News

 
Week Of Jan. 24, 2022
 
Posted: 21 Jan 2022, 9:30 pm

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George Strait Crowned No. 1 On LIVE75 Chart
 
Posted: 21 Jan 2022, 8:35 pm
George Strait debuts at No. 1 as the week?s ?Hot Shot? artist on the strength of the two most recent performances of his ?Strait to Vegas? concert residency at T-Mobile Arena in Las Vegas. The country star appeared at the arena on Dec. 3-4, racking up a $4.1 million box-office take from 30,350 sold seats over both nights. As the 31st and 32nd performances of his residency that began in April 2016, the shows raise his overall ticket count there to 527,072 for a total gross of $75.4 million.

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Q's With: Co-Author Of ‘The Road To Woodstock’ Holly George-Warren On The Late Michael Lang And His Enduring Legacy
 
Posted: 21 Jan 2022, 7:44 pm
The passing of Michael Lang, the great Woodstock impresario, on Jan. 8 came as something of a shock, having recently been in the spotlight in 2019 surrounding his unsuccessful efforts to put together a Woodstock 50th anniversary festival. Pollstar reached out to Holly George-Warren, who co-authored Lang?s autobiography ?The Road To Woodstock,? to find out more about the promoter who put on one of this industry's most important and culturally defining events of all time. As Lang?s Upstate New York neighbor as well as an academic who teaches at NYU?s Clive Davis Institute of Recorded Music, and the State University of New York at New Paltz, George-Warren discusses Lang?s accomplishments beyond Woodstock, his opening a head shop in Miami, keeping cool under inordinate amounts of pressure and his enduring legacy.

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Getting To Know Your Pollstar Live! Panelists: Jason Miller, CEO, Eventim Live Asia
 
Posted: 21 Jan 2022, 5:37 pm

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Mexico Fest Promoters and Fans Face Off Over Ticket Refunds Amid Omicron Surge
 
Posted: 21 Jan 2022, 5:13 pm

Last year, as concerts returning from the pandemic met cautious fans and high no-show rates, destination events were a bright spot for the touring industry. Now, they?ve become contentious as the omicron COVID-19 variant rages.

The same fans who were so eager last summer to make plans to escape to beachside resorts for weekends hosted by Dead and Company, Wilco, Luke Bryan and others are now pressuring promoters to offer refunds or postpone the shows until the current coronavirus wave cools down. Promoters, however, are beholden to the resorts where the festivals are booked. A source familiar with destination festivals informs Billboard that hotel rates for these events are negotiated with the organizers and are non-refundable. The promoter, in turn, makes tickets non-refundable for the customer and encourages fans to purchase travel insurance.

Refunds for live music events are typically only provided when an artist is unable to perform or the event is cancelled entirely. Outside refund windows established by major promoters in 2020 due to the pandemic, refunds for live events are typically not offered for fans unable to attend or who choose not to. Unless the local government forced a shutdown of the resorts hosting these destinations events and the festival?s insurance kicked in, the promoter would have to shoulder the cost of any refunds.

When Dead and Company announced last month they would offer refunds to fans who were feeling uncomfortable attending their Playing in the Sand events scheduled for Jan. 7-10 and 13-16, it set an early precedent for other similar events to follow. But while the band wound up canceling its shows just a week later when John Mayer caught COVID-19, other events have resisted following suit and have pushed ahead without refund options.

Mark Dienger, a ticket holder for Wilco?s upcoming Sky Blue Sky event in Mexico, hoped other producers would take note of the Dead and Company cancellation and begin to reconsider their events. Dienger says he bought passes for the Jan. 17-21 festival in Riviera Maya, Mexico, when vaccines were providing more effective protection last summer and assumed ?if it ever got this bad, there’s no way the event would go on.?

Dienger is one of more than 1,000 people who have signed a Change.org petition asking Cloud 9 ? who produces the event in conjunction with The Bowery Presents and Higher Ground Presents ? refund ticket holders who no longer wish to attend due to health reasons or concerns about quarantining in Mexico if they test positive. The Centers for Disease Control and Prevention suggests anyone who tests positive for COVID-19 to quarantine for five days and then receive a negative test before ending isolation. If a test comes back positive on day five, they recommend quarantining for an additional five days.

?We are not asking for the festival to be cancelled or postponed, but merely for the option of being refunded if one decides it is in their best interest not to attend,? the petition reads. ?We hope that Cloud 9 would follow suit of other festivals (Dead & Co.) and recognize that the responsible thing to do would be to give their customers a choice.?

Cloud 9 Adventures tells Billboard they are still moving forward with the Wilco event, as well as Widespread Panic?s Panic En La Playa Diez and the Avett Brothers? At the Beach scheduled for January at Hard Rock Hotel in Riviera Maya. In a statement provided to Billboard, Cloud 9 states that their non-refundable policy was made clear more than a year ago when tickets went on sale and emphasizes travel insurance for trips in winter months. The event producer is offering complimentary extended stays at the resort and third-party medical providers for anyone who tests positive. Cloud 9 has also extended and waived room transfer fees up until the day of the event.

?A refund, or the ability to hold one?s spot for a rescheduled date, will be available to purchasers if the event were to be postponed,? the statement reads. ?This continuously evolving situation is being closely monitored via active discussions with local authorities and the events are moving forward as planned.?

Wilco?s Jeff Tweedy took to Instagram on Jan. 6 to state, ?I 100% understands understand all the anxiety and anger and confusion? surround the Sky Blue Sky festival. He explained that the band has nothing to do with ticketing or ticketing policies and are simply contracted to play the event. Tweedy went on to say he hoped all parties would come to a resolution that ?makes everyone happy,? but added, ?I find that to be an unlikely outcome at this point.?

After the cancelation of the Dead & Co shows, CID Presents — which is owned by OnLocation, whose parent company is Endeavor — said it still plans to move forward with its other January events including?Luke Bryan?s Crash My Playa (Jan. 19-22) and?Hootie and the Blowfish?s Hootiefest: The Big Splash (Jan. 26-29). In a statement last week, CID said it is monitoring U.S. and Mexico guidelines and believes it can put on ?a safe and fun event at CID Presents? new and most spacious ever outdoor venue.? The producer added that it will offer refunds if the CDC risk assessment level for COVID-19 for the Quintana Roo (Cancn) region of Mexico rises to a Level 4 or Mexico designates the area unsafe to hold an event.

In the meantime, ticket holders for CID?s Crash My Playa and Hootiefest: The Big Splash have also launched a Change.org petitions requesting refunds that has garnered more than 1,050 and 400 signatures, respectively, and encouraged an email writing campaign to the organizers.

As of Friday (Jan. 21), Quintana Roo — where the events are being held — had a daily case average of 659, according to The New York Times. The region, however, has seen a 451% increase in cases in the last two weeks based on theTimes’ data.

Fans like Dienger understand that refunds or postponements would mean a financial hit for organizers and the artists, but doesn?t believe the full economical or health risks should fall on ticket holders either.

?I understand this isn?t an easy decision for them,? says Dienger. ?There has to be a middle ground where if they decide the show goes on and they recognize that some people aren?t comfortable we get back 50% of what we had paid or just pay it forward as a credit for the next time when it is safer.?

Additional reporting by Dave Brooks.


Read the full article

............................................................



Mexico Fest Promoters and Fans Face Off Over Ticket Refunds Amid Omicron Surge
 
Posted: 21 Jan 2022, 5:13 pm

Last year, as concerts returning from the pandemic met cautious fans and high no-show rates, destination events were a bright spot for the touring industry. Now, they?ve become contentious as the omicron COVID-19 variant rages.

The same fans who were so eager last summer to make plans to escape to beachside resorts for weekends hosted by Dead and Company, Wilco, Luke Bryan and others are now pressuring promoters to offer refunds or postpone the shows until the current coronavirus wave cools down. Promoters, however, are beholden to the resorts where the festivals are booked. A source familiar with destination festivals informs Billboard that hotel rates for these events are negotiated with the organizers and are non-refundable. The promoter, in turn, makes tickets non-refundable for the customer and encourages fans to purchase travel insurance.

Refunds for live music events are typically only provided when an artist is unable to perform or the event is cancelled entirely. Outside refund windows established by major promoters in 2020 due to the pandemic, refunds for live events are typically not offered for fans unable to attend or who choose not to. Unless the local government forced a shutdown of the resorts hosting these destinations events and the festival?s insurance kicked in, the promoter would have to shoulder the cost of any refunds.

When Dead and Company announced last month they would offer refunds to fans who were feeling uncomfortable attending their Playing in the Sand events scheduled for Jan. 7-10 and 13-16, it set an early precedent for other similar events to follow. But while the band wound up canceling its shows just a week later when John Mayer caught COVID-19, other events have resisted following suit and have pushed ahead without refund options.

Mark Dienger, a ticket holder for Wilco?s upcoming Sky Blue Sky event in Mexico, hoped other producers would take note of the Dead and Company cancellation and begin to reconsider their events. Dienger says he bought passes for the Jan. 17-21 festival in Riviera Maya, Mexico, when vaccines were providing more effective protection last summer and assumed ?if it ever got this bad, there’s no way the event would go on.?

Dienger is one of more than 1,000 people who have signed a Change.org petition asking Cloud 9 ? who produces the event in conjunction with The Bowery Presents and Higher Ground Presents ? refund ticket holders who no longer wish to attend due to health reasons or concerns about quarantining in Mexico if they test positive. The Centers for Disease Control and Prevention suggests anyone who tests positive for COVID-19 to quarantine for five days and then receive a negative test before ending isolation. If a test comes back positive on day five, they recommend quarantining for an additional five days.

?We are not asking for the festival to be cancelled or postponed, but merely for the option of being refunded if one decides it is in their best interest not to attend,? the petition reads. ?We hope that Cloud 9 would follow suit of other festivals (Dead & Co.) and recognize that the responsible thing to do would be to give their customers a choice.?

Cloud 9 Adventures tells Billboard they are still moving forward with the Wilco event, as well as Widespread Panic?s Panic En La Playa Diez and the Avett Brothers? At the Beach scheduled for January at Hard Rock Hotel in Riviera Maya. In a statement provided to Billboard, Cloud 9 states that their non-refundable policy was made clear more than a year ago when tickets went on sale and emphasizes travel insurance for trips in winter months. The event producer is offering complimentary extended stays at the resort and third-party medical providers for anyone who tests positive. Cloud 9 has also extended and waived room transfer fees up until the day of the event.

?A refund, or the ability to hold one?s spot for a rescheduled date, will be available to purchasers if the event were to be postponed,? the statement reads. ?This continuously evolving situation is being closely monitored via active discussions with local authorities and the events are moving forward as planned.?

Wilco?s Jeff Tweedy took to Instagram on Jan. 6 to state, ?I 100% understands understand all the anxiety and anger and confusion? surround the Sky Blue Sky festival. He explained that the band has nothing to do with ticketing or ticketing policies and are simply contracted to play the event. Tweedy went on to say he hoped all parties would come to a resolution that ?makes everyone happy,? but added, ?I find that to be an unlikely outcome at this point.?

After the cancelation of the Dead & Co shows, CID Presents — which is owned by OnLocation, whose parent company is Endeavor — said it still plans to move forward with its other January events including?Luke Bryan?s Crash My Playa (Jan. 19-22) and?Hootie and the Blowfish?s Hootiefest: The Big Splash (Jan. 26-29). In a statement last week, CID said it is monitoring U.S. and Mexico guidelines and believes it can put on ?a safe and fun event at CID Presents? new and most spacious ever outdoor venue.? The producer added that it will offer refunds if the CDC risk assessment level for COVID-19 for the Quintana Roo (Cancn) region of Mexico rises to a Level 4 or Mexico designates the area unsafe to hold an event.

In the meantime, ticket holders for CID?s Crash My Playa and Hootiefest: The Big Splash have also launched a Change.org petitions requesting refunds that has garnered more than 1,050 and 400 signatures, respectively, and encouraged an email writing campaign to the organizers.

As of Friday (Jan. 21), Quintana Roo — where the events are being held — had a daily case average of 659, according to The New York Times. The region, however, has seen a 451% increase in cases in the last two weeks based on theTimes’ data.

Fans like Dienger understand that refunds or postponements would mean a financial hit for organizers and the artists, but doesn?t believe the full economical or health risks should fall on ticket holders either.

?I understand this isn?t an easy decision for them,? says Dienger. ?There has to be a middle ground where if they decide the show goes on and they recognize that some people aren?t comfortable we get back 50% of what we had paid or just pay it forward as a credit for the next time when it is safer.?

Additional reporting by Dave Brooks.


Read the full article

............................................................



Mexico Fest Promoters and Fans Face Off Over Ticket Refunds Amid Omicron Surge
 
Posted: 21 Jan 2022, 5:13 pm

Last year, as concerts returning from the pandemic met cautious fans and high no-show rates, destination events were a bright spot for the touring industry. Now, they?ve become contentious as the omicron COVID-19 variant rages.

The same fans who were so eager last summer to make plans to escape to beachside resorts for weekends hosted by Dead and Company, Wilco, Luke Bryan and others are now pressuring promoters to offer refunds or postpone the shows until the current coronavirus wave cools down. Promoters, however, are beholden to the resorts where the festivals are booked. A source familiar with destination festivals informs Billboard that hotel rates for these events are negotiated with the organizers and are non-refundable. The promoter, in turn, makes tickets non-refundable for the customer and encourages fans to purchase travel insurance.

Refunds for live music events are typically only provided when an artist is unable to perform or the event is cancelled entirely. Outside refund windows established by major promoters in 2020 due to the pandemic, refunds for live events are typically not offered for fans unable to attend or who choose not to. Unless the local government forced a shutdown of the resorts hosting these destinations events and the festival?s insurance kicked in, the promoter would have to shoulder the cost of any refunds.

When Dead and Company announced last month they would offer refunds to fans who were feeling uncomfortable attending their Playing in the Sand events scheduled for Jan. 7-10 and 13-16, it set an early precedent for other similar events to follow. But while the band wound up canceling its shows just a week later when John Mayer caught COVID-19, other events have resisted following suit and have pushed ahead without refund options.

Mark Dienger, a ticket holder for Wilco?s upcoming Sky Blue Sky event in Mexico, hoped other producers would take note of the Dead and Company cancellation and begin to reconsider their events. Dienger says he bought passes for the Jan. 17-21 festival in Riviera Maya, Mexico, when vaccines were providing more effective protection last summer and assumed ?if it ever got this bad, there’s no way the event would go on.?

Dienger is one of more than 1,000 people who have signed a Change.org petition asking Cloud 9 ? who produces the event in conjunction with The Bowery Presents and Higher Ground Presents ? refund ticket holders who no longer wish to attend due to health reasons or concerns about quarantining in Mexico if they test positive. The Centers for Disease Control and Prevention suggests anyone who tests positive for COVID-19 to quarantine for five days and then receive a negative test before ending isolation. If a test comes back positive on day five, they recommend quarantining for an additional five days.

?We are not asking for the festival to be cancelled or postponed, but merely for the option of being refunded if one decides it is in their best interest not to attend,? the petition reads. ?We hope that Cloud 9 would follow suit of other festivals (Dead & Co.) and recognize that the responsible thing to do would be to give their customers a choice.?

Cloud 9 Adventures tells Billboard they are still moving forward with the Wilco event, as well as Widespread Panic?s Panic En La Playa Diez and the Avett Brothers? At the Beach scheduled for January at Hard Rock Hotel in Riviera Maya. In a statement provided to Billboard, Cloud 9 states that their non-refundable policy was made clear more than a year ago when tickets went on sale and emphasizes travel insurance for trips in winter months. The event producer is offering complimentary extended stays at the resort and third-party medical providers for anyone who tests positive. Cloud 9 has also extended and waived room transfer fees up until the day of the event.

?A refund, or the ability to hold one?s spot for a rescheduled date, will be available to purchasers if the event were to be postponed,? the statement reads. ?This continuously evolving situation is being closely monitored via active discussions with local authorities and the events are moving forward as planned.?

Wilco?s Jeff Tweedy took to Instagram on Jan. 6 to state, ?I 100% understands understand all the anxiety and anger and confusion? surround the Sky Blue Sky festival. He explained that the band has nothing to do with ticketing or ticketing policies and are simply contracted to play the event. Tweedy went on to say he hoped all parties would come to a resolution that ?makes everyone happy,? but added, ?I find that to be an unlikely outcome at this point.?

After the cancelation of the Dead & Co shows, CID Presents — which is owned by OnLocation, whose parent company is Endeavor — said it still plans to move forward with its other January events including?Luke Bryan?s Crash My Playa (Jan. 19-22) and?Hootie and the Blowfish?s Hootiefest: The Big Splash (Jan. 26-29). In a statement last week, CID said it is monitoring U.S. and Mexico guidelines and believes it can put on ?a safe and fun event at CID Presents? new and most spacious ever outdoor venue.? The producer added that it will offer refunds if the CDC risk assessment level for COVID-19 for the Quintana Roo (Cancn) region of Mexico rises to a Level 4 or Mexico designates the area unsafe to hold an event.

In the meantime, ticket holders for CID?s Crash My Playa and Hootiefest: The Big Splash have also launched a Change.org petitions requesting refunds that has garnered more than 1,050 and 400 signatures, respectively, and encouraged an email writing campaign to the organizers.

As of Friday (Jan. 21), Quintana Roo — where the events are being held — had a daily case average of 659, according to The New York Times. The region, however, has seen a 451% increase in cases in the last two weeks based on theTimes’ data.

Fans like Dienger understand that refunds or postponements would mean a financial hit for organizers and the artists, but doesn?t believe the full economical or health risks should fall on ticket holders either.

?I understand this isn?t an easy decision for them,? says Dienger. ?There has to be a middle ground where if they decide the show goes on and they recognize that some people aren?t comfortable we get back 50% of what we had paid or just pay it forward as a credit for the next time when it is safer.?

Additional reporting by Dave Brooks.


Read the full article

............................................................



The Ledger: Music Stocks Are Off to a Bumpy Start in 2022
 
Posted: 21 Jan 2022, 3:50 pm

Music stocks are off to a bumpy start to 2022. As investors attempt to digest the possible effects of interest rate hikes by the Federal Reserve, many music stocks have followed larger trends and bounced all over the map in the first three weeks of the year. Take Spotify: In the first 13 trading days of 2022, its daily percentage change has twice been over 4% and three times less than -3% (for an aggregate loss of 12.2%). Similarly, over the same period, Warner Music Group has fallen by more than 2% four times and lost a total of 8.4%.

For many music rights owners, January is a continuation of a trend that began last quarter. Through Thursday, WMG shares were down 18.2% since it released third quarter earnings on Nov. 15. (The tech-heavy Nasdaq dropped 10.7% over the same period while the New York Stock Exchange fell only 3.7%.) Universal Music Group shares reached a new low of 21.56 euros on Jan. 19 and fell 15.6% since Nov. 15. French music company Believe and U.S.-based Reservoir Media are down 18.8% and 26.3%, respectively, over the same period.

Not that volatility necessarily impacts the day-to-day operation of companies. Music companies ? namely labels and publishers ? have posted four or five years of consistent growth and will trend upward for the foreseeable future. But disappointing stock prices can hang over a company, and worthless stock options aren?t a good employee retention tool. Often, a downturn can entice investors to increase their holdings and, as a result, their influence (activist shareholders that want a company to make changes can buy in at a discount).

That?s not always an issue in music, however. WMG’s owner, Access Industries, has about 98% of the voting power and controls both the board and major decisions. Likewise, Tencent Music Entertainment has a small float and is controlled by parent company Tencent. And Spotify?s co-founders, Daniel Ek and Martin Lorentzon, have 75.4% of voting power (as of Dec. 31, according to the company?s 2021 annual report) and an outsized influence over the company?s direction.

Currentshare prices set the stage for a slew of fourth-quarter earnings startingin February. Is this a buying opportunity? Or is this the beginning of a longer trend? That stock prices have room to grow to reach analysts’ median price targets is a positive sign.Investors have bought into music companies? narrative of high growth and — especially for live music —a sure-thing recovery from the COVID-19 gloom. Now, these companies carry the burden of high expectations.

Stock Spotlight:

Through Jan. 20, the % change over last five trading days and year to date.

Spotify: -9.8%, -12.2% YTD
Warner Music Group: -3.0%, -8.4% YTD
Universal Music Group: -3.2%, -7.1% YTD
Reservoir Media: -2.2%, 12.0% YTD
Believe: -5.2%, -5.8% YTD


Read the full article

............................................................



The Ledger: Music Stocks Are Off to a Bumpy Start in 2022
 
Posted: 21 Jan 2022, 3:50 pm

Music stocks are off to a bumpy start to 2022. As investors attempt to digest the possible effects of interest rate hikes by the Federal Reserve, many music stocks have followed larger trends and bounced all over the map in the first three weeks of the year. Take Spotify: In the first 13 trading days of 2022, its daily percentage change has twice been over 4% and three times less than -3% (for an aggregate loss of 12.2%). Similarly, over the same period, Warner Music Group has fallen by more than 2% four times and lost a total of 8.4%.

For many music rights owners, January is a continuation of a trend that began last quarter. Through Thursday, WMG shares were down 18.2% since it released third quarter earnings on Nov. 15. (The tech-heavy Nasdaq dropped 10.7% over the same period while the New York Stock Exchange fell only 3.7%.) Universal Music Group shares reached a new low of 21.56 euros on Jan. 19 and fell 15.6% since Nov. 15. French music company Believe and U.S.-based Reservoir Media are down 18.8% and 26.3%, respectively, over the same period.

Not that volatility necessarily impacts the day-to-day operation of companies. Music companies ? namely labels and publishers ? have posted four or five years of consistent growth and will trend upward for the foreseeable future. But disappointing stock prices can hang over a company, and worthless stock options aren?t a good employee retention tool. Often, a downturn can entice investors to increase their holdings and, as a result, their influence (activist shareholders that want a company to make changes can buy in at a discount).

That?s not always an issue in music, however. WMG’s owner, Access Industries, has about 98% of the voting power and controls both the board and major decisions. Likewise, Tencent Music Entertainment has a small float and is controlled by parent company Tencent. And Spotify?s co-founders, Daniel Ek and Martin Lorentzon, have 75.4% of voting power (as of Dec. 31, according to the company?s 2021 annual report) and an outsized influence over the company?s direction.

Currentshare prices set the stage for a slew of fourth-quarter earnings startingin February. Is this a buying opportunity? Or is this the beginning of a longer trend? That stock prices have room to grow to reach analysts’ median price targets is a positive sign.Investors have bought into music companies? narrative of high growth and — especially for live music —a sure-thing recovery from the COVID-19 gloom. Now, these companies carry the burden of high expectations.

Stock Spotlight:

Through Jan. 20, the % change over last five trading days and year to date.

Spotify: -9.8%, -12.2% YTD
Warner Music Group: -3.0%, -8.4% YTD
Universal Music Group: -3.2%, -7.1% YTD
Reservoir Media: -2.2%, 12.0% YTD
Believe: -5.2%, -5.8% YTD


Read the full article

............................................................



The Ledger: Music Stocks Are Off to a Bumpy Start in 2022
 
Posted: 21 Jan 2022, 3:50 pm

Music stocks are off to a bumpy start to 2022. As investors attempt to digest the possible effects of interest rate hikes by the Federal Reserve, many music stocks have followed larger trends and bounced all over the map in the first three weeks of the year. Take Spotify: In the first 13 trading days of 2022, its daily percentage change has twice been over 4% and three times less than -3% (for an aggregate loss of 12.2%). Similarly, over the same period, Warner Music Group has fallen by more than 2% four times and lost a total of 8.4%.

For many music rights owners, January is a continuation of a trend that began last quarter. Through Thursday, WMG shares were down 18.2% since it released third quarter earnings on Nov. 15. (The tech-heavy Nasdaq dropped 10.7% over the same period while the New York Stock Exchange fell only 3.7%.) Universal Music Group shares reached a new low of 21.56 euros on Jan. 19 and fell 15.6% since Nov. 15. French music company Believe and U.S.-based Reservoir Media are down 18.8% and 26.3%, respectively, over the same period.

