radio, and streaming at BMGâs Stoney Creek Records, has been on an impressive streak with Jelly Roll, a 38-year-old who spent time in prison for dealing drugs, got out and built a budding rap career, and then turned into a country breakout. Jelly Roll is now starting to receive some pop airplay after enjoying success at both country and rock radio. âIt definitely bruises some [programing] people when they seeâ artists move to other formats, Michaels says. âI get yelled at a lot. But the audience has a much bigger voice than a gatekeeper saying, âthis belongs on this station only, because weâre the ones who broke them.’â
And that voice has gotten a lot louder lately. The runaway success of âLast Nightâ and âFast Carâ is taking place amidst an eruption of interest in the genre that Wallen and Combs call home. âWeâre seeing a global moment for the genre right now, and that is opening up some space at other formats,â explains Stacy Blythe, svp of radio promotion at Wallenâs label, Big Loud.Â
Those other formats may not be able to continue to look past country if that growth continues. âWhat I hope happens is that [pop radio programmers] see the numbers coming in on streaming, and if this [country song] is streaming as much as this [pop single], obviously that shows there are people out there listening,â Kappy says. âItâs contemporary hits radio. They should be playing the contemporary hits of the day.â
In addition, terrestrial radioâs role in the music ecosystem has shifted dramatically in the last decade in ways that might make the pop airwaves more hospitable to country. One key difference is that many young listeners have abandoned radio for streaming services and TikTok; a recent survey from the consultancy Jacobs Media Strategy found that the average age of radio listeners is around 55 years old.
This bodes well for the cross-format popularity of country, which the radio industry historically views as a genre favored by more mature listeners. âAnother reason country is working so well at Top 40 right now is because weâre dealing more with women 25-plus, and thatâs a really good fit for that genre,â Mony says.
And âas the Top 40 format continues to age up, programmers should consider country crossovers,â adds Cat Collins, a radio consultant and former vp of Top 40 and Hot AC for Townsquare Media.
Some radio experts also believe that the pop format has strayed from its roots in the past decade-ish as a platform that elevates all the hits, regardless of their origin. âThe theoretical ideal of Top 40 is to play hits from across the spectrum of music, a notion that has largely faded, as most Top 40s have been sticking to a very narrow lane,â says Larry Rosin, president of Edison Research. Recent country singles that did well on pop radio â like Dan + Shayâs 2021 hit â10,000 Hoursâ and Gabby Barrettâs 2020 smash âI Hope,â both of which cracked the top 10 â gained access in part by incorporating Top 40 mainstays (Justin Bieber and Charlie Puth, respectively).Â
Top 40 stations are going through a brutal period of low ratings; could the ânarrow laneâ approach be adding to the formatâs troubles? For Zapoleon, itâs simply a matter of numbers: Country singles accounted for more than 20% of the year-end Hot 100 in 2022, but around 1% of the year-end Mediabase Top 40 chart. âThatâs a lot of country hits Top 40 isnât playing,â he says. âHopefully they wake up.â
SiriusXMâs Hits 1 is one of five Top 40 stations already testing âNeed a Favor,â a growling, lighters-up power ball from Jelly Roll that has spent multiple weeks atop the rock radio chart and is inside the top five at country radio. âWeâre not waiting for campaigns to come in our direction,â says Alex Tear, vp of music programming for SiriusXM and Pandora. Too often, âradio is late to the game.âÂ
His peers may be more receptive to Jelly Roll this year than in years past. âI donât want to jinx anything, but donât be surprised if, by the time this comes out, you see [Jelly Roll] really popping up at Top 40,â Michaels says. âItâs a wonderful feeling for us to take somebody from Music Row here and have this much reach.â
Radio and music industry trade website All Access will cease operations on Aug. 15 due to âa marked decrease in revenues that makes moving forward impossible,â according to a bulletin from the company, which also noted that the site will remain online for an undetermined amount of time.
A statement from All Access reads, âThis was not a decision that was reached lightly nor without earnest tries to find a path forward. It comes on the heels of major changes in the music industry announced in January of this year. These strong financial headwinds also extend to our non-music partners as well. Both downturns have greatly affected how All Access operates. The dollars are just not there to support our operation and staff any longer.â
According to the All Access website, the company has just over two dozen staff members.
All Access launched in 1995 and has been an essential source of news for the radio and music industries across genres including rock, pop, country and gospel/Christian, with the website providing news, editorial insights, community, industry events and job postings to many in the business for nearly three decades.
You can read the statement from All Access founder/president/publisher Joel Denver below.
This is without question the saddest and most heartbreaking moment of my professional life to have to tell you that allaccess.com will cease publishing and will be going out of business.
All Access began nearly 28 years ago and with the help of an amazing staff of professionals, the best in the business. Weâve weathered many changes and obstacles in the industry over these years. Weâve carved an incredible path and have taken each part of our operation to amazing levels of success through honesty, hard work, and passion for the radio industry, the music, the artists and our many readers, marketing partners, clients and our many contributing editors. Thank you all so much â we could not have done any of this without you.
The goal of All Access has always been to provide cutting edge content for all sectors of our business. Weâve strived to provide the best and most credible NET NEWS coverage, help people find jobs and stay connected. We have been blessed with wonderful partnerships and have created many valuable services for all parts of the radio and music businesses and have the support of nearly 100,000 active users.
Looking back over nearly three decades of service, we have much to be proud of. Weâve created amazing editorial and service products that will be benchmarks of our success like: All Access Downloads, First Alert, co-creation/presentation of Worldwide Radio Summit and creation/presentation of the All Access Audio Summit, among many others along the way.
Again, I cannot begin to express my sincerest appreciation and thanks to all of our many thousands of readers, our many amazing partners, wonderful clients, and the incredible ALL ACCESS staff for your love and devotion to All Access, our mission, and our success for nearly 28 years. I will miss working with all of you.
Closing All Access doesnât mean that I am retiring from the business. I will take a moment to catch my breath and focus on new horizons and opportunities.
I hope that you will give all of our All Access team members a good strong look as well at new opportunities â they are the best of the best, and I will provide a glowing recommendation for all. There is not one person on the All Access team that I wouldnât hire again. Please reach out to them by visiting our Team Page.
It has been a true honor to have served the radio and music communities. We have had a blast doing this. We will all miss serving and working with all of you â our readers and clients. I truly wish everyone much success in the future.â
State Champ Radio