Not that volatility necessarily impacts the day-to-day operation of companies. Music companies ? namely labels and publishers ? have posted four or five years of consistent growth and will trend upward for the foreseeable future. But disappointing stock prices can hang over a company, and worthless stock options aren?t a good employee retention tool. Often, a downturn can entice investors to increase their holdings and, as a result, their influence (activist shareholders that want a company to make changes can buy in at a discount).

That?s not always an issue in music, however. WMG’s owner, Access Industries, has about 98% of the voting power and controls both the board and major decisions. Likewise, Tencent Music Entertainment has a small float and is controlled by parent company Tencent. And Spotify?s co-founders, Daniel Ek and Martin Lorentzon, have 75.4% of voting power (as of Dec. 31, according to the company?s 2021 annual report) and an outsized influence over the company?s direction.

Currentshare prices set the stage for a slew of fourth-quarter earnings startingin February. Is this a buying opportunity? Or is this the beginning of a longer trend? That stock prices have room to grow to reach analysts’ median price targets is a positive sign.Investors have bought into music companies? narrative of high growth and — especially for live music —a sure-thing recovery from the COVID-19 gloom. Now, these companies carry the burden of high expectations.

Stock Spotlight:

Through Jan. 20, the % change over last five trading days and year to date.

Spotify: -9.8%, -12.2% YTD
Warner Music Group: -3.0%, -8.4% YTD
Universal Music Group: -3.2%, -7.1% YTD
Reservoir Media: -2.2%, 12.0% YTD
Believe: -5.2%, -5.8% YTD


Read the full article

............................................................



Baja Beach Fest Announces Lineup Featuring Daddy Yankee, Anuel AA, Farruko And More
 
Posted: 21 Jan 2022, 3:42 pm
Baja Beach Fest will be returning to Rosarito Beach, Mexico for two weekends in August, taking place from August 12?14 and August 19?21.

Read the full article

............................................................



Warner Music Group Partners With Blockparty to Allow Artists to Trade NFTs
 
Posted: 21 Jan 2022, 3:32 pm

Warner Music Group has partnered with digital collectibles platform Blockparty to allow the label’s artists to trade NFTs, the label announced Friday (Jan 21). WMG is the first major label to partner with Blockparty.

The deal will allow Warner Music artists to utilize Blockparty?s decentralized exchange to swap, trade, and sell NFTs directly with other users. WMG has led the way on partnering and investing in the metaverse and Web3 when it comes to the major labels, spearheading a number of partnerships with next-generation startups including avatar tech company Genies, immersive tech startup Wave, and a very early investment in Dapper Labs, the blockchain startup that powers NBA Top Shot, the league’s NFT marketplace.

?As technology and consumption patterns evolve, it?s imperative that we equip our artists and songwriters with all of the tools they need to participate in the virtual economy,? said Oana Ruxandra, WMG chief digital officer and executive vp business development, in a statement. “This partnership with Blockparty furthers WMG?s Web3 reach by empowering artists and songwriters to craft their own digital stories through NFTs.”

?We?re elated to be working with Warner Music Group, a company that continues to sit on the edge of technological and entertainment-based innovation. We look forward to tapping into our expertise and creativity as we work with individual artists to ensure they have all of the tools they need to participate in Web3 and do so in ways that are unique to them, their brand, and their communities,? added Vladislav Ginzburg, CEO of Blockparty. ?Early access to our DEX will give WMG artists the ability to both expand their audience to reach Web3 enthusiasts and foster deeper connections with their existing community by amplifying fan experiences.?


Read the full article

............................................................



Warner Music Group Partners With Blockparty to Allow Artists to Trade NFTs
 
Posted: 21 Jan 2022, 3:32 pm

Warner Music Group has partnered with digital collectibles platform Blockparty to allow the label’s artists to trade NFTs, the label announced Friday (Jan 21). WMG is the first major label to partner with Blockparty.

The deal will allow Warner Music artists to utilize Blockparty?s decentralized exchange to swap, trade, and sell NFTs directly with other users. WMG has led the way on partnering and investing in the metaverse and Web3 when it comes to the major labels, spearheading a number of partnerships with next-generation startups including avatar tech company Genies, immersive tech startup Wave, and a very early investment in Dapper Labs, the blockchain startup that powers NBA Top Shot, the league’s NFT marketplace.

?As technology and consumption patterns evolve, it?s imperative that we equip our artists and songwriters with all of the tools they need to participate in the virtual economy,? said Oana Ruxandra, WMG chief digital officer and executive vp business development, in a statement. “This partnership with Blockparty furthers WMG?s Web3 reach by empowering artists and songwriters to craft their own digital stories through NFTs.”

?We?re elated to be working with Warner Music Group, a company that continues to sit on the edge of technological and entertainment-based innovation. We look forward to tapping into our expertise and creativity as we work with individual artists to ensure they have all of the tools they need to participate in Web3 and do so in ways that are unique to them, their brand, and their communities,? added Vladislav Ginzburg, CEO of Blockparty. ?Early access to our DEX will give WMG artists the ability to both expand their audience to reach Web3 enthusiasts and foster deeper connections with their existing community by amplifying fan experiences.?


Read the full article

............................................................



Warner Music Group Partners With Blockparty to Allow Artists to Trade NFTs
 
Posted: 21 Jan 2022, 3:32 pm

Warner Music Group has partnered with digital collectibles platform Blockparty to allow the label’s artists to trade NFTs, the label announced Friday (Jan 21). WMG is the first major label to partner with Blockparty.

The deal will allow Warner Music artists to utilize Blockparty?s decentralized exchange to swap, trade, and sell NFTs directly with other users. WMG has led the way on partnering and investing in the metaverse and Web3 when it comes to the major labels, spearheading a number of partnerships with next-generation startups including avatar tech company Genies, immersive tech startup Wave, and a very early investment in Dapper Labs, the blockchain startup that powers NBA Top Shot, the league’s NFT marketplace.

?As technology and consumption patterns evolve, it?s imperative that we equip our artists and songwriters with all of the tools they need to participate in the virtual economy,? said Oana Ruxandra, WMG chief digital officer and executive vp business development, in a statement. “This partnership with Blockparty furthers WMG?s Web3 reach by empowering artists and songwriters to craft their own digital stories through NFTs.”

?We?re elated to be working with Warner Music Group, a company that continues to sit on the edge of technological and entertainment-based innovation. We look forward to tapping into our expertise and creativity as we work with individual artists to ensure they have all of the tools they need to participate in Web3 and do so in ways that are unique to them, their brand, and their communities,? added Vladislav Ginzburg, CEO of Blockparty. ?Early access to our DEX will give WMG artists the ability to both expand their audience to reach Web3 enthusiasts and foster deeper connections with their existing community by amplifying fan experiences.?


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Adele Tearfully Postpones Las Vegas Residency, Citing Pandemic Impact
 
Posted: 21 Jan 2022, 2:52 pm
Adele has postponed a 24-date Las Vegas residency hours before it was to start, citing delivery delays and coronavirus illness in her crew.

Read the full article

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Meat Loaf Dead At 74
 
Posted: 21 Jan 2022, 2:00 pm
Michael Lee Aday, better known by his stage name Meat Loaf and born as Marvin Lee Aday, passed away Thursday night, Jan. 20, at the age of 74.

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Japanese Breakfast’s Jubilation: From Coat Check Room To Grammy Noms & Global Touring
 
Posted: 21 Jan 2022, 1:42 pm
Philadelphia?s Union Transfer has long served as a benchmark for where songwriter, musician and author Michelle Zauner is at in her career. Zauner, who heads up the indie rock/pop band Japanese Breakfast, recalled how promoter Sean Agnew of R5 Productions gave her a job working as the ?coat check girl and concessions employee? when she was ?down and out, going on DIY tours, coming back, getting fired from restaurant jobs.?

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Boston Calling Announces Foo Fighters, The Strokes And Metallica As 2022 Headliners
 
Posted: 21 Jan 2022, 12:50 pm
After it was announced on Thursday, Jan. 20, that Rage Against The Machine would no longer be headlining this year?s Boston Calling, the festival has unveiled its full lineup. Foo Fighters, The Strokes and Metallica will be headlining the event.

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Adele’s Last Minute Cancellation Leaves Vegas, Fans Wondering: What Went Wrong?
 
Posted: 21 Jan 2022, 12:41 pm

Adele shocked fans on Thursday (Jan. 20) when she took to Instagram to explain that her Las Vegas residency — which was set to open the next day — had been postponed indefinitely due to production delays caused by COVID-19, fighting through tears as she explained, ?We?ve run out time.?

The ?Easy on Me? singer told fans “My show ain’t ready? to open on Friday due to ?delivery delays and COVID? spreading amongst the team of people working with the artist to launch her first performance series in a half decade. Adele said she was embarrassed and ?gutted? to have to make the announcement just one day before the 24-show run opened.

Last month, Billboard predicted that the January-to-April weekend concert series would net Adele $2 million per show and help her avoid exposure to COVID that could have become a bigger threat if she were to tour North America by hunkering down inside of the Colosseum at Caesars Palace instead of going out on the road.

But sources are now telling Billboard that the decision to stay in Las Vegas and stage the Live Nation-produced concert series at the 4,200-seat theater first built for Celine Dion might have backfired. Finding an available venue to stage a 12-week concert series in the first place proved difficult, because many in the concert industry had forecast a full-scale comeback for live music in 2022 and most venues were already booked by the time Adele?s team at Endeavor-owned booking agency WME began looking for a venue for her live shows last year. An agreement to stage the concert at the Colosseum at Caesars Palace was finalized in October, with tickets going on sale in early December.

That left the promoters at Live Nation and Adele?s production team approximately two to three months to design the show; build and mount the staging and major production elements; and start rehearsing and finalizing the main performance with the cast and band. A source familiar with the Las Vegas live-entertainment business said large-scale productions can begin building and rehearsing concerts at rehearsal studios and production shops while they wait for host venues to become available, making it difficult to nail down how long Adele and her team had been working on the show. A representative for Adele did not respond to Billboard‘s request for comment.

Adele also mentioned in her Instagram video that her tour crew had been hit hard by the rapid spread of the COVID variant Omicron, which has prompted a number of competing residency shows at the new Resorts World Hotel in Las Vegas to tighten their protocols around COVID. Carrie Underwood and Katy Perry have both launched residency shows at the Resorts World Hotel and Casino without major outbreaks.

Shortly after the news broke, host hotel Caesars Palace said it would refund any guests staying at the hotel for Adele’s concerts and accommodate fans arriving today for this weekend’s show. Tickets purchased for the Adele concert series will be valid for a new, yet-to-be-scheduled date, according to Ticketmaster’s website.

“If your event is eligible for a refund or credit, those options will be visible within the Event Details of your order,” the site said.

While many fans have sent Adele messages of support and encouragement, others have expressed anger and frustration over the last-minute announcement. Many fans were already on the ground in Las Vegas and preparing for tomorrow’s opening when they heard the news. While the last-minute announcement didn?t sit well with fans who spent an average of $600 to $800 for tickets to the opening weekend on the primary market, Minneapolis Attorney Bruce Rivers told Billboard that fans have little recourse to recover additional travel-related costs based on the lengthy terms and conditions they agree to when purchasing tickets.

As for Adele?s 90-second video apologizing to fans for the show not being ready on time, Rivers says he doubts her statement exposes her to any real liabilities. ?Sometimes it?s better to let a spokesperson handle these kind of statements? to minimize one?s exposure to any threat of future litigation, he notes.


Read the full article

............................................................



Adele’s Last Minute Cancellation Leaves Vegas, Fans Wondering: What Went Wrong?
 
Posted: 21 Jan 2022, 12:41 pm

Adele shocked fans on Thursday (Jan. 20) when she took to Instagram to explain that her Las Vegas residency — which was set to open the next day — had been postponed indefinitely due to production delays caused by COVID-19, fighting through tears as she explained, ?We?ve run out time.?

The ?Easy on Me? singer told fans “My show ain’t ready? to open on Friday due to ?delivery delays and COVID? spreading amongst the team of people working with the artist to launch her first performance series in a half decade. Adele said she was embarrassed and ?gutted? to have to make the announcement just one day before the 24-show run opened.

Last month, Billboard predicted that the January-to-April weekend concert series would net Adele $2 million per show and help her avoid exposure to COVID that could have become a bigger threat if she were to tour North America by hunkering down inside of the Colosseum at Caesars Palace instead of going out on the road.

But sources are now telling Billboard that the decision to stay in Las Vegas and stage the Live Nation-produced concert series at the 4,200-seat theater first built for Celine Dion might have backfired. Finding an available venue to stage a 12-week concert series in the first place proved difficult, because many in the concert industry had forecast a full-scale comeback for live music in 2022 and most venues were already booked by the time Adele?s team at Endeavor-owned booking agency WME began looking for a venue for her live shows last year. An agreement to stage the concert at the Colosseum at Caesars Palace was finalized in October, with tickets going on sale in early December.

That left the promoters at Live Nation and Adele?s production team approximately two to three months to design the show; build and mount the staging and major production elements; and start rehearsing and finalizing the main performance with the cast and band. A source familiar with the Las Vegas live-entertainment business said large-scale productions can begin building and rehearsing concerts at rehearsal studios and production shops while they wait for host venues to become available, making it difficult to nail down how long Adele and her team had been working on the show. A representative for Adele did not respond to Billboard‘s request for comment.

Adele also mentioned in her Instagram video that her tour crew had been hit hard by the rapid spread of the COVID variant Omicron, which has prompted a number of competing residency shows at the new Resorts World Hotel in Las Vegas to tighten their protocols around COVID. Carrie Underwood and Katy Perry have both launched residency shows at the Resorts World Hotel and Casino without major outbreaks.

Shortly after the news broke, host hotel Caesars Palace said it would refund any guests staying at the hotel for Adele’s concerts and accommodate fans arriving today for this weekend’s show. Tickets purchased for the Adele concert series will be valid for a new, yet-to-be-scheduled date, according to Ticketmaster’s website.

“If your event is eligible for a refund or credit, those options will be visible within the Event Details of your order,” the site said.

While many fans have sent Adele messages of support and encouragement, others have expressed anger and frustration over the last-minute announcement. Many fans were already on the ground in Las Vegas and preparing for tomorrow’s opening when they heard the news. While the last-minute announcement didn?t sit well with fans who spent an average of $600 to $800 for tickets to the opening weekend on the primary market, Minneapolis Attorney Bruce Rivers told Billboard that fans have little recourse to recover additional travel-related costs based on the lengthy terms and conditions they agree to when purchasing tickets.

As for Adele?s 90-second video apologizing to fans for the show not being ready on time, Rivers says he doubts her statement exposes her to any real liabilities. ?Sometimes it?s better to let a spokesperson handle these kind of statements? to minimize one?s exposure to any threat of future litigation, he notes.


Read the full article

............................................................



Adele’s Last Minute Cancellation Leaves Vegas, Fans Wondering: What Went Wrong?
 
Posted: 21 Jan 2022, 12:41 pm

Adele shocked fans on Thursday (Jan. 20) when she took to Instagram to explain that her Las Vegas residency — which was set to open the next day — had been postponed indefinitely due to production delays caused by COVID-19, fighting through tears as she explained, ?We?ve run out time.?

The ?Easy on Me? singer told fans “My show ain’t ready? to open on Friday due to ?delivery delays and COVID? spreading amongst the team of people working with the artist to launch her first performance series in a half decade. Adele said she was embarrassed and ?gutted? to have to make the announcement just one day before the 24-show run opened.

Last month, Billboard predicted that the January-to-April weekend concert series would net Adele $2 million per show and help her avoid exposure to COVID that could have become a bigger threat if she were to tour North America by hunkering down inside of the Colosseum at Caesars Palace instead of going out on the road.

But sources are now telling Billboard that the decision to stay in Las Vegas and stage the Live Nation-produced concert series at the 4,200-seat theater first built for Celine Dion might have backfired. Finding an available venue to stage a 12-week concert series in the first place proved difficult, because many in the concert industry had forecast a full-scale comeback for live music in 2022 and most venues were already booked by the time Adele?s team at Endeavor-owned booking agency WME began looking for a venue for her live shows last year. An agreement to stage the concert at the Colosseum at Caesars Palace was finalized in October, with tickets going on sale in early December.

That left the promoters at Live Nation and Adele?s production team approximately two to three months to design the show; build and mount the staging and major production elements; and start rehearsing and finalizing the main performance with the cast and band. A source familiar with the Las Vegas live-entertainment business said large-scale productions can begin building and rehearsing concerts at rehearsal studios and production shops while they wait for host venues to become available, making it difficult to nail down how long Adele and her team had been working on the show. A representative for Adele did not respond to Billboard‘s request for comment.

Adele also mentioned in her Instagram video that her tour crew had been hit hard by the rapid spread of the COVID variant Omicron, which has prompted a number of competing residency shows at the new Resorts World Hotel in Las Vegas to tighten their protocols around COVID. Carrie Underwood and Katy Perry have both launched residency shows at the Resorts World Hotel and Casino without major outbreaks.

Shortly after the news broke, host hotel Caesars Palace said it would refund any guests staying at the hotel for Adele’s concerts and accommodate fans arriving today for this weekend’s show. Tickets purchased for the Adele concert series will be valid for a new, yet-to-be-scheduled date, according to Ticketmaster’s website.

“If your event is eligible for a refund or credit, those options will be visible within the Event Details of your order,” the site said.

While many fans have sent Adele messages of support and encouragement, others have expressed anger and frustration over the last-minute announcement. Many fans were already on the ground in Las Vegas and preparing for tomorrow’s opening when they heard the news. While the last-minute announcement didn?t sit well with fans who spent an average of $600 to $800 for tickets to the opening weekend on the primary market, Minneapolis Attorney Bruce Rivers told Billboard that fans have little recourse to recover additional travel-related costs based on the lengthy terms and conditions they agree to when purchasing tickets.

As for Adele?s 90-second video apologizing to fans for the show not being ready on time, Rivers says he doubts her statement exposes her to any real liabilities. ?Sometimes it?s better to let a spokesperson handle these kind of statements? to minimize one?s exposure to any threat of future litigation, he notes.


Read the full article

............................................................



Louie Anderson, Emmy-Winning Comedian, Dies At 68
 
Posted: 21 Jan 2022, 12:29 pm
Louie Anderson, whose four-decade career as a comedian and actor included his unlikely, Emmy-winning performance as mom to twin adult sons in the TV series "Baskets," died Friday. He was 68.

Read the full article

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Executive of the Week: Gunna Manager Ebonie Ward
 
Posted: 21 Jan 2022, 12:05 pm

In a tight race for the top album in the United States this week, Gunna‘sDS4Ever eked out a victory over The Weeknd‘s Dawn FM, arriving at No. 1 on the Billboard 200 with 150,300 equivalent album units in the week ending Jan. 13, according to MRC Data.

It was Gunna’s second straight No. 1 album and the best one-week total of his career — as well as the best first-week number for his label, YSL/300 Entertainment, according to 300 chief Kevin Liles. It’s validation of the upward trajectory of the rising MC, whose album concludes his Drip Season series — and for his manager Ebonie Ward, whose efforts earn her the title of Billboard‘s Executive of the Week.

Here, Ward tells Billboard about the yearlong preparation that went into the release of the album, how Gunna and his team stays flexible while sticking to their formula for success and how doors are continuing to open in the management field.

“Women are not and will not be hidden in the background anymore,” Ward says. “We are the gatekeepers for our clients. We are leading and strategizing in a way that our voices are being heard, we are being seen and are a part of the conversation.”

Gunna?s DS4Ever debuted at No. 1 on the Billboard 200 this week, his second straight No. 1 album. What key decision did you make to help make this happen?

The key decision was sticking to what has always worked for us: a body of work that reflects cultural identity. We like to make sure his fans can resonate and connect with the music, not just by listening, but becoming a part of his album experience and creative space. In this case, it was the Power of Pushing ?P? and keeping it Player, while always applying Pressure.

Like his previous album WUNNA we tied it back to astrology, Drip or Drown we brought listeners to the aquarium and took them underwater with us. The key is to always find a way to connect with the masses, while staying authentic.

This was Gunna?s best-ever first week in terms of units earned. What did you do to help this project reach that milestone?

We never compromised the art of the album to conform to what?s popular to increase numbers. DS4Ever is the final installment of the series, and every single detail was conceptually thought through. Working alongside Gunna and his creative director Spike Jordan was pivotal to the success of this album to connect his best body of work musically with a clear vision.

We created a timeless body of art in its full capacity, from the music to the videos down to the artwork. We took time to make sure this final installment would be as memorable as the Mona Lisa, a period in history that is unforgettable, undeniable, a moment in time we will never forget and that will last forever.

How did you set this album up differently than his previous work in terms of marketing or other promotional support?

While we stuck with the same formula, we made sure to be flexible and over-prepare as a team. We have been working on this album for over a year, so many things were done in advance. We met all 2021 with our amazing team over at 300 Entertainment, going through creative strategy, ideas and putting real time into how to make this an impactful body of work.

Working with our core team alongside our partners 300/YSL, Young Thug and closely with producers Turbo, Taurus, Wheezyand Metro Boomin was key to ensure all aspects of DS4EVER was connected. This is our most prepared body of work and by being overly-prepared, it allowed this album to show Gunna?s? growth, potential and reach.

DS4Ever was released at the beginning of January, a time that?s traditionally quiet in terms of releases as the year gets underway. Was that a consideration, or was this just the natural time to release this album?

We originally wanted to release this album in March, but when Gunna called me on 12/21/21 saying he wanted it to come out on 1/7/22 there was really no reason not to, because we had been preparing for almost a year. Preparation allowed us to be flexible in pivoting release dates when he called an audible.

This is the final installment of the Drip Season series. What does that signify for where you plan to go next with Gunna?s career?

This series ended on Gunna?s best music to date and demonstrates why Gunna is a solid contender. To make sure Gunna?s album was received in its original form no deluxe was released the first week.

We plan to continuously keep growing and elevating in all aspects of his career. While this is the final installment, it?s the start that signifies where Gunna is going and how he will continue to over-deliver as new doors continue to open for him.

How has management changed over the past few years?

It?s no longer just men. Women are not and will not be hidden in the background anymore. We are the gatekeepers for our clients. We are leading and strategizing in a way that our voices are being heard, we are being seen and are a part of the conversation.

Find more in our Executive of the Week series here.


Read the full article

............................................................



Executive of the Week: Gunna Manager Ebonie Ward
 
Posted: 21 Jan 2022, 12:05 pm

In a tight race for the top album in the United States this week, Gunna‘sDS4Ever eked out a victory over The Weeknd‘s Dawn FM, arriving at No. 1 on the Billboard 200 with 150,300 equivalent album units in the week ending Jan. 13, according to MRC Data.

It was Gunna’s second straight No. 1 album and the best one-week total of his career — as well as the best first-week number for his label, YSL/300 Entertainment, according to 300 chief Kevin Liles. It’s validation of the upward trajectory of the rising MC, whose album concludes his Drip Season series — and for his manager Ebonie Ward, whose efforts earn her the title of Billboard‘s Executive of the Week.

Here, Ward tells Billboard about the yearlong preparation that went into the release of the album, how Gunna and his team stays flexible while sticking to their formula for success and how doors are continuing to open in the management field.

“Women are not and will not be hidden in the background anymore,” Ward says. “We are the gatekeepers for our clients. We are leading and strategizing in a way that our voices are being heard, we are being seen and are a part of the conversation.”

Gunna?s DS4Ever debuted at No. 1 on the Billboard 200 this week, his second straight No. 1 album. What key decision did you make to help make this happen?

The key decision was sticking to what has always worked for us: a body of work that reflects cultural identity. We like to make sure his fans can resonate and connect with the music, not just by listening, but becoming a part of his album experience and creative space. In this case, it was the Power of Pushing ?P? and keeping it Player, while always applying Pressure.

Like his previous album WUNNA we tied it back to astrology, Drip or Drown we brought listeners to the aquarium and took them underwater with us. The key is to always find a way to connect with the masses, while staying authentic.

This was Gunna?s best-ever first week in terms of units earned. What did you do to help this project reach that milestone?

We never compromised the art of the album to conform to what?s popular to increase numbers. DS4Ever is the final installment of the series, and every single detail was conceptually thought through. Working alongside Gunna and his creative director Spike Jordan was pivotal to the success of this album to connect his best body of work musically with a clear vision.

We created a timeless body of art in its full capacity, from the music to the videos down to the artwork. We took time to make sure this final installment would be as memorable as the Mona Lisa, a period in history that is unforgettable, undeniable, a moment in time we will never forget and that will last forever.

How did you set this album up differently than his previous work in terms of marketing or other promotional support?

While we stuck with the same formula, we made sure to be flexible and over-prepare as a team. We have been working on this album for over a year, so many things were done in advance. We met all 2021 with our amazing team over at 300 Entertainment, going through creative strategy, ideas and putting real time into how to make this an impactful body of work.

Working with our core team alongside our partners 300/YSL, Young Thug and closely with producers Turbo, Taurus, Wheezyand Metro Boomin was key to ensure all aspects of DS4EVER was connected. This is our most prepared body of work and by being overly-prepared, it allowed this album to show Gunna?s? growth, potential and reach.

DS4Ever was released at the beginning of January, a time that?s traditionally quiet in terms of releases as the year gets underway. Was that a consideration, or was this just the natural time to release this album?

We originally wanted to release this album in March, but when Gunna called me on 12/21/21 saying he wanted it to come out on 1/7/22 there was really no reason not to, because we had been preparing for almost a year. Preparation allowed us to be flexible in pivoting release dates when he called an audible.

This is the final installment of the Drip Season series. What does that signify for where you plan to go next with Gunna?s career?

This series ended on Gunna?s best music to date and demonstrates why Gunna is a solid contender. To make sure Gunna?s album was received in its original form no deluxe was released the first week.

We plan to continuously keep growing and elevating in all aspects of his career. While this is the final installment, it?s the start that signifies where Gunna is going and how he will continue to over-deliver as new doors continue to open for him.

How has management changed over the past few years?

It?s no longer just men. Women are not and will not be hidden in the background anymore. We are the gatekeepers for our clients. We are leading and strategizing in a way that our voices are being heard, we are being seen and are a part of the conversation.

Find more in our Executive of the Week series here.


Read the full article

............................................................



Executive of the Week: Gunna Manager Ebonie Ward
 
Posted: 21 Jan 2022, 12:05 pm

In a tight race for the top album in the United States this week, Gunna‘sDS4Ever eked out a victory over The Weeknd‘s Dawn FM, arriving at No. 1 on the Billboard 200 with 150,300 equivalent album units in the week ending Jan. 13, according to MRC Data.

It was Gunna’s second straight No. 1 album and the best one-week total of his career — as well as the best first-week number for his label, YSL/300 Entertainment, according to 300 chief Kevin Liles. It’s validation of the upward trajectory of the rising MC, whose album concludes his Drip Season series — and for his manager Ebonie Ward, whose efforts earn her the title of Billboard‘s Executive of the Week.

Here, Ward tells Billboard about the yearlong preparation that went into the release of the album, how Gunna and his team stays flexible while sticking to their formula for success and how doors are continuing to open in the management field.

“Women are not and will not be hidden in the background anymore,” Ward says. “We are the gatekeepers for our clients. We are leading and strategizing in a way that our voices are being heard, we are being seen and are a part of the conversation.”

Gunna?s DS4Ever debuted at No. 1 on the Billboard 200 this week, his second straight No. 1 album. What key decision did you make to help make this happen?

The key decision was sticking to what has always worked for us: a body of work that reflects cultural identity. We like to make sure his fans can resonate and connect with the music, not just by listening, but becoming a part of his album experience and creative space. In this case, it was the Power of Pushing ?P? and keeping it Player, while always applying Pressure.

Like his previous album WUNNA we tied it back to astrology, Drip or Drown we brought listeners to the aquarium and took them underwater with us. The key is to always find a way to connect with the masses, while staying authentic.

This was Gunna?s best-ever first week in terms of units earned. What did you do to help this project reach that milestone?

We never compromised the art of the album to conform to what?s popular to increase numbers. DS4Ever is the final installment of the series, and every single detail was conceptually thought through. Working alongside Gunna and his creative director Spike Jordan was pivotal to the success of this album to connect his best body of work musically with a clear vision.

We created a timeless body of art in its full capacity, from the music to the videos down to the artwork. We took time to make sure this final installment would be as memorable as the Mona Lisa, a period in history that is unforgettable, undeniable, a moment in time we will never forget and that will last forever.

How did you set this album up differently than his previous work in terms of marketing or other promotional support?

While we stuck with the same formula, we made sure to be flexible and over-prepare as a team. We have been working on this album for over a year, so many things were done in advance. We met all 2021 with our amazing team over at 300 Entertainment, going through creative strategy, ideas and putting real time into how to make this an impactful body of work.

Working with our core team alongside our partners 300/YSL, Young Thug and closely with producers Turbo, Taurus, Wheezyand Metro Boomin was key to ensure all aspects of DS4EVER was connected. This is our most prepared body of work and by being overly-prepared, it allowed this album to show Gunna?s? growth, potential and reach.

DS4Ever was released at the beginning of January, a time that?s traditionally quiet in terms of releases as the year gets underway. Was that a consideration, or was this just the natural time to release this album?

We originally wanted to release this album in March, but when Gunna called me on 12/21/21 saying he wanted it to come out on 1/7/22 there was really no reason not to, because we had been preparing for almost a year. Preparation allowed us to be flexible in pivoting release dates when he called an audible.

This is the final installment of the Drip Season series. What does that signify for where you plan to go next with Gunna?s career?

This series ended on Gunna?s best music to date and demonstrates why Gunna is a solid contender. To make sure Gunna?s album was received in its original form no deluxe was released the first week.

We plan to continuously keep growing and elevating in all aspects of his career. While this is the final installment, it?s the start that signifies where Gunna is going and how he will continue to over-deliver as new doors continue to open for him.

How has management changed over the past few years?

It?s no longer just men. Women are not and will not be hidden in the background anymore. We are the gatekeepers for our clients. We are leading and strategizing in a way that our voices are being heard, we are being seen and are a part of the conversation.

Find more in our Executive of the Week series here.


Read the full article

............................................................



Ibiza's Nightclubs To Reopen In April
 
Posted: 21 Jan 2022, 11:09 am
Ibiza's world-renowned nightclubs could be opening their doors earlier than usual. Jos Luis Bentez, manager of leisure association Ocio de Ibiza, told Diario de Ibiza, "the idea is that the opening will be at the end of April, two weeks ahead of what is normally done," and "to [remain open] until October, November if all goes well."

Read the full article

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Guide On How To Find And Remove Touted Tickets Launched At ESNS
 
Posted: 21 Jan 2022, 10:02 am
The Face-value European Alliance for Ticketing (FEAT) lauchend a guide for FEAT members and European promoters on how to deal with suspected touted tickets.

Read the full article

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Executive Turntable: Sentric Hires North America Head, DistroKid Taps Product VP
 
Posted: 21 Jan 2022, 9:42 am

Sentric has tapped Simon Perry as president and A&R head, North America, kicking off the independent publisher?s full entry into the U.S. market. He?ll report directly to Sentric CEO Chris Meehan.

In the roles, both newly created, Perry will establish Sentric?s operations in North America, hiring staff across offices in New York City, Los Angeles, Nashville, Atlanta, Miami and the Midwest. He will also be charged with expanding Sentric?s global footprint, building a network of industry executives in North America, growing the company?s client roster and helping strengthen Sentric?s tech-enabled artist identification and development capabilities.

Perry launched his music career as a BMG-signed artist. He later signed a publishing deal with Steve Mac and became a songwriter and producer for artists including Westlife and Echo and the Bunnymen, scoring three No. 1 albums and seven top 20 singles in the U.K., according to a press release. He continues to write and produce today.

As an executive, Perry founded the licensing initiative Archangel Media alongside Nettwerk?s Maria Alonte. He most recently served as CCO and A&R head at ReverbNation for eight years. While there, he oversaw all rights, licensing, brand and A&R initiatives and designed, built and led the company?s data-driven scouting-at-scale capability. Additionally, he designed and launched the company?s tech-enabled artist development program CONNECT, which boosted DSP streams from less than 5,000 to more than 30 million in 18 months across 300 previously unknown acts.

In a statement, Meehan said that with Perry?s experience as an artist, writer-producer and executive, ?he brings with him a unique blend of tech expertise and a deep understanding of the creative needs of our writers and artists. I look forward to honing in on that skill set to strengthen our commitment to early-stage artist identification and development.?

Sentric creative director Peter McCamley added of Perry, ?No one understands the space around tech-driven artist discovery quite like him.?

?I?m excited to be joining Sentric, particularly at this moment when technology is creating both challenges and opportunities in publishing,? added Perry. ?As a company, Sentric seems uniquely equipped to address both of those.?


DistroKid named Matthew Ogle to the newly created position of vp, product.

In his new role, Ogle will be tasked with further developing the company?s comprehensive suite of creator tools.

Ogle arrives at DistroKid from CNN, where he led the network?s direct-to-consumer initiative for the past year and a half. Before that, he was head of product at Canopy, a personalization and discovery engine that CNN acquired in 2020.

Other prior roles include product manager for Discovery at Instagram, head of independent products at The Echo Nest, head of web product at Last.fm and product director at Spotify, where he led a team that developed discovery features including Discover Weekly and Release Radar. Outside of his executive duties, Ogle launched the music discovery engine This Is My Jam.


Priscilla Kotey was promoted to senior vp, Warner Music Ireland, a newly created role. Based in Dublin, she?ll head up Warner Music?s operations in Ireland while reporting to Warner Music UK CEO Tony Harlow.

Kotey?s promotion follows the departure of Warner Music Ireland managing director Pat Creed, who exited the role late last year.

Kotey joined Warner Music Ireland in 2008 as press & promotions officer. She most recently served as director of marketing and promotions. She has worked on campaigns for Ed Sheeran, Coldplay and ?abcdefu? breakout Gayle, among others. She also worked on the Saylists project, which offers speech therapy to children through song.

Kotey started her career at CarmodySmith PR in 2006. She also worked in the promotions department at Live Nation?s MCD Productions.

?Priscilla can help us become far more deeply involved in local music and talent and help us try to create global stars from Ireland,? said Harlow in a statement. ?That?s what our ambition is and what makes her promotion so important for us.?

Added Harlow, ?I also want to pay tribute to Pat Creed, who headed Warner Music Ireland for more than 15 years. He always went the extra mile to support our artists and I know they were hugely grateful for his dedication and service.?


Sony Music Publishing tapped Ari Gelaw to be their new vp, creative. Based in New York, Gelaw will now oversee the publishing giant?s songwriter development and discovery initiatives domestically and spearhead collaborations between U.S. songwriters and SMP?s international roster. She will report to senior vice president, creative, Ian Holder.

Prior to her new role at SMP, Gelaw was an A&R director at Universal Music Publishing Group, where she earned her stripes with key signings like Megan Thee Stallion, DaBaby and Coi Leray. She also worked in urban A&R at Atlantic Records.

?Ari?s commitment to songwriters and the creative community is nothing less than admirable, said Holder. ?She represents the culture we are dedicated to building here at SMP and I look forward to seeing her thrive in her new role.?

Gelaw added, ?I am truly humbled to be working alongside Jon Platt, Ian Holder and the entire Sony Music Publishing team. They have fostered an incredible culture that always puts the songwriters first, and I couldn?t be more grateful to be a part of it. This is an exciting time in music, and I look forward to starting this new chapter at SMP.?


Justin Frazier was hired as head, creative at Milk & Honey Music + Sports + Ventures.

In the new role, Frazier will work with Milk & Honey songwriters and producers including Oak Felder, Stuart Price and Sir Nolan out of the company?s Los Angeles office. He’ll also be tasked with building the Milk & Honey roster by helping ?invest deeper into creative and internal A&R? at the company, according to a press release.

Before Milk & Honey, Frazier was director, A&R at RCA Records, where he signed Isaac Dunbar and Mishaal and worked on the song placement for Kane Brown?s ?Be Like That? feat. Swae Lee and Khalid. Prior to that, he served as A&R manager at Warner Chappell, where he handled day-to-day creative for Justin Tranter and Julia Michaels and signed producer Carter Lang.

?He has been so supportive of our roster over the years?both at Warner Chappell and during his time at RCA and I still remember playing him the ?Be Like That Demo? and asking if anyone from the roster came tom mind like it was yesterday,? said Milk & Honey general manager/partner Nic Warner.


Exceleration Music has hired five new team members: Mike Gillespie as head, global sales & retail marketing, Bela Zecker as label manager, Andy Lewis as commercial partnership manager, Emma Walker as accounting & administrative assistant and David Piechota as revenue & royalty administrative assistant.

Gillespie will be responsible for Exceleration?s global sales, physical distribution and retail marketing. Prior to joining the company, he served for over a decade as senior vp, commercial sales at Concord Music, where he oversaw the sales division. Before that, he was vp, sales customer operations at Universal Music Group and has also held positions at RED Distribution, Pavement/Zoo Entertainment and Relativity Records/Sony Music Group.

Zecker will oversee day-to-day communication with Exceleration?s label partners and maximize the potential of their catalogs and releases. She joins the company from Soundcloud, where she was senior manager, independent label relations. She also worked as member relations & commercial partnerships manager ? Americas at Merlin and in roles at the indie label Ninja Tune.

Lewis will look to maximize consumption and engagement for Exceleration content, working externally with DSPs as well as internally across the company?s team and roster. He previously spent 15 years at Sony Music, where he worked in several alternative artist marketing, product management and global partner development roles, most recently as vp, partner development.

Walker will be involved in all aspects of the Exceleration accounting department?s day-to-day functioning. She?ll work under Donna Feeley, Exceleration?s head, accounting & business administration. She was an A&R administration analyst at RCA Records for seven years.

Piechota is a recent music business graduate from the Berklee College of Music. He releases his own music under the name Dave Koda.


Joe De Angelis was promoted to senior vp, promotions for the iHeartMedia Markets Group. Since 2015, he?s served as director, marketing and promotions for iHeartMedia New York as well as national event brand manager.

In his new role, De Angelis will oversee promotions efforts across iHeartMedia?s roster of brands and franchises, both broadcast and digital, while aligning promotional efforts across iHeartMedia markets by creating and leading the company?s promotions center. He will also serve as the promotions point person for clients and advertisers while assisting in the development and creation of promotional strategies to increase brand awareness for iHeartMedia stations. He?ll report to Scott Hopeck, division president for the iHeartMedia Markets Group.

De Angelis has nearly 20 years of experience in marketing, promotions, branding and sponsorships. While working at iHeartMedia New York, he planned, promoted and executed multiplatform campaigns while overseeing New York City?s eight-brand station portfolio.


Quartz Hill Records and Brown Sellers Brown Management announced several new promotions and hires, all effective immediately. Additionally, Quartz Hill Records? national director, promotion & marketing, Matt Galvin, will move to an elevated role within the organization, with further details to be announced in the coming weeks.

April Rider was promoted to senior vp, promotion & marketing for Brown Sellers Brown Management and Quartz Hill Records. She was previously vp, promotion. Rider has led radio promotion and marketing efforts for Quartz Hill since the label?s official launch in October 2020. She was previously general manager, operations for Stoney Creek Records, where was responsible for launching Thompson Square‘s breakthrough single, ?Are You Gonna Kiss Me or Not.? She also spent 11 years at Curb Records, where she last held the role of senior vp, promotion, and six years as a managing partner at RPM Entertainment. She can be reached at april@brownsellersbrown.com.

Will Robinson was elevated to vp, promotion & marketing at Quartz Hill Records, where he will report to Rider. He was previously director, regional promotion. Before joining Quartz Hill in November 2020, he worked at 19th & Grand and IRS Records. He also served as program director at WCAT and WCPP (Harrisburg, PA), creative director at WNEW (New York, NY), assistant program director and creative director at WRBQ and WQYK (Tampa, FL) and music director/midday personality at WFRE (Frederick, MD). He can be reached at will@quartzhillrecords.com.

Maurisa Pasick was hired as director, promotion at Quartz Hill Records, reporting to Robinson. She joins the label from Brown Sellers Brown Management, where she was East Coast director, promotion & marketing and helped champion Quartz Hill artists including Joe Nichols, Ben Gallaher and Nate Barnes at country radio. Prior to boarding Brown Seller Brown in July 2021, she was national director, promotion at Riser House Records and also spent over a decade as Northeast director, promotion at New Revolution Entertainment. She can be reached at maurisa@quartzhillrecords.com.

Suzanne Durham was hired as director, promotion at Quartz Hill, reporting to Robinson. Durham has over 25 years of experience in country radio promotion, having most recently served as manager/Midwest regional promotion at 19th & Grand Records. She?s also worked at Show Dog, DreamWorks Records and Universal Music Distribution, where she served as country marketing manager for eight years. She can be reached at suzanne@quartzhillrecords.com.

Denise Miller was hired as promotion coordinator at Brown Sellers Brown Management and Quartz Hill Records. Miller started her career as an advertising consultant/promotion manager at Decca Records before spending over 20 years as an expert client manager. She most recently served as marketing special event manager at Rainmaker Art Studio. She can be reached at denise@brownsellersbrown.com.


AWAL promoted Jennifer Kirell to senior vp, catalog & retail marketing. Based in New York, Kirell will report to AWAL North America president Ron Cerrito.

In her new global role, Kirell will oversee and support artist and label partners with strategies designed ?to maximize lasting cultural impact, discovery/rediscovery, and music consumption,? according to a press release.

Over the last 18 months, Kirell and her team have worked on initiatives for campaigns around Lil Peep, Childish Gambino and Rex Orange County, among others. In 2020, Kirell was tapped to oversee AWAL?s U.S. physical business, which grew 53% last year under her leadership.

Before AWAL, Kirell spent 11 years at Sony Music Entertainment?s Legacy Recordings, where she spearheaded global marketing campaigns and audience development strategies for artists including Elvis Presley, Michael Jackson and Johnny Cash.

Kirell is also a member of AWAL?s Diversity, Equity, and Inclusion Governance Board.


Range Media Partners hired Kyle Wilensky as artist manager and vp, music touring; Bo Balogun as a brand narrative and creative executive and Haley Hey as manager for gaming talent, partnerships and strategy.

Wilensky will lead Range?s new music touring division. As a touring agent at CAA for 17 years, his roster included Avril Lavigne, Grouplove and Modest Mouse. During his tenure, he specialized in creating unique events and curated festivals around his clients, including Ryan Bingham?s The Western and Kesha?s Weird & Wonderful Rainbow Ride cruise.

?We are continuing an exciting expansion of our business in Gaming, Branded Content and Music with Haley, Bo and Kyle,? said Range Media Partners co-founder and CEO Peter Micelli. ?We are incredibly lucky to collaborate with each of them as they help unlock global value for our clients in all areas of traditional and emerging business.?

In his previous role at Nike, Balogun led content strategy and experiential initiatives and oversaw marketing for Nike?s partnerships with the Los Angeles Rams, Los Angeles Dodgers, Neymar Jr. and USC football. He also previously served as head of content for the podcasting platform I Am Athlete, where he pioneered a programming partnership with NASCAR and executive-produced a series collaboration with OWN.

Hey started her career in esports/gaming while working at Rick Fox?s former esports organization, Echo Fox. Following that, she consulted on projects for clients including FaZe Clan, ESL and fortyseven communications. Hey signed gamer BrookeAB to Range after boarding the company.


Global research and strategy consultancy Sound Diplomacy appointed Rob Hain as global chief executive, while founder Shain Shapiro moved to the role of chairman.

Based in Halifax, Nova Scotia, Hain has connections to clients across Canada, including the Government of Nova Scotia, Cape Breton Tourism and cities and regions including Vancouver, Hamilton, Calgary, Edmonton, Durham Region and Niagara Falls.

?Rob was an early client of Sound Diplomacy and has been a trusted adviser since Jordi Puy (now CEO of Unison Rights) and I created the company in 2013,? said Shapiro in a statement. ?As a Board member and Chairman he knows what makes us tick and by moving to the role of Global CEO, Rob frees Jordi to continue growing Unison Rights, in which Sound Diplomacy has a substantial investment, and allows me to spend more time with the recently established non-profit think tank, The Center for Music Ecosystems.?

Under Hain?s leadership, Sound Diplomacy will continue working with a broad range of clients, including cities, global agencies, hospitality and leisure venues, investment managers and property developers ?to help them identify, quantify and amplify opportunities to drive resilient and sustainable development whilst also realising the economic value of their assets,? according to a press release.

Sound Diplomacy?s current clients include the UK Theatres, the Organization of American States (OAS), The Earls Court Development Company, Decide Dekalb in Metro Atlanta, Arena del Rio in Barranquilla, Colombia, UMusic Hotels and National Music Centre in Canada.


Artist Partner Group (APG) promoted Andre Herd to the role of senior director, A&R, with a heavy focus on pop/alternative.

During his tenure, Herd has signed Ronin, Octavio the Dweeb and Lexi Jayde, among others. He also signed rock producer and writer WZRD BLD to Artist Publishing Group.

In the new role, Herd will take on new responsibilities, including hiring A&Rs and building out the pop/alternative department. He joined the company in 2020.


Emporium Presents, a joint venture with Live Nation Entertainment, expanded its U.S. team with three new hires: Kelsey Danca as director, marketing, Megan Unruh as director, ticketing and Jordan Powell as director, production. All three will be based out of Live Nation?s Nashville offices along with co-founder Jason Zink, who has relocated to the city.

Danca previously worked at AEG Presents, Hubbard Broadcasting, RadioFX and The Chicago Theatre. She has over 10 years of experience in marketing.

Unruh joins Emporium from Red Mountain Entertainment. She previously worked at C3 Presents, H-E-B Center in Cedar Park, TX and NASCAR.

Powell has worked as a tour and artist manager for 23 years with acts including Sugarland, Miranda Lambert and Thomas Rhett. In his new role, he will lead all production for Emporium.


Musicians on Call, a nonprofit that brings live and recorded music to the bedsides of patients in healthcare facilities, promoted five employees as the organization looks to hire new team members to meet increased demand.

Nicole Rivera was upped to senior director, programs, Sara Kolodziejczak was promoted to senior director, fundraising, Janine Garcia is now director, technology, Lindsay Solomon is senior marketing manager and Tarah Duarte is partnerships manager.

The organization is currently looking to hire a creative coordinator, executive assistant and fundraising coordinator, with additional openings to be posted in the coming weeks. For more information, visit http://www.musiciansoncall.org/careers.

?Over the past few years, Musicians On Call has experienced growth across every sector of our business, even with the challenges we have all faced during the pandemic,? said Musicians on Call president and CEO Pete Griffin. ?The staff here at Musicians On Call is the best in the business, full stop. Their passion and commitment to our mission has fueled our growth, and because of their successes we are in a position to promote a number of our leaders and bring on new members to our team.?

Rivera joined Musicians on Call in 2014. She oversees all staff within the programs department and is responsible for organizing celebrity visits and vision planning for the future of MOC programs.

Kolodziejczak was hired in 2016 to spearhead the Musicians on Call?s fundraising initiatives. She has successfully helped the organization surpass its revenue goals year over year. Additionally, she led the organization?s recent major capital campaign to raise funds for its online portal.

Garcia has been with Musicians on Call?s programs department since 2017. She manages volunteer and hospital relationships and bedside performance programs in New York City and Boston while also managing the organization?s growing virtual bedside performance program. Since 2020, she has led the creation of the organization?s new proprietary program portal and will now oversee its newly created technology department.

Solomon boarded Musicians on Call in New York City in 2016. Since then, she has managed the growth and strategy for the organization?s email marketing, social media and digital campaigns while serving on its DEI task force.

Duarte has been with Musicians on Call since 2019, when she joined the organization as executive assistant to Griffin. She also worked for the senior director of strategic partnerships.


Monument Records promoted Casey Thomas to director, publicity and creative, where he will oversee publicity and media marketing, international media strategy and creative services for Monument’s roster. Thomas joined Monument in 2018 and previously worked at Nashville’s Country Music Hall of Fame and Museum.

The Monument Records roster includes “Fancy Like” singer-songwriter Walker Hayes, as well as Alex Hall, Brandon Ratcliff and music from FOX’s Monarch.

Monument’s general manager Katie McCartney said, “We are so proud of Casey’s leadership within our organization and her ability to think long-term while also maximizing momentum. Her integrity, passion and work ethic are invaluable.”

Thomas said, “I’m so grateful to work at Monument Records and support this incredible leadership team. It’s a privilege to represent and work alongside such a compelling roster of artists and creators, and I am looking forward to this next exciting chapter.”


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Executive Turntable: Sentric Hires North America Head, DistroKid Taps Product VP
 
Posted: 21 Jan 2022, 9:42 am

Sentric has tapped Simon Perry as president and A&R head, North America, kicking off the independent publisher?s full entry into the U.S. market. He?ll report directly to Sentric CEO Chris Meehan.

In the roles, both newly created, Perry will establish Sentric?s operations in North America, hiring staff across offices in New York City, Los Angeles, Nashville, Atlanta, Miami and the Midwest. He will also be charged with expanding Sentric?s global footprint, building a network of industry executives in North America, growing the company?s client roster and helping strengthen Sentric?s tech-enabled artist identification and development capabilities.

Perry launched his music career as a BMG-signed artist. He later signed a publishing deal with Steve Mac and became a songwriter and producer for artists including Westlife and Echo and the Bunnymen, scoring three No. 1 albums and seven top 20 singles in the U.K., according to a press release. He continues to write and produce today.

As an executive, Perry founded the licensing initiative Archangel Media alongside Nettwerk?s Maria Alonte. He most recently served as CCO and A&R head at ReverbNation for eight years. While there, he oversaw all rights, licensing, brand and A&R initiatives and designed, built and led the company?s data-driven scouting-at-scale capability. Additionally, he designed and launched the company?s tech-enabled artist development program CONNECT, which boosted DSP streams from less than 5,000 to more than 30 million in 18 months across 300 previously unknown acts.

In a statement, Meehan said that with Perry?s experience as an artist, writer-producer and executive, ?he brings with him a unique blend of tech expertise and a deep understanding of the creative needs of our writers and artists. I look forward to honing in on that skill set to strengthen our commitment to early-stage artist identification and development.?

Sentric creative director Peter McCamley added of Perry, ?No one understands the space around tech-driven artist discovery quite like him.?

?I?m excited to be joining Sentric, particularly at this moment when technology is creating both challenges and opportunities in publishing,? added Perry. ?As a company, Sentric seems uniquely equipped to address both of those.?


DistroKid named Matthew Ogle to the newly created position of vp, product.

In his new role, Ogle will be tasked with further developing the company?s comprehensive suite of creator tools.

Ogle arrives at DistroKid from CNN, where he led the network?s direct-to-consumer initiative for the past year and a half. Before that, he was head of product at Canopy, a personalization and discovery engine that CNN acquired in 2020.

Other prior roles include product manager for Discovery at Instagram, head of independent products at The Echo Nest, head of web product at Last.fm and product director at Spotify, where he led a team that developed discovery features including Discover Weekly and Release Radar. Outside of his executive duties, Ogle launched the music discovery engine This Is My Jam.


Priscilla Kotey was promoted to senior vp, Warner Music Ireland, a newly created role. Based in Dublin, she?ll head up Warner Music?s operations in Ireland while reporting to Warner Music UK CEO Tony Harlow.

Kotey?s promotion follows the departure of Warner Music Ireland managing director Pat Creed, who exited the role late last year.

Kotey joined Warner Music Ireland in 2008 as press & promotions officer. She most recently served as director of marketing and promotions. She has worked on campaigns for Ed Sheeran, Coldplay and ?abcdefu? breakout Gayle, among others. She also worked on the Saylists project, which offers speech therapy to children through song.

Kotey started her career at CarmodySmith PR in 2006. She also worked in the promotions department at Live Nation?s MCD Productions.

?Priscilla can help us become far more deeply involved in local music and talent and help us try to create global stars from Ireland,? said Harlow in a statement. ?That?s what our ambition is and what makes her promotion so important for us.?

Added Harlow, ?I also want to pay tribute to Pat Creed, who headed Warner Music Ireland for more than 15 years. He always went the extra mile to support our artists and I know they were hugely grateful for his dedication and service.?


Sony Music Publishing tapped Ari Gelaw to be their new vp, creative. Based in New York, Gelaw will now oversee the publishing giant?s songwriter development and discovery initiatives domestically and spearhead collaborations between U.S. songwriters and SMP?s international roster. She will report to senior vice president, creative, Ian Holder.

Prior to her new role at SMP, Gelaw was an A&R director at Universal Music Publishing Group, where she earned her stripes with key signings like Megan Thee Stallion, DaBaby and Coi Leray. She also worked in urban A&R at Atlantic Records.

?Ari?s commitment to songwriters and the creative community is nothing less than admirable, said Holder. ?She represents the culture we are dedicated to building here at SMP and I look forward to seeing her thrive in her new role.?

Gelaw added, ?I am truly humbled to be working alongside Jon Platt, Ian Holder and the entire Sony Music Publishing team. They have fostered an incredible culture that always puts the songwriters first, and I couldn?t be more grateful to be a part of it. This is an exciting time in music, and I look forward to starting this new chapter at SMP.?


Justin Frazier was hired as head, creative at Milk & Honey Music + Sports + Ventures.

In the new role, Frazier will work with Milk & Honey songwriters and producers including Oak Felder, Stuart Price and Sir Nolan out of the company?s Los Angeles office. He’ll also be tasked with building the Milk & Honey roster by helping ?invest deeper into creative and internal A&R? at the company, according to a press release.

Before Milk & Honey, Frazier was director, A&R at RCA Records, where he signed Isaac Dunbar and Mishaal and worked on the song placement for Kane Brown?s ?Be Like That? feat. Swae Lee and Khalid. Prior to that, he served as A&R manager at Warner Chappell, where he handled day-to-day creative for Justin Tranter and Julia Michaels and signed producer Carter Lang.

?He has been so supportive of our roster over the years?both at Warner Chappell and during his time at RCA and I still remember playing him the ?Be Like That Demo? and asking if anyone from the roster came tom mind like it was yesterday,? said Milk & Honey general manager/partner Nic Warner.


Exceleration Music has hired five new team members: Mike Gillespie as head, global sales & retail marketing, Bela Zecker as label manager, Andy Lewis as commercial partnership manager, Emma Walker as accounting & administrative assistant and David Piechota as revenue & royalty administrative assistant.

Gillespie will be responsible for Exceleration?s global sales, physical distribution and retail marketing. Prior to joining the company, he served for over a decade as senior vp, commercial sales at Concord Music, where he oversaw the sales division. Before that, he was vp, sales customer operations at Universal Music Group and has also held positions at RED Distribution, Pavement/Zoo Entertainment and Relativity Records/Sony Music Group.

Zecker will oversee day-to-day communication with Exceleration?s label partners and maximize the potential of their catalogs and releases. She joins the company from Soundcloud, where she was senior manager, independent label relations. She also worked as member relations & commercial partnerships manager ? Americas at Merlin and in roles at the indie label Ninja Tune.

Lewis will look to maximize consumption and engagement for Exceleration content, working externally with DSPs as well as internally across the company?s team and roster. He previously spent 15 years at Sony Music, where he worked in several alternative artist marketing, product management and global partner development roles, most recently as vp, partner development.

Walker will be involved in all aspects of the Exceleration accounting department?s day-to-day functioning. She?ll work under Donna Feeley, Exceleration?s head, accounting & business administration. She was an A&R administration analyst at RCA Records for seven years.

Piechota is a recent music business graduate from the Berklee College of Music. He releases his own music under the name Dave Koda.


Joe De Angelis was promoted to senior vp, promotions for the iHeartMedia Markets Group. Since 2015, he?s served as director, marketing and promotions for iHeartMedia New York as well as national event brand manager.

In his new role, De Angelis will oversee promotions efforts across iHeartMedia?s roster of brands and franchises, both broadcast and digital, while aligning promotional efforts across iHeartMedia markets by creating and leading the company?s promotions center. He will also serve as the promotions point person for clients and advertisers while assisting in the development and creation of promotional strategies to increase brand awareness for iHeartMedia stations. He?ll report to Scott Hopeck, division president for the iHeartMedia Markets Group.

De Angelis has nearly 20 years of experience in marketing, promotions, branding and sponsorships. While working at iHeartMedia New York, he planned, promoted and executed multiplatform campaigns while overseeing New York City?s eight-brand station portfolio.


Quartz Hill Records and Brown Sellers Brown Management announced several new promotions and hires, all effective immediately. Additionally, Quartz Hill Records? national director, promotion & marketing, Matt Galvin, will move to an elevated role within the organization, with further details to be announced in the coming weeks.

April Rider was promoted to senior vp, promotion & marketing for Brown Sellers Brown Management and Quartz Hill Records. She was previously vp, promotion. Rider has led radio promotion and marketing efforts for Quartz Hill since the label?s official launch in October 2020. She was previously general manager, operations for Stoney Creek Records, where was responsible for launching Thompson Square‘s breakthrough single, ?Are You Gonna Kiss Me or Not.? She also spent 11 years at Curb Records, where she last held the role of senior vp, promotion, and six years as a managing partner at RPM Entertainment. She can be reached at april@brownsellersbrown.com.

Will Robinson was elevated to vp, promotion & marketing at Quartz Hill Records, where he will report to Rider. He was previously director, regional promotion. Before joining Quartz Hill in November 2020, he worked at 19th & Grand and IRS Records. He also served as program director at WCAT and WCPP (Harrisburg, PA), creative director at WNEW (New York, NY), assistant program director and creative director at WRBQ and WQYK (Tampa, FL) and music director/midday personality at WFRE (Frederick, MD). He can be reached at will@quartzhillrecords.com.

Maurisa Pasick was hired as director, promotion at Quartz Hill Records, reporting to Robinson. She joins the label from Brown Sellers Brown Management, where she was East Coast director, promotion & marketing and helped champion Quartz Hill artists including Joe Nichols, Ben Gallaher and Nate Barnes at country radio. Prior to boarding Brown Seller Brown in July 2021, she was national director, promotion at Riser House Records and also spent over a decade as Northeast director, promotion at New Revolution Entertainment. She can be reached at maurisa@quartzhillrecords.com.

Suzanne Durham was hired as director, promotion at Quartz Hill, reporting to Robinson. Durham has over 25 years of experience in country radio promotion, having most recently served as manager/Midwest regional promotion at 19th & Grand Records. She?s also worked at Show Dog, DreamWorks Records and Universal Music Distribution, where she served as country marketing manager for eight years. She can be reached at suzanne@quartzhillrecords.com.

Denise Miller was hired as promotion coordinator at Brown Sellers Brown Management and Quartz Hill Records. Miller started her career as an advertising consultant/promotion manager at Decca Records before spending over 20 years as an expert client manager. She most recently served as marketing special event manager at Rainmaker Art Studio. She can be reached at denise@brownsellersbrown.com.


AWAL promoted Jennifer Kirell to senior vp, catalog & retail marketing. Based in New York, Kirell will report to AWAL North America president Ron Cerrito.

In her new global role, Kirell will oversee and support artist and label partners with strategies designed ?to maximize lasting cultural impact, discovery/rediscovery, and music consumption,? according to a press release.

Over the last 18 months, Kirell and her team have worked on initiatives for campaigns around Lil Peep, Childish Gambino and Rex Orange County, among others. In 2020, Kirell was tapped to oversee AWAL?s U.S. physical business, which grew 53% last year under her leadership.

Before AWAL, Kirell spent 11 years at Sony Music Entertainment?s Legacy Recordings, where she spearheaded global marketing campaigns and audience development strategies for artists including Elvis Presley, Michael Jackson and Johnny Cash.

Kirell is also a member of AWAL?s Diversity, Equity, and Inclusion Governance Board.


Range Media Partners hired Kyle Wilensky as artist manager and vp, music touring; Bo Balogun as a brand narrative and creative executive and Haley Hey as manager for gaming talent, partnerships and strategy.

Wilensky will lead Range?s new music touring division. As a touring agent at CAA for 17 years, his roster included Avril Lavigne, Grouplove and Modest Mouse. During his tenure, he specialized in creating unique events and curated festivals around his clients, including Ryan Bingham?s The Western and Kesha?s Weird & Wonderful Rainbow Ride cruise.

?We are continuing an exciting expansion of our business in Gaming, Branded Content and Music with Haley, Bo and Kyle,? said Range Media Partners co-founder and CEO Peter Micelli. ?We are incredibly lucky to collaborate with each of them as they help unlock global value for our clients in all areas of traditional and emerging business.?

In his previous role at Nike, Balogun led content strategy and experiential initiatives and oversaw marketing for Nike?s partnerships with the Los Angeles Rams, Los Angeles Dodgers, Neymar Jr. and USC football. He also previously served as head of content for the podcasting platform I Am Athlete, where he pioneered a programming partnership with NASCAR and executive-produced a series collaboration with OWN.

Hey started her career in esports/gaming while working at Rick Fox?s former esports organization, Echo Fox. Following that, she consulted on projects for clients including FaZe Clan, ESL and fortyseven communications. Hey signed gamer BrookeAB to Range after boarding the company.


Global research and strategy consultancy Sound Diplomacy appointed Rob Hain as global chief executive, while founder Shain Shapiro moved to the role of chairman.

Based in Halifax, Nova Scotia, Hain has connections to clients across Canada, including the Government of Nova Scotia, Cape Breton Tourism and cities and regions including Vancouver, Hamilton, Calgary, Edmonton, Durham Region and Niagara Falls.

?Rob was an early client of Sound Diplomacy and has been a trusted adviser since Jordi Puy (now CEO of Unison Rights) and I created the company in 2013,? said Shapiro in a statement. ?As a Board member and Chairman he knows what makes us tick and by moving to the role of Global CEO, Rob frees Jordi to continue growing Unison Rights, in which Sound Diplomacy has a substantial investment, and allows me to spend more time with the recently established non-profit think tank, The Center for Music Ecosystems.?

Under Hain?s leadership, Sound Diplomacy will continue working with a broad range of clients, including cities, global agencies, hospitality and leisure venues, investment managers and property developers ?to help them identify, quantify and amplify opportunities to drive resilient and sustainable development whilst also realising the economic value of their assets,? according to a press release.

Sound Diplomacy?s current clients include the UK Theatres, the Organization of American States (OAS), The Earls Court Development Company, Decide Dekalb in Metro Atlanta, Arena del Rio in Barranquilla, Colombia, UMusic Hotels and National Music Centre in Canada.


Artist Partner Group (APG) promoted Andre Herd to the role of senior director, A&R, with a heavy focus on pop/alternative.

During his tenure, Herd has signed Ronin, Octavio the Dweeb and Lexi Jayde, among others. He also signed rock producer and writer WZRD BLD to Artist Publishing Group.

In the new role, Herd will take on new responsibilities, including hiring A&Rs and building out the pop/alternative department. He joined the company in 2020.


Emporium Presents, a joint venture with Live Nation Entertainment, expanded its U.S. team with three new hires: Kelsey Danca as director, marketing, Megan Unruh as director, ticketing and Jordan Powell as director, production. All three will be based out of Live Nation?s Nashville offices along with co-founder Jason Zink, who has relocated to the city.

Danca previously worked at AEG Presents, Hubbard Broadcasting, RadioFX and The Chicago Theatre. She has over 10 years of experience in marketing.

Unruh joins Emporium from Red Mountain Entertainment. She previously worked at C3 Presents, H-E-B Center in Cedar Park, TX and NASCAR.

Powell has worked as a tour and artist manager for 23 years with acts including Sugarland, Miranda Lambert and Thomas Rhett. In his new role, he will lead all production for Emporium.


Musicians on Call, a nonprofit that brings live and recorded music to the bedsides of patients in healthcare facilities, promoted five employees as the organization looks to hire new team members to meet increased demand.

Nicole Rivera was upped to senior director, programs, Sara Kolodziejczak was promoted to senior director, fundraising, Janine Garcia is now director, technology, Lindsay Solomon is senior marketing manager and Tarah Duarte is partnerships manager.

The organization is currently looking to hire a creative coordinator, executive assistant and fundraising coordinator, with additional openings to be posted in the coming weeks. For more information, visit http://www.musiciansoncall.org/careers.

?Over the past few years, Musicians On Call has experienced growth across every sector of our business, even with the challenges we have all faced during the pandemic,? said Musicians on Call president and CEO Pete Griffin. ?The staff here at Musicians On Call is the best in the business, full stop. Their passion and commitment to our mission has fueled our growth, and because of their successes we are in a position to promote a number of our leaders and bring on new members to our team.?

Rivera joined Musicians on Call in 2014. She oversees all staff within the programs department and is responsible for organizing celebrity visits and vision planning for the future of MOC programs.

Kolodziejczak was hired in 2016 to spearhead the Musicians on Call?s fundraising initiatives. She has successfully helped the organization surpass its revenue goals year over year. Additionally, she led the organization?s recent major capital campaign to raise funds for its online portal.

Garcia has been with Musicians on Call?s programs department since 2017. She manages volunteer and hospital relationships and bedside performance programs in New York City and Boston while also managing the organization?s growing virtual bedside performance program. Since 2020, she has led the creation of the organization?s new proprietary program portal and will now oversee its newly created technology department.

Solomon boarded Musicians on Call in New York City in 2016. Since then, she has managed the growth and strategy for the organization?s email marketing, social media and digital campaigns while serving on its DEI task force.

Duarte has been with Musicians on Call since 2019, when she joined the organization as executive assistant to Griffin. She also worked for the senior director of strategic partnerships.


Monument Records promoted Casey Thomas to director, publicity and creative, where he will oversee publicity and media marketing, international media strategy and creative services for Monument’s roster. Thomas joined Monument in 2018 and previously worked at Nashville’s Country Music Hall of Fame and Museum.

The Monument Records roster includes “Fancy Like” singer-songwriter Walker Hayes, as well as Alex Hall, Brandon Ratcliff and music from FOX’s Monarch.

Monument’s general manager Katie McCartney said, “We are so proud of Casey’s leadership within our organization and her ability to think long-term while also maximizing momentum. Her integrity, passion and work ethic are invaluable.”

Thomas said, “I’m so grateful to work at Monument Records and support this incredible leadership team. It’s a privilege to represent and work alongside such a compelling roster of artists and creators, and I am looking forward to this next exciting chapter.”


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Executive Turntable: Sentric Hires North America Head, DistroKid Taps Product VP
 
Posted: 21 Jan 2022, 9:42 am

Sentric has tapped Simon Perry as president and A&R head, North America, kicking off the independent publisher?s full entry into the U.S. market. He?ll report directly to Sentric CEO Chris Meehan.

In the roles, both newly created, Perry will establish Sentric?s operations in North America, hiring staff across offices in New York City, Los Angeles, Nashville, Atlanta, Miami and the Midwest. He will also be charged with expanding Sentric?s global footprint, building a network of industry executives in North America, growing the company?s client roster and helping strengthen Sentric?s tech-enabled artist identification and development capabilities.

Perry launched his music career as a BMG-signed artist. He later signed a publishing deal with Steve Mac and became a songwriter and producer for artists including Westlife and Echo and the Bunnymen, scoring three No. 1 albums and seven top 20 singles in the U.K., according to a press release. He continues to write and produce today.

As an executive, Perry founded the licensing initiative Archangel Media alongside Nettwerk?s Maria Alonte. He most recently served as CCO and A&R head at ReverbNation for eight years. While there, he oversaw all rights, licensing, brand and A&R initiatives and designed, built and led the company?s data-driven scouting-at-scale capability. Additionally, he designed and launched the company?s tech-enabled artist development program CONNECT, which boosted DSP streams from less than 5,000 to more than 30 million in 18 months across 300 previously unknown acts.

In a statement, Meehan said that with Perry?s experience as an artist, writer-producer and executive, ?he brings with him a unique blend of tech expertise and a deep understanding of the creative needs of our writers and artists. I look forward to honing in on that skill set to strengthen our commitment to early-stage artist identification and development.?

Sentric creative director Peter McCamley added of Perry, ?No one understands the space around tech-driven artist discovery quite like him.?

?I?m excited to be joining Sentric, particularly at this moment when technology is creating both challenges and opportunities in publishing,? added Perry. ?As a company, Sentric seems uniquely equipped to address both of those.?


DistroKid named Matthew Ogle to the newly created position of vp, product.

In his new role, Ogle will be tasked with further developing the company?s comprehensive suite of creator tools.

Ogle arrives at DistroKid from CNN, where he led the network?s direct-to-consumer initiative for the past year and a half. Before that, he was head of product at Canopy, a personalization and discovery engine that CNN acquired in 2020.

Other prior roles include product manager for Discovery at Instagram, head of independent products at The Echo Nest, head of web product at Last.fm and product director at Spotify, where he led a team that developed discovery features including Discover Weekly and Release Radar. Outside of his executive duties, Ogle launched the music discovery engine This Is My Jam.


Priscilla Kotey was promoted to senior vp, Warner Music Ireland, a newly created role. Based in Dublin, she?ll head up Warner Music?s operations in Ireland while reporting to Warner Music UK CEO Tony Harlow.

Kotey?s promotion follows the departure of Warner Music Ireland managing director Pat Creed, who exited the role late last year.

Kotey joined Warner Music Ireland in 2008 as press & promotions officer. She most recently served as director of marketing and promotions. She has worked on campaigns for Ed Sheeran, Coldplay and ?abcdefu? breakout Gayle, among others. She also worked on the Saylists project, which offers speech therapy to children through song.

Kotey started her career at CarmodySmith PR in 2006. She also worked in the promotions department at Live Nation?s MCD Productions.

?Priscilla can help us become far more deeply involved in local music and talent and help us try to create global stars from Ireland,? said Harlow in a statement. ?That?s what our ambition is and what makes her promotion so important for us.?

Added Harlow, ?I also want to pay tribute to Pat Creed, who headed Warner Music Ireland for more than 15 years. He always went the extra mile to support our artists and I know they were hugely grateful for his dedication and service.?


Sony Music Publishing tapped Ari Gelaw to be their new vp, creative. Based in New York, Gelaw will now oversee the publishing giant?s songwriter development and discovery initiatives domestically and spearhead collaborations between U.S. songwriters and SMP?s international roster. She will report to senior vice president, creative, Ian Holder.

Prior to her new role at SMP, Gelaw was an A&R director at Universal Music Publishing Group, where she earned her stripes with key signings like Megan Thee Stallion, DaBaby and Coi Leray. She also worked in urban A&R at Atlantic Records.

?Ari?s commitment to songwriters and the creative community is nothing less than admirable, said Holder. ?She represents the culture we are dedicated to building here at SMP and I look forward to seeing her thrive in her new role.?

Gelaw added, ?I am truly humbled to be working alongside Jon Platt, Ian Holder and the entire Sony Music Publishing team. They have fostered an incredible culture that always puts the songwriters first, and I couldn?t be more grateful to be a part of it. This is an exciting time in music, and I look forward to starting this new chapter at SMP.?


Justin Frazier was hired as head, creative at Milk & Honey Music + Sports + Ventures.

In the new role, Frazier will work with Milk & Honey songwriters and producers including Oak Felder, Stuart Price and Sir Nolan out of the company?s Los Angeles office. He’ll also be tasked with building the Milk & Honey roster by helping ?invest deeper into creative and internal A&R? at the company, according to a press release.

Before Milk & Honey, Frazier was director, A&R at RCA Records, where he signed Isaac Dunbar and Mishaal and worked on the song placement for Kane Brown?s ?Be Like That? feat. Swae Lee and Khalid. Prior to that, he served as A&R manager at Warner Chappell, where he handled day-to-day creative for Justin Tranter and Julia Michaels and signed producer Carter Lang.

?He has been so supportive of our roster over the years?both at Warner Chappell and during his time at RCA and I still remember playing him the ?Be Like That Demo? and asking if anyone from the roster came tom mind like it was yesterday,? said Milk & Honey general manager/partner Nic Warner.


Exceleration Music has hired five new team members: Mike Gillespie as head, global sales & retail marketing, Bela Zecker as label manager, Andy Lewis as commercial partnership manager, Emma Walker as accounting & administrative assistant and David Piechota as revenue & royalty administrative assistant.

Gillespie will be responsible for Exceleration?s global sales, physical distribution and retail marketing. Prior to joining the company, he served for over a decade as senior vp, commercial sales at Concord Music, where he oversaw the sales division. Before that, he was vp, sales customer operations at Universal Music Group and has also held positions at RED Distribution, Pavement/Zoo Entertainment and Relativity Records/Sony Music Group.

Zecker will oversee day-to-day communication with Exceleration?s label partners and maximize the potential of their catalogs and releases. She joins the company from Soundcloud, where she was senior manager, independent label relations. She also worked as member relations & commercial partnerships manager ? Americas at Merlin and in roles at the indie label Ninja Tune.

Lewis will look to maximize consumption and engagement for Exceleration content, working externally with DSPs as well as internally across the company?s team and roster. He previously spent 15 years at Sony Music, where he worked in several alternative artist marketing, product management and global partner development roles, most recently as vp, partner development.

Walker will be involved in all aspects of the Exceleration accounting department?s day-to-day functioning. She?ll work under Donna Feeley, Exceleration?s head, accounting & business administration. She was an A&R administration analyst at RCA Records for seven years.

Piechota is a recent music business graduate from the Berklee College of Music. He releases his own music under the name Dave Koda.


Joe De Angelis was promoted to senior vp, promotions for the iHeartMedia Markets Group. Since 2015, he?s served as director, marketing and promotions for iHeartMedia New York as well as national event brand manager.

In his new role, De Angelis will oversee promotions efforts across iHeartMedia?s roster of brands and franchises, both broadcast and digital, while aligning promotional efforts across iHeartMedia markets by creating and leading the company?s promotions center. He will also serve as the promotions point person for clients and advertisers while assisting in the development and creation of promotional strategies to increase brand awareness for iHeartMedia stations. He?ll report to Scott Hopeck, division president for the iHeartMedia Markets Group.

De Angelis has nearly 20 years of experience in marketing, promotions, branding and sponsorships. While working at iHeartMedia New York, he planned, promoted and executed multiplatform campaigns while overseeing New York City?s eight-brand station portfolio.


Quartz Hill Records and Brown Sellers Brown Management announced several new promotions and hires, all effective immediately. Additionally, Quartz Hill Records? national director, promotion & marketing, Matt Galvin, will move to an elevated role within the organization, with further details to be announced in the coming weeks.

April Rider was promoted to senior vp, promotion & marketing for Brown Sellers Brown Management and Quartz Hill Records. She was previously vp, promotion. Rider has led radio promotion and marketing efforts for Quartz Hill since the label?s official launch in October 2020. She was previously general manager, operations for Stoney Creek Records, where was responsible for launching Thompson Square‘s breakthrough single, ?Are You Gonna Kiss Me or Not.? She also spent 11 years at Curb Records, where she last held the role of senior vp, promotion, and six years as a managing partner at RPM Entertainment. She can be reached at april@brownsellersbrown.com.

Will Robinson was elevated to vp, promotion & marketing at Quartz Hill Records, where he will report to Rider. He was previously director, regional promotion. Before joining Quartz Hill in November 2020, he worked at 19th & Grand and IRS Records. He also served as program director at WCAT and WCPP (Harrisburg, PA), creative director at WNEW (New York, NY), assistant program director and creative director at WRBQ and WQYK (Tampa, FL) and music director/midday personality at WFRE (Frederick, MD). He can be reached at will@quartzhillrecords.com.

Maurisa Pasick was hired as director, promotion at Quartz Hill Records, reporting to Robinson. She joins the label from Brown Sellers Brown Management, where she was East Coast director, promotion & marketing and helped champion Quartz Hill artists including Joe Nichols, Ben Gallaher and Nate Barnes at country radio. Prior to boarding Brown Seller Brown in July 2021, she was national director, promotion at Riser House Records and also spent over a decade as Northeast director, promotion at New Revolution Entertainment. She can be reached at maurisa@quartzhillrecords.com.

Suzanne Durham was hired as director, promotion at Quartz Hill, reporting to Robinson. Durham has over 25 years of experience in country radio promotion, having most recently served as manager/Midwest regional promotion at 19th & Grand Records. She?s also worked at Show Dog, DreamWorks Records and Universal Music Distribution, where she served as country marketing manager for eight years. She can be reached at suzanne@quartzhillrecords.com.

Denise Miller was hired as promotion coordinator at Brown Sellers Brown Management and Quartz Hill Records. Miller started her career as an advertising consultant/promotion manager at Decca Records before spending over 20 years as an expert client manager. She most recently served as marketing special event manager at Rainmaker Art Studio. She can be reached at denise@brownsellersbrown.com.


AWAL promoted Jennifer Kirell to senior vp, catalog & retail marketing. Based in New York, Kirell will report to AWAL North America president Ron Cerrito.

In her new global role, Kirell will oversee and support artist and label partners with strategies designed ?to maximize lasting cultural impact, discovery/rediscovery, and music consumption,? according to a press release.

Over the last 18 months, Kirell and her team have worked on initiatives for campaigns around Lil Peep, Childish Gambino and Rex Orange County, among others. In 2020, Kirell was tapped to oversee AWAL?s U.S. physical business, which grew 53% last year under her leadership.

Before AWAL, Kirell spent 11 years at Sony Music Entertainment?s Legacy Recordings, where she spearheaded global marketing campaigns and audience development strategies for artists including Elvis Presley, Michael Jackson and Johnny Cash.

Kirell is also a member of AWAL?s Diversity, Equity, and Inclusion Governance Board.


Range Media Partners hired Kyle Wilensky as artist manager and vp, music touring; Bo Balogun as a brand narrative and creative executive and Haley Hey as manager for gaming talent, partnerships and strategy.

Wilensky will lead Range?s new music touring division. As a touring agent at CAA for 17 years, his roster included Avril Lavigne, Grouplove and Modest Mouse. During his tenure, he specialized in creating unique events and curated festivals around his clients, including Ryan Bingham?s The Western and Kesha?s Weird & Wonderful Rainbow Ride cruise.

?We are continuing an exciting expansion of our business in Gaming, Branded Content and Music with Haley, Bo and Kyle,? said Range Media Partners co-founder and CEO Peter Micelli. ?We are incredibly lucky to collaborate with each of them as they help unlock global value for our clients in all areas of traditional and emerging business.?

In his previous role at Nike, Balogun led content strategy and experiential initiatives and oversaw marketing for Nike?s partnerships with the Los Angeles Rams, Los Angeles Dodgers, Neymar Jr. and USC football. He also previously served as head of content for the podcasting platform I Am Athlete, where he pioneered a programming partnership with NASCAR and executive-produced a series collaboration with OWN.

Hey started her career in esports/gaming while working at Rick Fox?s former esports organization, Echo Fox. Following that, she consulted on projects for clients including FaZe Clan, ESL and fortyseven communications. Hey signed gamer BrookeAB to Range after boarding the company.


Global research and strategy consultancy Sound Diplomacy appointed Rob Hain as global chief executive, while founder Shain Shapiro moved to the role of chairman.

Based in Halifax, Nova Scotia, Hain has connections to clients across Canada, including the Government of Nova Scotia, Cape Breton Tourism and cities and regions including Vancouver, Hamilton, Calgary, Edmonton, Durham Region and Niagara Falls.

?Rob was an early client of Sound Diplomacy and has been a trusted adviser since Jordi Puy (now CEO of Unison Rights) and I created the company in 2013,? said Shapiro in a statement. ?As a Board member and Chairman he knows what makes us tick and by moving to the role of Global CEO, Rob frees Jordi to continue growing Unison Rights, in which Sound Diplomacy has a substantial investment, and allows me to spend more time with the recently established non-profit think tank, The Center for Music Ecosystems.?

Under Hain?s leadership, Sound Diplomacy will continue working with a broad range of clients, including cities, global agencies, hospitality and leisure venues, investment managers and property developers ?to help them identify, quantify and amplify opportunities to drive resilient and sustainable development whilst also realising the economic value of their assets,? according to a press release.

Sound Diplomacy?s current clients include the UK Theatres, the Organization of American States (OAS), The Earls Court Development Company, Decide Dekalb in Metro Atlanta, Arena del Rio in Barranquilla, Colombia, UMusic Hotels and National Music Centre in Canada.


Artist Partner Group (APG) promoted Andre Herd to the role of senior director, A&R, with a heavy focus on pop/alternative.

During his tenure, Herd has signed Ronin, Octavio the Dweeb and Lexi Jayde, among others. He also signed rock producer and writer WZRD BLD to Artist Publishing Group.

In the new role, Herd will take on new responsibilities, including hiring A&Rs and building out the pop/alternative department. He joined the company in 2020.


Emporium Presents, a joint venture with Live Nation Entertainment, expanded its U.S. team with three new hires: Kelsey Danca as director, marketing, Megan Unruh as director, ticketing and Jordan Powell as director, production. All three will be based out of Live Nation?s Nashville offices along with co-founder Jason Zink, who has relocated to the city.

Danca previously worked at AEG Presents, Hubbard Broadcasting, RadioFX and The Chicago Theatre. She has over 10 years of experience in marketing.

Unruh joins Emporium from Red Mountain Entertainment. She previously worked at C3 Presents, H-E-B Center in Cedar Park, TX and NASCAR.

Powell has worked as a tour and artist manager for 23 years with acts including Sugarland, Miranda Lambert and Thomas Rhett. In his new role, he will lead all production for Emporium.


Musicians on Call, a nonprofit that brings live and recorded music to the bedsides of patients in healthcare facilities, promoted five employees as the organization looks to hire new team members to meet increased demand.

Nicole Rivera was upped to senior director, programs, Sara Kolodziejczak was promoted to senior director, fundraising, Janine Garcia is now director, technology, Lindsay Solomon is senior marketing manager and Tarah Duarte is partnerships manager.

The organization is currently looking to hire a creative coordinator, executive assistant and fundraising coordinator, with additional openings to be posted in the coming weeks. For more information, visit http://www.musiciansoncall.org/careers.

?Over the past few years, Musicians On Call has experienced growth across every sector of our business, even with the challenges we have all faced during the pandemic,? said Musicians on Call president and CEO Pete Griffin. ?The staff here at Musicians On Call is the best in the business, full stop. Their passion and commitment to our mission has fueled our growth, and because of their successes we are in a position to promote a number of our leaders and bring on new members to our team.?

Rivera joined Musicians on Call in 2014. She oversees all staff within the programs department and is responsible for organizing celebrity visits and vision planning for the future of MOC programs.

Kolodziejczak was hired in 2016 to spearhead the Musicians on Call?s fundraising initiatives. She has successfully helped the organization surpass its revenue goals year over year. Additionally, she led the organization?s recent major capital campaign to raise funds for its online portal.

Garcia has been with Musicians on Call?s programs department since 2017. She manages volunteer and hospital relationships and bedside performance programs in New York City and Boston while also managing the organization?s growing virtual bedside performance program. Since 2020, she has led the creation of the organization?s new proprietary program portal and will now oversee its newly created technology department.

Solomon boarded Musicians on Call in New York City in 2016. Since then, she has managed the growth and strategy for the organization?s email marketing, social media and digital campaigns while serving on its DEI task force.

Duarte has been with Musicians on Call since 2019, when she joined the organization as executive assistant to Griffin. She also worked for the senior director of strategic partnerships.


Monument Records promoted Casey Thomas to director, publicity and creative, where he will oversee publicity and media marketing, international media strategy and creative services for Monument’s roster. Thomas joined Monument in 2018 and previously worked at Nashville’s Country Music Hall of Fame and Museum.

The Monument Records roster includes “Fancy Like” singer-songwriter Walker Hayes, as well as Alex Hall, Brandon Ratcliff and music from FOX’s Monarch.

Monument’s general manager Katie McCartney said, “We are so proud of Casey’s leadership within our organization and her ability to think long-term while also maximizing momentum. Her integrity, passion and work ethic are invaluable.”

Thomas said, “I’m so grateful to work at Monument Records and support this incredible leadership team. It’s a privilege to represent and work alongside such a compelling roster of artists and creators, and I am looking forward to this next exciting chapter.”


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Superstar DJ Alok Leaned on Unpaid Ghost Producers to Create His Brazilian Bass Hits
 
Posted: 21 Jan 2022, 6:17 am

RIO DE JANEIRO ? Behind a walled compound off a dirt road ringed by palm trees and a lush green mountain, producer-DJs Sean and Kevin Brauer learned how to make music while living in the cult-like Children of God religious community for the first two decades of their lives.

The goal then wasn?t dance-music stardom ? it was to produce Christian rock and folk music to support the religious movement. The Brauer brothers were home schooled, had no access to the internet and had limited interaction with ?systemites? ? Brazilians living outside the compound?s stone walls. But inside, they had a music studio and lived among musicians like guitarist Jeremy Spencer, who?d been one of the founding members of Fleetwood Mac.

One night in 2004, 16-year-old Sean jumped the 10-foot wall and sneaked off to a rave up the road in Ilha de Guaratiba, about an hour west of Rio. ?I fell in love with this electronic music,? he tells Billboard, ?and decided that I wanted to be a DJ.?

He spent the next decade eking out a living as a ghost producer ? the anonymous creators behind tracks for other artists. Then in 2015 he met Alok Petrillo, the rising Brazilian DJ who went by his first name. Sean and Kevin formed the duo Sevenn and released ?BYOB,? a remix of a 10-year-old System of a Down song, with Alok, putting Brazilian Bass on the global dance map. Over the next four years, Sevenn produced music that helped elevate Alok into one of the highest-earning music artists in South America.

Now the Brauers are speaking out about what they call a ?commercially abusive, one-sided relationship? with Alok. Sevenn tell Billboard they worked on at least 14 tracks for the Brazilian DJ for which they have received no credit, publishing splits or compensation. The brothers also claim that they ? not Alok ? created the deep-house offshoot Brazilian Bass, the rising popularity of which led to Alok?s signing by Warner Music dance imprint Spinnin? Records.

?Alok initially helped, and we were happy to repay the favor, until we started realizing that he was profiting hugely off our work without offering anything substantial in return,? the Brauers say in a joint statement.

Billboard gathered Spotify data for 12 of the 14 tracks the Brauers say they received no compensation for. If the Brauers had been compensated to reflect the contributions they say they made on these tracks, they would have earned about $263,000 to date ? $223,000 in publishing royalties and another $40,000 in producer?s fees ? on Spotify alone. That estimate could likely balloon to more than $1.3 million when royalties from plays at other digital services and radio are taken into account, not to mention global sales.

Billboard estimates that the 12 tracks ? which include Alok and Liu?s ?All I Want?; Alok and his brother Bhaskar?s ?Fuego?; and Alok?s ?Favela,? featuring Ina Wroldsen ? have received a combined 1.024 billion plays and generated a combined total of nearly $4.13 million, in label payments ($3.38 million) and publishing royalties ($748,000) from Spotify. And using a standard producer?s rate of 4% royalty in addition to whatever flat fee producers of those 12 tracks were paid, Billboard estimates a total producer fee payout of $135,000.

As with many young artists that fail to understand the importance of contracts and lawyers ? and the need to ask for credit and compensation ? the Brauer brothers hoped to leverage their association with a rising star into a brighter future. They hesitated to advocate for themselves, and at one point even rejected Alok?s offer to pay them for work on two ghost-produced songs and to give them royalties on a third. Initially, they say,they did not fully understand royalties, and felt they were ?getting a fair share in return in terms of opportunities and partnerships.?

The Brauer family has provided evidence to Billboard to support their claims, including emails and WhatsApp exchanges with Alok stretching over six years ? as well as audio recordings of Alok discussing production requests, finalized tracks and Sevenn?s management contract with So Paulo-based Artist Factory.

These materials show how Alok leaned heavily on the Brauers to keep his new music flowing as he became the best-known dance-music DJ to emerge from Latin America, with 19 million monthly listeners on Spotify, as well as a social-media influencer with 26 million Instagram followers who typically earns more than $10,000 per paid post, according to his former manager.

In a response to repeated requests for comment, Alok?s management team sent an email declining to address specific questions but contending that ?in spinning a false narrative? Kevin and Sean were ?trying to portray themselves as victims and litigate their disputes with Alok in the press, as well as the court of public opinion. Alok has no intention of taking the bait.?

The response notes that Alok has ?an ongoing lawsuit against Sevenn in Brazil arising from Sevenn?s failure to credit and pay Alok for a number of Sevenn?s record releases.? (The lawsuit, which Billboard has reviewed, was one of two filed by Alok?s team this month and came more than eight weeks after Billboard first sought comment. This one was filed on Jan. 12 in a So Paulo civil court, and focused on five tracks, including ?BOOM” with Tisto.)

DJ Alok

Alok

The Sevenn-Alok situation illustrates a larger issue that has been bubbling up in the dance music world for years: the role and treatment of ghost producers. Big DJs have relied heavily on uncredited producers to keep them relevant, especially during the heady days of the EDM boom from 2010 to 2016 when DJs began touring the world much of the year, often at the expense of studio time.

DJs developed factory-like systems where ghost producers work as salaried employees and get an occasional publishing credit. Some superstar DJs, including Steve Aoki, oversee the work of uncredited but compensated ghost producers in an executive producer-like capacity, according to two industry sources. (A spokesman for Aoki said he was unavailable for comment.) Others, like Tisto, have mentored talented young producers ? including Avicii, Hardwell and Martin Garrix ? in exchange for music that keeps the mentor?s music fresh. In many cases these are ?collaborations? in name only.

?Some of the world?s greatest EDM music has been made in collaboration ? sometimes with other artists, and sometimes with uncredited producers,? says Lorne Padman, a producer and vp at Dim Mak, Aoki?s label. ?The important element is to ensure that the uncredited producer is fairly compensated with a deal they are happy to agree to, that gives them either a fee, master royalty, publishing split, or a combination of any of these. What is not fair is to compensate with nothing ? that is just straight theft and protectable via copyright law ? or to strong-arm a bad deal after the fact.?

For DJ-producers committed to making their own music, the wide use of ghost producers is a source of frustration. ?We live in the age of Milli Vanilli, and almost everyone that?s famous is the Milli Vanilli,? says Dutch artist Laidback Luke, referring to the late-?80s R&B duo that was stripped of its Best New Artist Grammy when it was revealed members Fab Morvan and Rob Pilatus had been been cast to lip sync vocals recorded by others. Today?s EDM DJ?s ?are brands,? he says. ?They make money. They have a following, and they get consumed.?

In the case of Sevenn, Alok never offered regular salaries for music production, the Brauer brothers say, and rarely paid them anything. Even when Alok had opportunities to prove his production mettle, like a 2017 remix of Mick Jagger?s ?Gotta Get a Grip,? he turned to Sean Brauer to rework the track from start to finish ? without paying or crediting Sevenn, they say.

Their working arrangement was loose and ad-hoc. ?It was like, ?Come hang out, come work,? that level of like, ?we?re buddies,?? says Carol Brauer, one of Sean and Kevin?s sisters, who is helping oversee Sevenn?s financial affairs. The brothers, says Kevin, 29, would work with Alok for ?eight, nine hours and then [he would] not even offer you a fucking penny for the work.?

But coming out of the Children of God, ?we were like little blank CDs,? says Sean, 33. ?We were entrusting everything to our lord and savior papa Alok. We had no idea of the world. We had no idea how business works. All we knew how to do was make music.?

Says Kevin: ?We were fucking nave.?

?Culty Prisoners? and Music Studios

Sean Brauer says today that he and his siblings were ?culty prisoners? of Children of God. Their mother doesn?t see it that way. With all the restrictive rules in the community, Jody Brauer made sure that music was a big part of her children?s lives.

Jody built music studios, including the one at her 13-acre compound, known as The Oasis, and another in Rio, for Spencer, who helped found Fleetwood Mac in 1967 and then left the band abruptly in 1971 to join Children of God after meeting some missionaries in Los Angeles. While Jody was ?not a model member,? she says, ?it was advantageous to keep me in the group because, hey, I was building studios. There was a lot of music coming out of those studios, not just for my kids, but for other people.?

The daughter of a Hollywood TV producer father, Jody Brauer grew up in the fast lane in southern California. After nearly dying from a cocaine overdose, she says she encountered some ?traveling minstrels? from Children of God who encouraged her to get clean by joining them in Brazil, where the religious sect was sending missionaries.

After arriving in Rio in 1976, she met a Brazilian federal policeman, Edson Oliveira, and embarked on a 30-year love affair that produced eight children.

Community members were only supposed to listen to music made within Children of God, which believed that a large pyramid called the Kingdom of Heaven would land on Earth and only the group?s followers would be allowed to go there. (Children of God had communities around the world, and among those who grew up in the cult were actors Joaquin Phoenix and Rose McGowan.)

Children of God

Children of God

As Sean was discovering electronic music, Kevin formed a one-man ?Disney metal? band and learned to play several instruments and to do multi-track orchestral arrangements. Kevin traveled around Rio and to So Paulo with a Children of God cover band that played classic rock and country songs.

?You weren?t allowed to have money, everyone was equal,? Sean says. ?We would go to stop lights and sell CDs of music made by the group and preach the word of God and try to get more people to join the cult. And some of the pretty girls would go out ?flirty fishing.? They would try to find rich men to partner with so that they would get money.?

Flirty Fishing was a recruitment practice of Children of God, and founder David Berg also instructed followers to practice ?sexual sharing,? which involved having sex with minors ? and even family members. In 1995 a British judge ruled that the group, and some of its top leaders, had engaged in abusive sexual activities involving minors ? though Children of God had abandoned those practices by that point. (The group later changed its name to The Family of Love and, more recently, to The Family International.)

Jody Brauer says she didn?t engage in such abusive practices at her compound in Rio or allow others to do so with her children, but the shift in that direction led her and other Brazilian members to exit the group. Even after the sect began collapsing around 2008, Kevin and Sean lived on and off at The Oasis until 2017.

From ?BYOB? To ?BOOM?

Sean Brauer was going nowhere fast in the music industry.

A decade after his first rave, he was struggling financially and tired of working as an uncredited ghost producer charging a few hundred dollars per song. Then in late 2015, a European DJ who Sean had been working with flew him to Portugal to help him produce new music. In Lisbon, he met Alok. The son of two psytrance DJs who?d founded the weeklong Universo Paralello (Parallel Universe) rave in northern Brazil, Alok was already a well-known DJ with model good looks and a flair for marketing and promotion. As he rose from the underground into a pop star, he faced criticism from the Brazilian psytrance community, who considered him a sell-out.

For Sean, Alok was a way in. ?For the first time in 10 years, my career actually had a glimpse of hope,? Sean says. But while in Portugal, Brauer learned his father was in a coma, and he soon headed back to Brazil. Days later, Sean sent Alok his rough demo of a remix of ?B.Y.O.B.,? a song by metal band System of a Down, promising to polish it. ?This is incredible,? Alok responded. ?Send it.?

When it came time to choose a DJ name, Sean turned to Kevin, who was teaching English in Rio and still dreaming of being a rock star. ?Do you want to travel the world and be a DJ?? he asked his brother. And Sevenn (Sean + Kevin) was born.

Days later, Sevenn released ?Colors of the Rainbow,? a moody ?sad song for dad? they wrote after their father died (their sister Kathy Brauer is the featured singer). In producing the two songs, Sean says he experimented with bass sounds and created two presets ? a knock or ?thonk,? and a longer ?ripped up saw wave with a filter on it? ? which became the signature for what Alok later dubbed Brazilian Bass. ?It was very simple,? Sean says. ?I wasn’t trying to be innovative in that sense?but then everyone and their dog started doing it.?

After ?BYOB? was released, Alok promised the Brauers a big future. ?You?re going to be the top 1 ?EDM? [act] in 2 years,? he texted Sean in Portuguese on Dec. 24, 2016. ?I?m going to transform you and your brother into two monsters of the market.?

Alok, via Artist Factory, an artist agency he was a partner in, and his then-manager Marcos ?Marquinhos? Arajo, delivered Sevenn their first live gigs, initially for 2,000 reais (about $500) for Tomorrowland Brasil in May 2016 and later upwards of 10,000 reais (about $2,500) for weekly gigs. Sevenn also played the flagship Tomorrowland in Belgium in 2018 and 2019. Alok assigned a manager to them, Gabriel Lopes, another partner in the agency. (By contrast, by late 2018 Alok was averaging $100,000 to $150,000 per show, according to Arajo.)

The Brauer brothers, in turn, say they tried to help Alok however they could, sending him ideas, demo tracks and mastered versions of requested music, sometimes from the road ? often with quick turnarounds. ?I need a massive intro for Sunday at Villa Mix. Could you guys help me? I have to finish 4 songs yet. I am fucked,? Alok wrote to the Brauers in June of 2017. ?Fuck let?s do it, what style are you thinking?? replied Kevin, who says he worked from 7 p.m. to 5 a.m. the next day to get the requested ?massive intro? done.

Alok seemed to have a sense of what he wanted, regularly sending Sevenn reference tracks and videos, and directing them to make the songs in specific beats per minute. ?So, I want something sophisticated but also with orchestra,? Alok said in a Whatsapp voice message to Kevin when requesting the Villa Mix intro. ?You know that soundtrack you made for my video of Samsung? It?s crazy. I love that kind of introspective intro.?

By late 2016 the Brauers say they were becoming nervous about working with Alok. That November, Kevin wrote a track for a Budweiser ad, ?Love Is A Temple,? for which Alok was paid about $200,000, according to Arajo. Kevin says he received no producing credit. Then when the duo created ?BOOM? ? which would become their biggest streaming hit to date with 158 million streams on Spotify ? they released it before Alok had a chance to show it to other big DJs. ?We thought [Alok] was kind of going to take it for himself,? Sean says.

Sevenn

Sean and Kevin Brauer, the original members of Sevenn

With Sevenn?s original version of the track already out, Alok took ?BOOM? to Tisto and introduced him to Sevenn. The Dutch DJ split credit with the duo and divided the royalties evenly. That March, when Tisto played ?BOOM? at Ultra Miami he brought the brothers on stage. ?Brazilian Bass in the house? he told the crowd, as Sean, sporting his trademark mohawk, jumped up and down with his brother. (Spinnin? released the song in April of 2017. To date, Tisto has not released a track with Alok.)

?Tisto was incredible to us,? says Sean. ?We didn?t expect it at all, because it was the exact opposite of what we had from Alok.?

Now Alok, in his lawsuit, is claiming he is owed an undetermined amount of royalties for ?BOOM,? along with ?Tam Tam,? ?Beautiful Tonight,? ?BYOB (Sevenn remix)? and ?It?s Always You.? Eduardo Senna, Sevenn?s lawyer, called it an ?absolutely bogus lawsuit,? adding that ?never in my entire career have I seen a lawsuit filed with no narrative and no evidence attached whatsoever.?

At Netherlands-based Spinnin?, Jorn Heringa, the head of A&R, says he was unaware of how much of Alok?s music Sevenn was producing ? and how little credit or compensation they were getting. ?Honestly, I never heard anything about this,? he says. ?I knew the Sevenn guys and Alok were doing things together, but I always thought they were friends, and they were helping each other out?Alok was a flagship in that territory.?

In November, Universal Music Publishing Group signed Alok to an exclusive global publishing deal. A source familiar with the deal says it is a go-forward arrangement that doesn?t include music published before 2020; Alok?s management says Kobalt administers his catalog. (A spokesperson for Kobalt says the publisher does not administer any of the 14 tracks in question.).

After ?BOOM,? the Brauers, still clinging to the belief that he had their best interests at heart, continued to produce for Alok.

During that period, however, Alok did offer to pay the brothers for some of their work. In July of 2017 he said he would send them $10,000 for the Budweiser ad and for the master of the Jagger remix. ?Hahahahahahaha you?re funny!! Dude you don?t have to pay for anything,? Sean wrote back on Whatsapp. ?Dude no way you already paid for it,? added Kevin. ?Let me do this?I will feel better,? Alok countered, who said in the same exchange that he would put Sevenn on the royalties for ?Suave,? a collaboration with sertanejo duo Matheus and Kauan.

The Brauers say they regret shrugging off Alok?s offer. They also say they don?t believe it was real, perhaps a sign they failed to understand their own value. ?We?d never received money like that before,? says Kevin. ?$10k was unfathomable.? (Alok seems to have taken the Brauers at their word; he neither paid them for ?Suave? nor added them to the publishing credit, says Kevin.)

Alok

Alok Performs In Newark, NJ at Bar Code on Feb. 23, 2018 in Newark, New Jersey.

By August of 2018, Sevenn were starting to feel exploited and were becoming frustrated with Lopes, their manager. The Brauers wanted out of a 10-year contract they?d signed in 2017 which paid Artist Factory 40% of their gig and other income. They say Alok and his partners dragged their feet on contract discussions for more than a year ? at one point, Alok denied the management contract even existed, according to a recording of a call between him and Kevin ? and were holding back the duo?s career.

Lopes, the Brauers say in a statement, ?did little to nothing in terms of managing us. He didn’t stand up for us in terms of getting royalties, advising us on strategic direction, helping us with AF’s booking errors that ended up costing us, and helping us to go after commercial opportunities.? (Lopes did not respond to requests for comment.)

Still, amid building tension, Alok did give the duo some producing credits in the ensuing months. In June 2019 he released a remix of Pink Floyd?s ?The Wall? and then ?Symphonia? the following February, both as collaborations with Sevenn. (Alok gave Sevenn 40% of all royalties on ?The Wall? and split them evenly on ?Symphonia,? Kevin says.)

In December 2019, the Brauers learned their mother had stage-four pancreatic cancer. Sean headed to Paso Robles, Calif., to care for her ? handing off the reins of Sevenn to his brother. For Sean, suddenly faced with the prospect of mounting medical bills, it was a breaking point.

?After everything that was happening and watching Alok just explode, explode and explode and get bigger and bigger, then everything kind of built up on me and I flipped out,? he says. ?You just want to give your fucking dying mom a good life and you don’t expect somebody who could be helping not to help, the person who’s saying he’s your dad, he’s your brother, ?I love you,?? Sean says, his voice cracking. ?[Alok] cried when he found out mom had cancer. How can you not offer to fucking help??

Sean says it was then that he finally ?woke up? and started pushing back harder. By late 2020, he became incensed that Alok?s team had allegedly used his music stems to create tracks for Alok?s Controversia Records label (which is part of Spinnin?), including for Alok?s remix of Meduza?s ?Piece Of Your Heart? ? with no offer to compensate him.

?Brother, help me,? he texted Alok in Portuguese on Dec. 21, 2020. ?Your business partners already stole my music and now they are making various songs and helping your career with MY sound. I don?t have any problem with it, I want the best for you and for your career to grow as much as possible! But could you please talk to them about arranging for me to get a percentage of the royalties for these tracks?? (Alok did not respond to the text, Sean says, and it was the last time he texted the Brazilian DJ.)

Two days later, he followed up on email to Alok?s managers, writing that ?it?s unbelievably unfair to me that my style and my sounds are being used without my consent to create music.?

The Alok-Arajo Feud Boils Over

Back in Brazil, by late 2020 tensions were also building between Alok and Arajo, the powerful Brazilian manager-promoter and owner of AudioMix, which controls the festival company Villa Mix.

Alok had taken sides in the split of Arajo and his ex-wife Ptala Barreiros, lending her some security guards after she filed for a restraining order. In a series of videos, she accused Arajo of domestic abuse. Arajo has declined to comment on the allegations, saying through a lawyer on social media that Barreiros was seeking to ?mislead public opinion? and was ?persistently distorting reality.?

After the feud exploded in the Brazilian media, some of Arajo?s top clients, including Alok, started to break with the manager.

Arajo and Alok dissolved their business partnership in April, with Arajo saying he accepted payment for the separation penalty of 20 million reais ($3.5 million) in the form of a private plane valued at 15 million reais ($2.7 million). But he says Alok ended up selling the plane without his authorization and still hasn?t compensated his ex-manager for the negotiated penalty.

Since then, Arajo, who says he only learned last year the extent to which Sevenn had been involved in Alok?s music production, has been trying to settle contract issues with Alok and Sevenn in order to sign Kevin Brauer as a client.

Last July, Kevin finally reached his own breaking point. A lawyer representing Alok wrote to Arajo?s lawyer asking Sevenn to sign a statement that ?Alok never appropriated any of [Kevin] or his brother?s musical productions,? according to a text message. If the Brauers signed, the lawyer said, Alok and Artist Factory would release Sevenn from their management contract without charging the 20 million reais break fee. Sevenn refused to sign.

Two months later, Kevin says, Alok ripped off his stage intro and played unreleased Sevenn-Alok collaborations to open his set at the Untold festival in Romania. ?He actually fucking posted it on Instagram and that?s where some of my fans tagged me,? Kevin says. (The opening of Alok?s set and Sevenn?s Tomorrowland 2019 set are remarkably similar.)

In recent months, the tight-knit Brauer clan has rallied around Sean and Kevin.

?I think [Alok] just saw how innocent the boys were,? says Jody Brauer, who has been undergoing a new round of chemotherapy. ?It was angering because I was like, ?Hey wait you guys, he?s stealing from you.? ?But mom, he?s helping us.??After a while, it started getting to be ridiculous?It just got to where we were almost being, like, stupid.?

Carrying the Sevenn Banner

Now estranged from Alok, Kevin is continuing to carry the banner for Sevenn. He is developing new music for a sound he?s dubbed ?hybrid techno? ? which he describes as a blend of ?pop-melodic house-techno? with ?great vocalists.? He?s working on a new track with Tisto featuring a vocal from a 75-year-old jazz crooner, which he pitched to the Dutchman, and on a potential collaboration with Timmy Trumpet, he says.

Sevenn signed a three-year deal in late November with William Morris Endeavor for exclusive bookings outside of Brazil. (Box Talents, another artist agency of which Alok is a partner, handles bookings inside of Brazil.) The brothers continue to help each other with their music, with Sean content to live in So Paulo and focus on producing, while Kevin tours the world as Sevenn.

In November, Kevin played a show in Tucson, Ariz., before flying to Rio two days later for an Alice in Wonderland-themed rave at a marble shaping shop, earning a 12,000-reais (about $2,200) payday to spin for 1,500 people. Backstage after his 90-minute set, with sweat dripping from his bleached blonde hair held up by a red bandana, thoughts of his brother Sean, their struggles with Alok ? and the nature of loyalty and partnership ? were not far off.

?When Sean told me he?s going to be Sevenn, I said, ?Look, regardless of what you do, half of Sevenn is always yours, this is your baby,?? Kevin said. ?I?ll do whatever it takes to keep this thing going. He gave me this opportunity. I can?t make it without him.?

Sevenn

Sevenn

On New Year?s Eve, Alok headlined a festival on Pipa Beach in the north of Brazil, one of five shows he did in four days ? after returning from South Korea, where he promoted his recent single, ?Squid Game (Let?s Play).? Sevenn, meanwhile, played a private New Year?s party at an undisclosed location in Brazil.

Days later, Senna, Sevenn?s lawyer, determined that Arajo, as a managing partner in Artist Factory, could unilaterally terminate the contract with Sevenn without penalty, and he did so on Jan. 10, seemingly ending the contract dispute. (That same day, however, a lawyer for Alok filed the other lawsuit in So Paulo against Sevenn, this one claiming they were not fulfilling their contractual obligations under the Artist Factory contract, which Senna says ignored the waiver signed by Arajo.)

Then, last Friday (Jan. 14), Alok released a new song, ?Un Ratito,? a reggaeton collaboration with Luis Fonsi, Lunay, Lenny Tavrez and Juliette. Kevin had begun producing the track in 2017 as ?Let?s Make Love (nanananana).? This time Kevin was listed in the Spotify song credits as one of 14 writers, but not as a producer. Kevin shared his original demo with Billboard, on which he sings and plays the guitar, along with text and voice-message exchanges with Alok about the song and links to at least five other versions he and Sean sent to Alok stretching to mid-2018.

?The melody, the drums, the guitar ? almost everything you hear there was something I did,? Kevin says. ?The production is mine.?

Alok did not ask Sevenn for authorization to release the track, Kevin says, nor did he pay Sevenn anything for their work on the song or discuss giving them any share of the publishing. Arajo says he sent the original demo of the song to Universal Brasil President Paulo Lima some four years ago, pitching it as an Alok-Sevenn-Luis Fonsi collaboration. (Neither Lima nor a UMG spokesperson responded to requests for comment.)

Despite their complicated history, Sevenn say they did not intend to pursue legal action against Alok for royalties or publishing splits. But given the latest development with ?Un Ratito,? which had more than 1.8 million streams on Spotify as of Thursday, the Brauers say they are now reassessing that position with their legal team.

“Honestly, it’s shocking that once again my work is being used unfairly,? says Kevin. ?It feels like another betrayal. This is a case in point of what we’ve been saying. To the young and upcoming artists out there, we hope this serves as a warning to know your rights and treat it like a business.”

Additional reporting by Ed Christman


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Superstar DJ Alok Leaned on Unpaid Ghost Producers to Create His Brazilian Bass Hits
 
Posted: 21 Jan 2022, 6:17 am

RIO DE JANEIRO ? Behind a walled compound off a dirt road ringed by palm trees and a lush green mountain, producer-DJs Sean and Kevin Brauer learned how to make music while living in the cult-like Children of God religious community for the first two decades of their lives.

The goal then wasn?t dance-music stardom ? it was to produce Christian rock and folk music to support the religious movement. The Brauer brothers were home schooled, had no access to the internet and had limited interaction with ?systemites? ? Brazilians living outside the compound?s stone walls. But inside, they had a music studio and lived among musicians like guitarist Jeremy Spencer, who?d been one of the founding members of Fleetwood Mac.

One night in 2004, 16-year-old Sean jumped the 10-foot wall and sneaked off to a rave up the road in Ilha de Guaratiba, about an hour west of Rio. ?I fell in love with this electronic music,? he tells Billboard, ?and decided that I wanted to be a DJ.?

He spent the next decade eking out a living as a ghost producer ? the anonymous creators behind tracks for other artists. Then in 2015 he met Alok Petrillo, the rising Brazilian DJ who went by his first name. Sean and Kevin formed the duo Sevenn and released ?BYOB,? a remix of a 10-year-old System of a Down song, with Alok, putting Brazilian Bass on the global dance map. Over the next four years, Sevenn produced music that helped elevate Alok into one of the highest-earning music artists in South America.

Now the Brauers are speaking out about what they call a ?commercially abusive, one-sided relationship? with Alok. Sevenn tell Billboard they worked on at least 14 tracks for the Brazilian DJ for which they have received no credit, publishing splits or compensation. The brothers also claim that they ? not Alok ? created the deep-house offshoot Brazilian Bass, the rising popularity of which led to Alok?s signing by Warner Music dance imprint Spinnin? Records.

?Alok initially helped, and we were happy to repay the favor, until we started realizing that he was profiting hugely off our work without offering anything substantial in return,? the Brauers say in a joint statement.

Billboard gathered Spotify data for 12 of the 14 tracks the Brauers say they received no compensation for. If the Brauers had been compensated to reflect the contributions they say they made on these tracks, they would have earned about $263,000 to date ? $223,000 in publishing royalties and another $40,000 in producer?s fees ? on Spotify alone. That estimate could likely balloon to more than $1.3 million when royalties from plays at other digital services and radio are taken into account, not to mention global sales.

Billboard estimates that the 12 tracks ? which include Alok and Liu?s ?All I Want?; Alok and his brother Bhaskar?s ?Fuego?; and Alok?s ?Favela,? featuring Ina Wroldsen ? have received a combined 1.024 billion plays and generated a combined total of nearly $4.13 million, in label payments ($3.38 million) and publishing royalties ($748,000) from Spotify. And using a standard producer?s rate of 4% royalty in addition to whatever flat fee producers of those 12 tracks were paid, Billboard estimates a total producer fee payout of $135,000.

As with many young artists that fail to understand the importance of contracts and lawyers ? and the need to ask for credit and compensation ? the Brauer brothers hoped to leverage their association with a rising star into a brighter future. They hesitated to advocate for themselves, and at one point even rejected Alok?s offer to pay them for work on two ghost-produced songs and to give them royalties on a third. Initially, they say,they did not fully understand royalties, and felt they were ?getting a fair share in return in terms of opportunities and partnerships.?

The Brauer family has provided evidence to Billboard to support their claims, including emails and WhatsApp exchanges with Alok stretching over six years ? as well as audio recordings of Alok discussing production requests, finalized tracks and Sevenn?s management contract with So Paulo-based Artist Factory.

These materials show how Alok leaned heavily on the Brauers to keep his new music flowing as he became the best-known dance-music DJ to emerge from Latin America, with 19 million monthly listeners on Spotify, as well as a social-media influencer with 26 million Instagram followers who typically earns more than $10,000 per paid post, according to his former manager.

In a response to repeated requests for comment, Alok?s management team sent an email declining to address specific questions but contending that ?in spinning a false narrative? Kevin and Sean were ?trying to portray themselves as victims and litigate their disputes with Alok in the press, as well as the court of public opinion. Alok has no intention of taking the bait.?

The response notes that Alok has ?an ongoing lawsuit against Sevenn in Brazil arising from Sevenn?s failure to credit and pay Alok for a number of Sevenn?s record releases.? (The lawsuit, which Billboard has reviewed, was one of two filed by Alok?s team this month and came more than eight weeks after Billboard first sought comment. This one was filed on Jan. 12 in a So Paulo civil court, and focused on five tracks, including ?BOOM” with Tisto.)

DJ Alok

Alok

The Sevenn-Alok situation illustrates a larger issue that has been bubbling up in the dance music world for years: the role and treatment of ghost producers. Big DJs have relied heavily on uncredited producers to keep them relevant, especially during the heady days of the EDM boom from 2010 to 2016 when DJs began touring the world much of the year, often at the expense of studio time.

DJs developed factory-like systems where ghost producers work as salaried employees and get an occasional publishing credit. Some superstar DJs, including Steve Aoki, oversee the work of uncredited but compensated ghost producers in an executive producer-like capacity, according to two industry sources. (A spokesman for Aoki said he was unavailable for comment.) Others, like Tisto, have mentored talented young producers ? including Avicii, Hardwell and Martin Garrix ? in exchange for music that keeps the mentor?s music fresh. In many cases these are ?collaborations? in name only.

?Some of the world?s greatest EDM music has been made in collaboration ? sometimes with other artists, and sometimes with uncredited producers,? says Lorne Padman, a producer and vp at Dim Mak, Aoki?s label. ?The important element is to ensure that the uncredited producer is fairly compensated with a deal they are happy to agree to, that gives them either a fee, master royalty, publishing split, or a combination of any of these. What is not fair is to compensate with nothing ? that is just straight theft and protectable via copyright law ? or to strong-arm a bad deal after the fact.?

For DJ-producers committed to making their own music, the wide use of ghost producers is a source of frustration. ?We live in the age of Milli Vanilli, and almost everyone that?s famous is the Milli Vanilli,? says Dutch artist Laidback Luke, referring to the late-?80s R&B duo that was stripped of its Best New Artist Grammy when it was revealed members Fab Morvan and Rob Pilatus had been been cast to lip sync vocals recorded by others. Today?s EDM DJ?s ?are brands,? he says. ?They make money. They have a following, and they get consumed.?

In the case of Sevenn, Alok never offered regular salaries for music production, the Brauer brothers say, and rarely paid them anything. Even when Alok had opportunities to prove his production mettle, like a 2017 remix of Mick Jagger?s ?Gotta Get a Grip,? he turned to Sean Brauer to rework the track from start to finish ? without paying or crediting Sevenn, they say.

Their working arrangement was loose and ad-hoc. ?It was like, ?Come hang out, come work,? that level of like, ?we?re buddies,?? says Carol Brauer, one of Sean and Kevin?s sisters, who is helping oversee Sevenn?s financial affairs. The brothers, says Kevin, 29, would work with Alok for ?eight, nine hours and then [he would] not even offer you a fucking penny for the work.?

But coming out of the Children of God, ?we were like little blank CDs,? says Sean, 33. ?We were entrusting everything to our lord and savior papa Alok. We had no idea of the world. We had no idea how business works. All we knew how to do was make music.?

Says Kevin: ?We were fucking nave.?

?Culty Prisoners? and Music Studios

Sean Brauer says today that he and his siblings were ?culty prisoners? of Children of God. Their mother doesn?t see it that way. With all the restrictive rules in the community, Jody Brauer made sure that music was a big part of her children?s lives.

Jody built music studios, including the one at her 13-acre compound, known as The Oasis, and another in Rio, for Spencer, who helped found Fleetwood Mac in 1967 and then left the band abruptly in 1971 to join Children of God after meeting some missionaries in Los Angeles. While Jody was ?not a model member,? she says, ?it was advantageous to keep me in the group because, hey, I was building studios. There was a lot of music coming out of those studios, not just for my kids, but for other people.?

The daughter of a Hollywood TV producer father, Jody Brauer grew up in the fast lane in southern California. After nearly dying from a cocaine overdose, she says she encountered some ?traveling minstrels? from Children of God who encouraged her to get clean by joining them in Brazil, where the religious sect was sending missionaries.

After arriving in Rio in 1976, she met a Brazilian federal policeman, Edson Oliveira, and embarked on a 30-year love affair that produced eight children.

Community members were only supposed to listen to music made within Children of God, which believed that a large pyramid called the Kingdom of Heaven would land on Earth and only the group?s followers would be allowed to go there. (Children of God had communities around the world, and among those who grew up in the cult were actors Joaquin Phoenix and Rose McGowan.)

Children of God

Children of God

As Sean was discovering electronic music, Kevin formed a one-man ?Disney metal? band and learned to play several instruments and to do multi-track orchestral arrangements. Kevin traveled around Rio and to So Paulo with a Children of God cover band that played classic rock and country songs.

?You weren?t allowed to have money, everyone was equal,? Sean says. ?We would go to stop lights and sell CDs of music made by the group and preach the word of God and try to get more people to join the cult. And some of the pretty girls would go out ?flirty fishing.? They would try to find rich men to partner with so that they would get money.?

Flirty Fishing was a recruitment practice of Children of God, and founder David Berg also instructed followers to practice ?sexual sharing,? which involved having sex with minors ? and even family members. In 1995 a British judge ruled that the group, and some of its top leaders, had engaged in abusive sexual activities involving minors ? though Children of God had abandoned those practices by that point. (The group later changed its name to The Family of Love and, more recently, to The Family International.)

Jody Brauer says she didn?t engage in such abusive practices at her compound in Rio or allow others to do so with her children, but the shift in that direction led her and other Brazilian members to exit the group. Even after the sect began collapsing around 2008, Kevin and Sean lived on and off at The Oasis until 2017.

From ?BYOB? To ?BOOM?

Sean Brauer was going nowhere fast in the music industry.

A decade after his first rave, he was struggling financially and tired of working as an uncredited ghost producer charging a few hundred dollars per song. Then in late 2015, a European DJ who Sean had been working with flew him to Portugal to help him produce new music. In Lisbon, he met Alok. The son of two psytrance DJs who?d founded the weeklong Universo Paralello (Parallel Universe) rave in northern Brazil, Alok was already a well-known DJ with model good looks and a flair for marketing and promotion. As he rose from the underground into a pop star, he faced criticism from the Brazilian psytrance community, who considered him a sell-out.

For Sean, Alok was a way in. ?For the first time in 10 years, my career actually had a glimpse of hope,? Sean says. But while in Portugal, Brauer learned his father was in a coma, and he soon headed back to Brazil. Days later, Sean sent Alok his rough demo of a remix of ?B.Y.O.B.,? a song by metal band System of a Down, promising to polish it. ?This is incredible,? Alok responded. ?Send it.?

When it came time to choose a DJ name, Sean turned to Kevin, who was teaching English in Rio and still dreaming of being a rock star. ?Do you want to travel the world and be a DJ?? he asked his brother. And Sevenn (Sean + Kevin) was born.

Days later, Sevenn released ?Colors of the Rainbow,? a moody ?sad song for dad? they wrote after their father died (their sister Kathy Brauer is the featured singer). In producing the two songs, Sean says he experimented with bass sounds and created two presets ? a knock or ?thonk,? and a longer ?ripped up saw wave with a filter on it? ? which became the signature for what Alok later dubbed Brazilian Bass. ?It was very simple,? Sean says. ?I wasn’t trying to be innovative in that sense?but then everyone and their dog started doing it.?

After ?BYOB? was released, Alok promised the Brauers a big future. ?You?re going to be the top 1 ?EDM? [act] in 2 years,? he texted Sean in Portuguese on Dec. 24, 2016. ?I?m going to transform you and your brother into two monsters of the market.?

Alok, via Artist Factory, an artist agency he was a partner in, and his then-manager Marcos ?Marquinhos? Arajo, delivered Sevenn their first live gigs, initially for 2,000 reais (about $500) for Tomorrowland Brasil in May 2016 and later upwards of 10,000 reais (about $2,500) for weekly gigs. Sevenn also played the flagship Tomorrowland in Belgium in 2018 and 2019. Alok assigned a manager to them, Gabriel Lopes, another partner in the agency. (By contrast, by late 2018 Alok was averaging $100,000 to $150,000 per show, according to Arajo.)

The Brauer brothers, in turn, say they tried to help Alok however they could, sending him ideas, demo tracks and mastered versions of requested music, sometimes from the road ? often with quick turnarounds. ?I need a massive intro for Sunday at Villa Mix. Could you guys help me? I have to finish 4 songs yet. I am fucked,? Alok wrote to the Brauers in June of 2017. ?Fuck let?s do it, what style are you thinking?? replied Kevin, who says he worked from 7 p.m. to 5 a.m. the next day to get the requested ?massive intro? done.

Alok seemed to have a sense of what he wanted, regularly sending Sevenn reference tracks and videos, and directing them to make the songs in specific beats per minute. ?So, I want something sophisticated but also with orchestra,? Alok said in a Whatsapp voice message to Kevin when requesting the Villa Mix intro. ?You know that soundtrack you made for my video of Samsung? It?s crazy. I love that kind of introspective intro.?

By late 2016 the Brauers say they were becoming nervous about working with Alok. That November, Kevin wrote a track for a Budweiser ad, ?Love Is A Temple,? for which Alok was paid about $200,000, according to Arajo. Kevin says he received no producing credit. Then when the duo created ?BOOM? ? which would become their biggest streaming hit to date with 158 million streams on Spotify ? they released it before Alok had a chance to show it to other big DJs. ?We thought [Alok] was kind of going to take it for himself,? Sean says.

Sevenn

Sean and Kevin Brauer, the original members of Sevenn

With Sevenn?s original version of the track already out, Alok took ?BOOM? to Tisto and introduced him to Sevenn. The Dutch DJ split credit with the duo and divided the royalties evenly. That March, when Tisto played ?BOOM? at Ultra Miami he brought the brothers on stage. ?Brazilian Bass in the house? he told the crowd, as Sean, sporting his trademark mohawk, jumped up and down with his brother. (Spinnin? released the song in April of 2017. To date, Tisto has not released a track with Alok.)

?Tisto was incredible to us,? says Sean. ?We didn?t expect it at all, because it was the exact opposite of what we had from Alok.?

Now Alok, in his lawsuit, is claiming he is owed an undetermined amount of royalties for ?BOOM,? along with ?Tam Tam,? ?Beautiful Tonight,? ?BYOB (Sevenn remix)? and ?It?s Always You.? Eduardo Senna, Sevenn?s lawyer, called it an ?absolutely bogus lawsuit,? adding that ?never in my entire career have I seen a lawsuit filed with no narrative and no evidence attached whatsoever.?

At Netherlands-based Spinnin?, Jorn Heringa, the head of A&R, says he was unaware of how much of Alok?s music Sevenn was producing ? and how little credit or compensation they were getting. ?Honestly, I never heard anything about this,? he says. ?I knew the Sevenn guys and Alok were doing things together, but I always thought they were friends, and they were helping each other out?Alok was a flagship in that territory.?

In November, Universal Music Publishing Group signed Alok to an exclusive global publishing deal. A source familiar with the deal says it is a go-forward arrangement that doesn?t include music published before 2020; Alok?s management says Kobalt administers his catalog. (A spokesperson for Kobalt says the publisher does not administer any of the 14 tracks in question.).

After ?BOOM,? the Brauers, still clinging to the belief that he had their best interests at heart, continued to produce for Alok.

During that period, however, Alok did offer to pay the brothers for some of their work. In July of 2017 he said he would send them $10,000 for the Budweiser ad and for the master of the Jagger remix. ?Hahahahahahaha you?re funny!! Dude you don?t have to pay for anything,? Sean wrote back on Whatsapp. ?Dude no way you already paid for it,? added Kevin. ?Let me do this?I will feel better,? Alok countered, who said in the same exchange that he would put Sevenn on the royalties for ?Suave,? a collaboration with sertanejo duo Matheus and Kauan.

The Brauers say they regret shrugging off Alok?s offer. They also say they don?t believe it was real, perhaps a sign they failed to understand their own value. ?We?d never received money like that before,? says Kevin. ?$10k was unfathomable.? (Alok seems to have taken the Brauers at their word; he neither paid them for ?Suave? nor added them to the publishing credit, says Kevin.)

Alok

Alok Performs In Newark, NJ at Bar Code on Feb. 23, 2018 in Newark, New Jersey.

By August of 2018, Sevenn were starting to feel exploited and were becoming frustrated with Lopes, their manager. The Brauers wanted out of a 10-year contract they?d signed in 2017 which paid Artist Factory 40% of their gig and other income. They say Alok and his partners dragged their feet on contract discussions for more than a year ? at one point, Alok denied the management contract even existed, according to a recording of a call between him and Kevin ? and were holding back the duo?s career.

Lopes, the Brauers say in a statement, ?did little to nothing in terms of managing us. He didn’t stand up for us in terms of getting royalties, advising us on strategic direction, helping us with AF’s booking errors that ended up costing us, and helping us to go after commercial opportunities.? (Lopes did not respond to requests for comment.)

Still, amid building tension, Alok did give the duo some producing credits in the ensuing months. In June 2019 he released a remix of Pink Floyd?s ?The Wall? and then ?Symphonia? the following February, both as collaborations with Sevenn. (Alok gave Sevenn 40% of all royalties on ?The Wall? and split them evenly on ?Symphonia,? Kevin says.)

In December 2019, the Brauers learned their mother had stage-four pancreatic cancer. Sean headed to Paso Robles, Calif., to care for her ? handing off the reins of Sevenn to his brother. For Sean, suddenly faced with the prospect of mounting medical bills, it was a breaking point.

?After everything that was happening and watching Alok just explode, explode and explode and get bigger and bigger, then everything kind of built up on me and I flipped out,? he says. ?You just want to give your fucking dying mom a good life and you don’t expect somebody who could be helping not to help, the person who’s saying he’s your dad, he’s your brother, ?I love you,?? Sean says, his voice cracking. ?[Alok] cried when he found out mom had cancer. How can you not offer to fucking help??

Sean says it was then that he finally ?woke up? and started pushing back harder. By late 2020, he became incensed that Alok?s team had allegedly used his music stems to create tracks for Alok?s Controversia Records label (which is part of Spinnin?), including for Alok?s remix of Meduza?s ?Piece Of Your Heart? ? with no offer to compensate him.

?Brother, help me,? he texted Alok in Portuguese on Dec. 21, 2020. ?Your business partners already stole my music and now they are making various songs and helping your career with MY sound. I don?t have any problem with it, I want the best for you and for your career to grow as much as possible! But could you please talk to them about arranging for me to get a percentage of the royalties for these tracks?? (Alok did not respond to the text, Sean says, and it was the last time he texted the Brazilian DJ.)

Two days later, he followed up on email to Alok?s managers, writing that ?it?s unbelievably unfair to me that my style and my sounds are being used without my consent to create music.?

The Alok-Arajo Feud Boils Over

Back in Brazil, by late 2020 tensions were also building between Alok and Arajo, the powerful Brazilian manager-promoter and owner of AudioMix, which controls the festival company Villa Mix.

Alok had taken sides in the split of Arajo and his ex-wife Ptala Barreiros, lending her some security guards after she filed for a restraining order. In a series of videos, she accused Arajo of domestic abuse. Arajo has declined to comment on the allegations, saying through a lawyer on social media that Barreiros was seeking to ?mislead public opinion? and was ?persistently distorting reality.?

After the feud exploded in the Brazilian media, some of Arajo?s top clients, including Alok, started to break with the manager.

Arajo and Alok dissolved their business partnership in April, with Arajo saying he accepted payment for the separation penalty of 20 million reais ($3.5 million) in the form of a private plane valued at 15 million reais ($2.7 million). But he says Alok ended up selling the plane without his authorization and still hasn?t compensated his ex-manager for the negotiated penalty.

Since then, Arajo, who says he only learned last year the extent to which Sevenn had been involved in Alok?s music production, has been trying to settle contract issues with Alok and Sevenn in order to sign Kevin Brauer as a client.

Last July, Kevin finally reached his own breaking point. A lawyer representing Alok wrote to Arajo?s lawyer asking Sevenn to sign a statement that ?Alok never appropriated any of [Kevin] or his brother?s musical productions,? according to a text message. If the Brauers signed, the lawyer said, Alok and Artist Factory would release Sevenn from their management contract without charging the 20 million reais break fee. Sevenn refused to sign.

Two months later, Kevin says, Alok ripped off his stage intro and played unreleased Sevenn-Alok collaborations to open his set at the Untold festival in Romania. ?He actually fucking posted it on Instagram and that?s where some of my fans tagged me,? Kevin says. (The opening of Alok?s set and Sevenn?s Tomorrowland 2019 set are remarkably similar.)

In recent months, the tight-knit Brauer clan has rallied around Sean and Kevin.

?I think [Alok] just saw how innocent the boys were,? says Jody Brauer, who has been undergoing a new round of chemotherapy. ?It was angering because I was like, ?Hey wait you guys, he?s stealing from you.? ?But mom, he?s helping us.??After a while, it started getting to be ridiculous?It just got to where we were almost being, like, stupid.?

Carrying the Sevenn Banner

Now estranged from Alok, Kevin is continuing to carry the banner for Sevenn. He is developing new music for a sound he?s dubbed ?hybrid techno? ? which he describes as a blend of ?pop-melodic house-techno? with ?great vocalists.? He?s working on a new track with Tisto featuring a vocal from a 75-year-old jazz crooner, which he pitched to the Dutchman, and on a potential collaboration with Timmy Trumpet, he says.

Sevenn signed a three-year deal in late November with William Morris Endeavor for exclusive bookings outside of Brazil. (Box Talents, another artist agency of which Alok is a partner, handles bookings inside of Brazil.) The brothers continue to help each other with their music, with Sean content to live in So Paulo and focus on producing, while Kevin tours the world as Sevenn.

In November, Kevin played a show in Tucson, Ariz., before flying to Rio two days later for an Alice in Wonderland-themed rave at a marble shaping shop, earning a 12,000-reais (about $2,200) payday to spin for 1,500 people. Backstage after his 90-minute set, with sweat dripping from his bleached blonde hair held up by a red bandana, thoughts of his brother Sean, their struggles with Alok ? and the nature of loyalty and partnership ? were not far off.

?When Sean told me he?s going to be Sevenn, I said, ?Look, regardless of what you do, half of Sevenn is always yours, this is your baby,?? Kevin said. ?I?ll do whatever it takes to keep this thing going. He gave me this opportunity. I can?t make it without him.?

Sevenn

Sevenn

On New Year?s Eve, Alok headlined a festival on Pipa Beach in the north of Brazil, one of five shows he did in four days ? after returning from South Korea, where he promoted his recent single, ?Squid Game (Let?s Play).? Sevenn, meanwhile, played a private New Year?s party at an undisclosed location in Brazil.

Days later, Senna, Sevenn?s lawyer, determined that Arajo, as a managing partner in Artist Factory, could unilaterally terminate the contract with Sevenn without penalty, and he did so on Jan. 10, seemingly ending the contract dispute. (That same day, however, a lawyer for Alok filed the other lawsuit in So Paulo against Sevenn, this one claiming they were not fulfilling their contractual obligations under the Artist Factory contract, which Senna says ignored the waiver signed by Arajo.)

Then, last Friday (Jan. 14), Alok released a new song, ?Un Ratito,? a reggaeton collaboration with Luis Fonsi, Lunay, Lenny Tavrez and Juliette. Kevin had begun producing the track in 2017 as ?Let?s Make Love (nanananana).? This time Kevin was listed in the Spotify song credits as one of 14 writers, but not as a producer. Kevin shared his original demo with Billboard, on which he sings and plays the guitar, along with text and voice-message exchanges with Alok about the song and links to at least five other versions he and Sean sent to Alok stretching to mid-2018.

?The melody, the drums, the guitar ? almost everything you hear there was something I did,? Kevin says. ?The production is mine.?

Alok did not ask Sevenn for authorization to release the track, Kevin says, nor did he pay Sevenn anything for their work on the song or discuss giving them any share of the publishing. Arajo says he sent the original demo of the song to Universal Brasil President Paulo Lima some four years ago, pitching it as an Alok-Sevenn-Luis Fonsi collaboration. (Neither Lima nor a UMG spokesperson responded to requests for comment.)

Despite their complicated history, Sevenn say they did not intend to pursue legal action against Alok for royalties or publishing splits. But given the latest development with ?Un Ratito,? which had more than 1.8 million streams on Spotify as of Thursday, the Brauers say they are now reassessing that position with their legal team.

“Honestly, it’s shocking that once again my work is being used unfairly,? says Kevin. ?It feels like another betrayal. This is a case in point of what we’ve been saying. To the young and upcoming artists out there, we hope this serves as a warning to know your rights and treat it like a business.”

Additional reporting by Ed Christman


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Superstar DJ Alok Leaned on Unpaid Ghost Producers to Create His Brazilian Bass Hits
 
Posted: 21 Jan 2022, 6:17 am

RIO DE JANEIRO ? Behind a walled compound off a dirt road ringed by palm trees and a lush green mountain, producer-DJs Sean and Kevin Brauer learned how to make music while living in the cult-like Children of God religious community for the first two decades of their lives.

The goal then wasn?t dance-music stardom ? it was to produce Christian rock and folk music to support the religious movement. The Brauer brothers were home schooled, had no access to the internet and had limited interaction with ?systemites? ? Brazilians living outside the compound?s stone walls. But inside, they had a music studio and lived among musicians like guitarist Jeremy Spencer, who?d been one of the founding members of Fleetwood Mac.

One night in 2004, 16-year-old Sean jumped the 10-foot wall and sneaked off to a rave up the road in Ilha de Guaratiba, about an hour west of Rio. ?I fell in love with this electronic music,? he tells Billboard, ?and decided that I wanted to be a DJ.?

He spent the next decade eking out a living as a ghost producer ? the anonymous creators behind tracks for other artists. Then in 2015 he met Alok Petrillo, the rising Brazilian DJ who went by his first name. Sean and Kevin formed the duo Sevenn and released ?BYOB,? a remix of a 10-year-old System of a Down song, with Alok, putting Brazilian Bass on the global dance map. Over the next four years, Sevenn produced music that helped elevate Alok into one of the highest-earning music artists in South America.

Now the Brauers are speaking out about what they call a ?commercially abusive, one-sided relationship? with Alok. Sevenn tell Billboard they worked on at least 14 tracks for the Brazilian DJ for which they have received no credit, publishing splits or compensation. The brothers also claim that they ? not Alok ? created the deep-house offshoot Brazilian Bass, the rising popularity of which led to Alok?s signing by Warner Music dance imprint Spinnin? Records.

?Alok initially helped, and we were happy to repay the favor, until we started realizing that he was profiting hugely off our work without offering anything substantial in return,? the Brauers say in a joint statement.

Billboard gathered Spotify data for 12 of the 14 tracks the Brauers say they received no compensation for. If the Brauers had been compensated to reflect the contributions they say they made on these tracks, they would have earned about $263,000 to date ? $223,000 in publishing royalties and another $40,000 in producer?s fees ? on Spotify alone. That estimate could likely balloon to more than $1.3 million when royalties from plays at other digital services and radio are taken into account, not to mention global sales.

Billboard estimates that the 12 tracks ? which include Alok and Liu?s ?All I Want?; Alok and his brother Bhaskar?s ?Fuego?; and Alok?s ?Favela,? featuring Ina Wroldsen ? have received a combined 1.024 billion plays and generated a combined total of nearly $4.13 million, in label payments ($3.38 million) and publishing royalties ($748,000) from Spotify. And using a standard producer?s rate of 4% royalty in addition to whatever flat fee producers of those 12 tracks were paid, Billboard estimates a total producer fee payout of $135,000.

As with many young artists that fail to understand the importance of contracts and lawyers ? and the need to ask for credit and compensation ? the Brauer brothers hoped to leverage their association with a rising star into a brighter future. They hesitated to advocate for themselves, and at one point even rejected Alok?s offer to pay them for work on two ghost-produced songs and to give them royalties on a third. Initially, they say,they did not fully understand royalties, and felt they were ?getting a fair share in return in terms of opportunities and partnerships.?

The Brauer family has provided evidence to Billboard to support their claims, including emails and WhatsApp exchanges with Alok stretching over six years ? as well as audio recordings of Alok discussing production requests, finalized tracks and Sevenn?s management contract with So Paulo-based Artist Factory.

These materials show how Alok leaned heavily on the Brauers to keep his new music flowing as he became the best-known dance-music DJ to emerge from Latin America, with 19 million monthly listeners on Spotify, as well as a social-media influencer with 26 million Instagram followers who typically earns more than $10,000 per paid post, according to his former manager.

In a response to repeated requests for comment, Alok?s management team sent an email declining to address specific questions but contending that ?in spinning a false narrative? Kevin and Sean were ?trying to portray themselves as victims and litigate their disputes with Alok in the press, as well as the court of public opinion. Alok has no intention of taking the bait.?

The response notes that Alok has ?an ongoing lawsuit against Sevenn in Brazil arising from Sevenn?s failure to credit and pay Alok for a number of Sevenn?s record releases.? (The lawsuit, which Billboard has reviewed, was one of two filed by Alok?s team this month and came more than eight weeks after Billboard first sought comment. This one was filed on Jan. 12 in a So Paulo civil court, and focused on five tracks, including ?BOOM” with Tisto.)

DJ Alok

Alok

The Sevenn-Alok situation illustrates a larger issue that has been bubbling up in the dance music world for years: the role and treatment of ghost producers. Big DJs have relied heavily on uncredited producers to keep them relevant, especially during the heady days of the EDM boom from 2010 to 2016 when DJs began touring the world much of the year, often at the expense of studio time.

DJs developed factory-like systems where ghost producers work as salaried employees and get an occasional publishing credit. Some superstar DJs, including Steve Aoki, oversee the work of uncredited but compensated ghost producers in an executive producer-like capacity, according to two industry sources. (A spokesman for Aoki said he was unavailable for comment.) Others, like Tisto, have mentored talented young producers ? including Avicii, Hardwell and Martin Garrix ? in exchange for music that keeps the mentor?s music fresh. In many cases these are ?collaborations? in name only.

?Some of the world?s greatest EDM music has been made in collaboration ? sometimes with other artists, and sometimes with uncredited producers,? says Lorne Padman, a producer and vp at Dim Mak, Aoki?s label. ?The important element is to ensure that the uncredited producer is fairly compensated with a deal they are happy to agree to, that gives them either a fee, master royalty, publishing split, or a combination of any of these. What is not fair is to compensate with nothing ? that is just straight theft and protectable via copyright law ? or to strong-arm a bad deal after the fact.?

For DJ-producers committed to making their own music, the wide use of ghost producers is a source of frustration. ?We live in the age of Milli Vanilli, and almost everyone that?s famous is the Milli Vanilli,? says Dutch artist Laidback Luke, referring to the late-?80s R&B duo that was stripped of its Best New Artist Grammy when it was revealed members Fab Morvan and Rob Pilatus had been been cast to lip sync vocals recorded by others. Today?s EDM DJ?s ?are brands,? he says. ?They make money. They have a following, and they get consumed.?

In the case of Sevenn, Alok never offered regular salaries for music production, the Brauer brothers say, and rarely paid them anything. Even when Alok had opportunities to prove his production mettle, like a 2017 remix of Mick Jagger?s ?Gotta Get a Grip,? he turned to Sean Brauer to rework the track from start to finish ? without paying or crediting Sevenn, they say.

Their working arrangement was loose and ad-hoc. ?It was like, ?Come hang out, come work,? that level of like, ?we?re buddies,?? says Carol Brauer, one of Sean and Kevin?s sisters, who is helping oversee Sevenn?s financial affairs. The brothers, says Kevin, 29, would work with Alok for ?eight, nine hours and then [he would] not even offer you a fucking penny for the work.?

But coming out of the Children of God, ?we were like little blank CDs,? says Sean, 33. ?We were entrusting everything to our lord and savior papa Alok. We had no idea of the world. We had no idea how business works. All we knew how to do was make music.?

Says Kevin: ?We were fucking nave.?

?Culty Prisoners? and Music Studios

Sean Brauer says today that he and his siblings were ?culty prisoners? of Children of God. Their mother doesn?t see it that way. With all the restrictive rules in the community, Jody Brauer made sure that music was a big part of her children?s lives.

Jody built music studios, including the one at her 13-acre compound, known as The Oasis, and another in Rio, for Spencer, who helped found Fleetwood Mac in 1967 and then left the band abruptly in 1971 to join Children of God after meeting some missionaries in Los Angeles. While Jody was ?not a model member,? she says, ?it was advantageous to keep me in the group because, hey, I was building studios. There was a lot of music coming out of those studios, not just for my kids, but for other people.?

The daughter of a Hollywood TV producer father, Jody Brauer grew up in the fast lane in southern California. After nearly dying from a cocaine overdose, she says she encountered some ?traveling minstrels? from Children of God who encouraged her to get clean by joining them in Brazil, where the religious sect was sending missionaries.

After arriving in Rio in 1976, she met a Brazilian federal policeman, Edson Oliveira, and embarked on a 30-year love affair that produced eight children.

Community members were only supposed to listen to music made within Children of God, which believed that a large pyramid called the Kingdom of Heaven would land on Earth and only the group?s followers would be allowed to go there. (Children of God had communities around the world, and among those who grew up in the cult were actors Joaquin Phoenix and Rose McGowan.)

Children of God

Children of God

As Sean was discovering electronic music, Kevin formed a one-man ?Disney metal? band and learned to play several instruments and to do multi-track orchestral arrangements. Kevin traveled around Rio and to So Paulo with a Children of God cover band that played classic rock and country songs.

?You weren?t allowed to have money, everyone was equal,? Sean says. ?We would go to stop lights and sell CDs of music made by the group and preach the word of God and try to get more people to join the cult. And some of the pretty girls would go out ?flirty fishing.? They would try to find rich men to partner with so that they would get money.?

Flirty Fishing was a recruitment practice of Children of God, and founder David Berg also instructed followers to practice ?sexual sharing,? which involved having sex with minors ? and even family members. In 1995 a British judge ruled that the group, and some of its top leaders, had engaged in abusive sexual activities involving minors ? though Children of God had abandoned those practices by that point. (The group later changed its name to The Family of Love and, more recently, to The Family International.)

Jody Brauer says she didn?t engage in such abusive practices at her compound in Rio or allow others to do so with her children, but the shift in that direction led her and other Brazilian members to exit the group. Even after the sect began collapsing around 2008, Kevin and Sean lived on and off at The Oasis until 2017.

From ?BYOB? To ?BOOM?

Sean Brauer was going nowhere fast in the music industry.

A decade after his first rave, he was struggling financially and tired of working as an uncredited ghost producer charging a few hundred dollars per song. Then in late 2015, a European DJ who Sean had been working with flew him to Portugal to help him produce new music. In Lisbon, he met Alok. The son of two psytrance DJs who?d founded the weeklong Universo Paralello (Parallel Universe) rave in northern Brazil, Alok was already a well-known DJ with model good looks and a flair for marketing and promotion. As he rose from the underground into a pop star, he faced criticism from the Brazilian psytrance community, who considered him a sell-out.

For Sean, Alok was a way in. ?For the first time in 10 years, my career actually had a glimpse of hope,? Sean says. But while in Portugal, Brauer learned his father was in a coma, and he soon headed back to Brazil. Days later, Sean sent Alok his rough demo of a remix of ?B.Y.O.B.,? a song by metal band System of a Down, promising to polish it. ?This is incredible,? Alok responded. ?Send it.?

When it came time to choose a DJ name, Sean turned to Kevin, who was teaching English in Rio and still dreaming of being a rock star. ?Do you want to travel the world and be a DJ?? he asked his brother. And Sevenn (Sean + Kevin) was born.

Days later, Sevenn released ?Colors of the Rainbow,? a moody ?sad song for dad? they wrote after their father died (their sister Kathy Brauer is the featured singer). In producing the two songs, Sean says he experimented with bass sounds and created two presets ? a knock or ?thonk,? and a longer ?ripped up saw wave with a filter on it? ? which became the signature for what Alok later dubbed Brazilian Bass. ?It was very simple,? Sean says. ?I wasn’t trying to be innovative in that sense?but then everyone and their dog started doing it.?

After ?BYOB? was released, Alok promised the Brauers a big future. ?You?re going to be the top 1 ?EDM? [act] in 2 years,? he texted Sean in Portuguese on Dec. 24, 2016. ?I?m going to transform you and your brother into two monsters of the market.?

Alok, via Artist Factory, an artist agency he was a partner in, and his then-manager Marcos ?Marquinhos? Arajo, delivered Sevenn their first live gigs, initially for 2,000 reais (about $500) for Tomorrowland Brasil in May 2016 and later upwards of 10,000 reais (about $2,500) for weekly gigs. Sevenn also played the flagship Tomorrowland in Belgium in 2018 and 2019. Alok assigned a manager to them, Gabriel Lopes, another partner in the agency. (By contrast, by late 2018 Alok was averaging $100,000 to $150,000 per show, according to Arajo.)

The Brauer brothers, in turn, say they tried to help Alok however they could, sending him ideas, demo tracks and mastered versions of requested music, sometimes from the road ? often with quick turnarounds. ?I need a massive intro for Sunday at Villa Mix. Could you guys help me? I have to finish 4 songs yet. I am fucked,? Alok wrote to the Brauers in June of 2017. ?Fuck let?s do it, what style are you thinking?? replied Kevin, who says he worked from 7 p.m. to 5 a.m. the next day to get the requested ?massive intro? done.

Alok seemed to have a sense of what he wanted, regularly sending Sevenn reference tracks and videos, and directing them to make the songs in specific beats per minute. ?So, I want something sophisticated but also with orchestra,? Alok said in a Whatsapp voice message to Kevin when requesting the Villa Mix intro. ?You know that soundtrack you made for my video of Samsung? It?s crazy. I love that kind of introspective intro.?

By late 2016 the Brauers say they were becoming nervous about working with Alok. That November, Kevin wrote a track for a Budweiser ad, ?Love Is A Temple,? for which Alok was paid about $200,000, according to Arajo. Kevin says he received no producing credit. Then when the duo created ?BOOM? ? which would become their biggest streaming hit to date with 158 million streams on Spotify ? they released it before Alok had a chance to show it to other big DJs. ?We thought [Alok] was kind of going to take it for himself,? Sean says.

Sevenn

Sean and Kevin Brauer, the original members of Sevenn

With Sevenn?s original version of the track already out, Alok took ?BOOM? to Tisto and introduced him to Sevenn. The Dutch DJ split credit with the duo and divided the royalties evenly. That March, when Tisto played ?BOOM? at Ultra Miami he brought the brothers on stage. ?Brazilian Bass in the house? he told the crowd, as Sean, sporting his trademark mohawk, jumped up and down with his brother. (Spinnin? released the song in April of 2017. To date, Tisto has not released a track with Alok.)

?Tisto was incredible to us,? says Sean. ?We didn?t expect it at all, because it was the exact opposite of what we had from Alok.?

Now Alok, in his lawsuit, is claiming he is owed an undetermined amount of royalties for ?BOOM,? along with ?Tam Tam,? ?Beautiful Tonight,? ?BYOB (Sevenn remix)? and ?It?s Always You.? Eduardo Senna, Sevenn?s lawyer, called it an ?absolutely bogus lawsuit,? adding that ?never in my entire career have I seen a lawsuit filed with no narrative and no evidence attached whatsoever.?

At Netherlands-based Spinnin?, Jorn Heringa, the head of A&R, says he was unaware of how much of Alok?s music Sevenn was producing ? and how little credit or compensation they were getting. ?Honestly, I never heard anything about this,? he says. ?I knew the Sevenn guys and Alok were doing things together, but I always thought they were friends, and they were helping each other out?Alok was a flagship in that territory.?

In November, Universal Music Publishing Group signed Alok to an exclusive global publishing deal. A source familiar with the deal says it is a go-forward arrangement that doesn?t include music published before 2020; Alok?s management says Kobalt administers his catalog. (A spokesperson for Kobalt says the publisher does not administer any of the 14 tracks in question.).

After ?BOOM,? the Brauers, still clinging to the belief that he had their best interests at heart, continued to produce for Alok.

During that period, however, Alok did offer to pay the brothers for some of their work. In July of 2017 he said he would send them $10,000 for the Budweiser ad and for the master of the Jagger remix. ?Hahahahahahaha you?re funny!! Dude you don?t have to pay for anything,? Sean wrote back on Whatsapp. ?Dude no way you already paid for it,? added Kevin. ?Let me do this?I will feel better,? Alok countered, who said in the same exchange that he would put Sevenn on the royalties for ?Suave,? a collaboration with sertanejo duo Matheus and Kauan.

The Brauers say they regret shrugging off Alok?s offer. They also say they don?t believe it was real, perhaps a sign they failed to understand their own value. ?We?d never received money like that before,? says Kevin. ?$10k was unfathomable.? (Alok seems to have taken the Brauers at their word; he neither paid them for ?Suave? nor added them to the publishing credit, says Kevin.)

Alok

Alok Performs In Newark, NJ at Bar Code on Feb. 23, 2018 in Newark, New Jersey.

By August of 2018, Sevenn were starting to feel exploited and were becoming frustrated with Lopes, their manager. The Brauers wanted out of a 10-year contract they?d signed in 2017 which paid Artist Factory 40% of their gig and other income. They say Alok and his partners dragged their feet on contract discussions for more than a year ? at one point, Alok denied the management contract even existed, according to a recording of a call between him and Kevin ? and were holding back the duo?s career.

Lopes, the Brauers say in a statement, ?did little to nothing in terms of managing us. He didn’t stand up for us in terms of getting royalties, advising us on strategic direction, helping us with AF’s booking errors that ended up costing us, and helping us to go after commercial opportunities.? (Lopes did not respond to requests for comment.)

Still, amid building tension, Alok did give the duo some producing credits in the ensuing months. In June 2019 he released a remix of Pink Floyd?s ?The Wall? and then ?Symphonia? the following February, both as collaborations with Sevenn. (Alok gave Sevenn 40% of all royalties on ?The Wall? and split them evenly on ?Symphonia,? Kevin says.)

In December 2019, the Brauers learned their mother had stage-four pancreatic cancer. Sean headed to Paso Robles, Calif., to care for her ? handing off the reins of Sevenn to his brother. For Sean, suddenly faced with the prospect of mounting medical bills, it was a breaking point.

?After everything that was happening and watching Alok just explode, explode and explode and get bigger and bigger, then everything kind of built up on me and I flipped out,? he says. ?You just want to give your fucking dying mom a good life and you don’t expect somebody who could be helping not to help, the person who’s saying he’s your dad, he’s your brother, ?I love you,?? Sean says, his voice cracking. ?[Alok] cried when he found out mom had cancer. How can you not offer to fucking help??

Sean says it was then that he finally ?woke up? and started pushing back harder. By late 2020, he became incensed that Alok?s team had allegedly used his music stems to create tracks for Alok?s Controversia Records label (which is part of Spinnin?), including for Alok?s remix of Meduza?s ?Piece Of Your Heart? ? with no offer to compensate him.

?Brother, help me,? he texted Alok in Portuguese on Dec. 21, 2020. ?Your business partners already stole my music and now they are making various songs and helping your career with MY sound. I don?t have any problem with it, I want the best for you and for your career to grow as much as possible! But could you please talk to them about arranging for me to get a percentage of the royalties for these tracks?? (Alok did not respond to the text, Sean says, and it was the last time he texted the Brazilian DJ.)

Two days later, he followed up on email to Alok?s managers, writing that ?it?s unbelievably unfair to me that my style and my sounds are being used without my consent to create music.?

The Alok-Arajo Feud Boils Over

Back in Brazil, by late 2020 tensions were also building between Alok and Arajo, the powerful Brazilian manager-promoter and owner of AudioMix, which controls the festival company Villa Mix.

Alok had taken sides in the split of Arajo and his ex-wife Ptala Barreiros, lending her some security guards after she filed for a restraining order. In a series of videos, she accused Arajo of domestic abuse. Arajo has declined to comment on the allegations, saying through a lawyer on social media that Barreiros was seeking to ?mislead public opinion? and was ?persistently distorting reality.?

After the feud exploded in the Brazilian media, some of Arajo?s top clients, including Alok, started to break with the manager.

Arajo and Alok dissolved their business partnership in April, with Arajo saying he accepted payment for the separation penalty of 20 million reais ($3.5 million) in the form of a private plane valued at 15 million reais ($2.7 million). But he says Alok ended up selling the plane without his authorization and still hasn?t compensated his ex-manager for the negotiated penalty.

Since then, Arajo, who says he only learned last year the extent to which Sevenn had been involved in Alok?s music production, has been trying to settle contract issues with Alok and Sevenn in order to sign Kevin Brauer as a client.

Last July, Kevin finally reached his own breaking point. A lawyer representing Alok wrote to Arajo?s lawyer asking Sevenn to sign a statement that ?Alok never appropriated any of [Kevin] or his brother?s musical productions,? according to a text message. If the Brauers signed, the lawyer said, Alok and Artist Factory would release Sevenn from their management contract without charging the 20 million reais break fee. Sevenn refused to sign.

Two months later, Kevin says, Alok ripped off his stage intro and played unreleased Sevenn-Alok collaborations to open his set at the Untold festival in Romania. ?He actually fucking posted it on Instagram and that?s where some of my fans tagged me,? Kevin says. (The opening of Alok?s set and Sevenn?s Tomorrowland 2019 set are remarkably similar.)

In recent months, the tight-knit Brauer clan has rallied around Sean and Kevin.

?I think [Alok] just saw how innocent the boys were,? says Jody Brauer, who has been undergoing a new round of chemotherapy. ?It was angering because I was like, ?Hey wait you guys, he?s stealing from you.? ?But mom, he?s helping us.??After a while, it started getting to be ridiculous?It just got to where we were almost being, like, stupid.?

Carrying the Sevenn Banner

Now estranged from Alok, Kevin is continuing to carry the banner for Sevenn. He is developing new music for a sound he?s dubbed ?hybrid techno? ? which he describes as a blend of ?pop-melodic house-techno? with ?great vocalists.? He?s working on a new track with Tisto featuring a vocal from a 75-year-old jazz crooner, which he pitched to the Dutchman, and on a potential collaboration with Timmy Trumpet, he says.

Sevenn signed a three-year deal in late November with William Morris Endeavor for exclusive bookings outside of Brazil. (Box Talents, another artist agency of which Alok is a partner, handles bookings inside of Brazil.) The brothers continue to help each other with their music, with Sean content to live in So Paulo and focus on producing, while Kevin tours the world as Sevenn.

In November, Kevin played a show in Tucson, Ariz., before flying to Rio two days later for an Alice in Wonderland-themed rave at a marble shaping shop, earning a 12,000-reais (about $2,200) payday to spin for 1,500 people. Backstage after his 90-minute set, with sweat dripping from his bleached blonde hair held up by a red bandana, thoughts of his brother Sean, their struggles with Alok ? and the nature of loyalty and partnership ? were not far off.

?When Sean told me he?s going to be Sevenn, I said, ?Look, regardless of what you do, half of Sevenn is always yours, this is your baby,?? Kevin said. ?I?ll do whatever it takes to keep this thing going. He gave me this opportunity. I can?t make it without him.?

Sevenn

Sevenn

On New Year?s Eve, Alok headlined a festival on Pipa Beach in the north of Brazil, one of five shows he did in four days ? after returning from South Korea, where he promoted his recent single, ?Squid Game (Let?s Play).? Sevenn, meanwhile, played a private New Year?s party at an undisclosed location in Brazil.

Days later, Senna, Sevenn?s lawyer, determined that Arajo, as a managing partner in Artist Factory, could unilaterally terminate the contract with Sevenn without penalty, and he did so on Jan. 10, seemingly ending the contract dispute. (That same day, however, a lawyer for Alok filed the other lawsuit in So Paulo against Sevenn, this one claiming they were not fulfilling their contractual obligations under the Artist Factory contract, which Senna says ignored the waiver signed by Arajo.)

Then, last Friday (Jan. 14), Alok released a new song, ?Un Ratito,? a reggaeton collaboration with Luis Fonsi, Lunay, Lenny Tavrez and Juliette. Kevin had begun producing the track in 2017 as ?Let?s Make Love (nanananana).? This time Kevin was listed in the Spotify song credits as one of 14 writers, but not as a producer. Kevin shared his original demo with Billboard, on which he sings and plays the guitar, along with text and voice-message exchanges with Alok about the song and links to at least five other versions he and Sean sent to Alok stretching to mid-2018.

?The melody, the drums, the guitar ? almost everything you hear there was something I did,? Kevin says. ?The production is mine.?

Alok did not ask Sevenn for authorization to release the track, Kevin says, nor did he pay Sevenn anything for their work on the song or discuss giving them any share of the publishing. Arajo says he sent the original demo of the song to Universal Brasil President Paulo Lima some four years ago, pitching it as an Alok-Sevenn-Luis Fonsi collaboration. (Neither Lima nor a UMG spokesperson responded to requests for comment.)

Despite their complicated history, Sevenn say they did not intend to pursue legal action against Alok for royalties or publishing splits. But given the latest development with ?Un Ratito,? which had more than 1.8 million streams on Spotify as of Thursday, the Brauers say they are now reassessing that position with their legal team.

“Honestly, it’s shocking that once again my work is being used unfairly,? says Kevin. ?It feels like another betrayal. This is a case in point of what we’ve been saying. To the young and upcoming artists out there, we hope this serves as a warning to know your rights and treat it like a business.”

Additional reporting by Ed Christman


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Boxoffice Insider: Wide Range In Top NYC Concert Draws
 
Posted: 20 Jan 2022, 9:40 pm

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Sony Music Publishing UK Launches Second Songs Joint Venture
 
Posted: 20 Jan 2022, 9:08 pm

Sony Music Publishing UK has teamed up with creative executives Caroline Elleray and Mark Gale to launch Second Songs, a joint venture publishing and songwriter management company. Helmed by both Elleray and Gale, who both previously served as executives at Universal Music Publishing Group, Second Songs will focus on making sustainable careers for both developing and established songwriters.

Under its management arm, producer and songwriter Steph Marziano— who has penned songs with Hayley William, Matilda Mann, Denai Moore and more — will act as Second Songs’ first signee. At this time, there have been no announcements regarding publishing clients.

During their tenure at UMPG, Elleray and Gale were responsible for signing some of the hottest artists and writers of the last two decades, including Coldplay, The xx, Mumford & Sons, Rex Orange County, Little Simz, Tom Misch, Bastille, Chvrches, Jin Jin, Sigala, Laura Mvula, and Matt Hales.

?Caroline and Mark?s reputations speak for themselves, but what is most exciting and inspiring about Second Songs is the prospect of them bringing all of their experience, energy, know-how and talent into a venture of their own design,? says Tim Major, co-managing director, Sony Music Publishing UK, of the partnership. ?They are passionate and caring executives who live and breathe music and relentlessly support the careers of the people that they work with. Their ethos for the Second Songs publishing venture chimes beautifully with our own ? from creating an environment where the songwriter is always put first to helping to nurture young talent into the industry ? and we are thrilled to be partnering with them.?

Elleray adds, ?we are incredibly excited to be launching this partnership and have been immensely impressed by the people we have met at Sony Music Publishing. Their approach under the leadership of Jon, Tim and David is inspiring. Mark and I have always advocated for and championed the songwriters and artists we have signed with passion and unwavering belief. We hope to continue to foster this culture with Second Songs and are humbled by the support SMP has shown us.?

?Steph is a wonderful person and hugely talented. We share similar music taste and the same ethics and ethos, which is essential to us as we grow our business into a modern, forward thinking music company,” says Gale.

Along with their publishing and management initiatives, Elleray and Gale, through Second Songs, plan to create a program called “In The Loop” to help aspiring music industry professionals find a pipeline into a career.


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Sony Music Publishing UK Launches Second Songs Joint Venture
 
Posted: 20 Jan 2022, 9:08 pm

Sony Music Publishing UK has teamed up with creative executives Caroline Elleray and Mark Gale to launch Second Songs, a joint venture publishing and songwriter management company. Helmed by both Elleray and Gale, who both previously served as executives at Universal Music Publishing Group, Second Songs will focus on making sustainable careers for both developing and established songwriters.

Under its management arm, producer and songwriter Steph Marziano— who has penned songs with Hayley William, Matilda Mann, Denai Moore and more — will act as Second Songs’ first signee. At this time, there have been no announcements regarding publishing clients.

During their tenure at UMPG, Elleray and Gale were responsible for signing some of the hottest artists and writers of the last two decades, including Coldplay, The xx, Mumford & Sons, Rex Orange County, Little Simz, Tom Misch, Bastille, Chvrches, Jin Jin, Sigala, Laura Mvula, and Matt Hales.

?Caroline and Mark?s reputations speak for themselves, but what is most exciting and inspiring about Second Songs is the prospect of them bringing all of their experience, energy, know-how and talent into a venture of their own design,? says Tim Major, co-managing director, Sony Music Publishing UK, of the partnership. ?They are passionate and caring executives who live and breathe music and relentlessly support the careers of the people that they work with. Their ethos for the Second Songs publishing venture chimes beautifully with our own ? from creating an environment where the songwriter is always put first to helping to nurture young talent into the industry ? and we are thrilled to be partnering with them.?

Elleray adds, ?we are incredibly excited to be launching this partnership and have been immensely impressed by the people we have met at Sony Music Publishing. Their approach under the leadership of Jon, Tim and David is inspiring. Mark and I have always advocated for and championed the songwriters and artists we have signed with passion and unwavering belief. We hope to continue to foster this culture with Second Songs and are humbled by the support SMP has shown us.?

?Steph is a wonderful person and hugely talented. We share similar music taste and the same ethics and ethos, which is essential to us as we grow our business into a modern, forward thinking music company,” says Gale.

Along with their publishing and management initiatives, Elleray and Gale, through Second Songs, plan to create a program called “In The Loop” to help aspiring music industry professionals find a pipeline into a career.


Read the full article

............................................................



Sony Music Publishing UK Launches Second Songs Joint Venture
 
Posted: 20 Jan 2022, 9:08 pm

Sony Music Publishing UK has teamed up with creative executives Caroline Elleray and Mark Gale to launch Second Songs, a joint venture publishing and songwriter management company. Helmed by both Elleray and Gale, who both previously served as executives at Universal Music Publishing Group, Second Songs will focus on making sustainable careers for both developing and established songwriters.

Under its management arm, producer and songwriter Steph Marziano— who has penned songs with Hayley William, Matilda Mann, Denai Moore and more — will act as Second Songs’ first signee. At this time, there have been no announcements regarding publishing clients.

During their tenure at UMPG, Elleray and Gale were responsible for signing some of the hottest artists and writers of the last two decades, including Coldplay, The xx, Mumford & Sons, Rex Orange County, Little Simz, Tom Misch, Bastille, Chvrches, Jin Jin, Sigala, Laura Mvula, and Matt Hales.

?Caroline and Mark?s reputations speak for themselves, but what is most exciting and inspiring about Second Songs is the prospect of them bringing all of their experience, energy, know-how and talent into a venture of their own design,? says Tim Major, co-managing director, Sony Music Publishing UK, of the partnership. ?They are passionate and caring executives who live and breathe music and relentlessly support the careers of the people that they work with. Their ethos for the Second Songs publishing venture chimes beautifully with our own ? from creating an environment where the songwriter is always put first to helping to nurture young talent into the industry ? and we are thrilled to be partnering with them.?

Elleray adds, ?we are incredibly excited to be launching this partnership and have been immensely impressed by the people we have met at Sony Music Publishing. Their approach under the leadership of Jon, Tim and David is inspiring. Mark and I have always advocated for and championed the songwriters and artists we have signed with passion and unwavering belief. We hope to continue to foster this culture with Second Songs and are humbled by the support SMP has shown us.?

?Steph is a wonderful person and hugely talented. We share similar music taste and the same ethics and ethos, which is essential to us as we grow our business into a modern, forward thinking music company,” says Gale.

Along with their publishing and management initiatives, Elleray and Gale, through Second Songs, plan to create a program called “In The Loop” to help aspiring music industry professionals find a pipeline into a career.


Read the full article

............................................................



Recording Academy Helped Nearly 2,000 Music Professionals Explore Healthcare Coverage
 
Posted: 20 Jan 2022, 7:28 pm

As someone who has worked in the music industry for decades as a producer, songwriter and music supervisor, Harvey Mason jr. has seen first-hand as fellow musicians struggled with the cost of health insurance. Now that he is CEO of the Recording Academy, Mason had a chance to do something about it.

That was the impetus behind the academy?s partnership with Stride Health, a health benefits platform which helps individuals find affordable health, dental, vision and life insurance. The service searches through all of the Affordable Care Act health insurance plans available, checks to see if users qualify for financial assistance, and then helps choose the right plan.

The academy?s push drove nearly 3,000 U.S.-based members and other music professionals to the Stride Health x Recording Academy onboarding page. Approximately 63% of those visitors (1,871) unlocked recommended healthcare coverage plans for them and their families by the Jan. 15 deadline for coverage starting Feb. 1. (The deadline to enroll for California residents was recently extended to Jan. 31.)

Just 4% (or 77) of the individuals who received recommended plans enrolled directly on the site. But that figure doesn?t include individuals who couldn?t enroll on the Stride Health site because of their location (16 states and the District of Columbia don?t allow it), or individuals who opted to use Stride Health as a tool to get healthcare recommendations and then enrolled directly on the insurance providers? sites.

?As a music person, I?ve seen and been around a lot of people that don?t have coverage and don?t even know where to start to get it,? Mason jr. says. ?None of us work for big organizations or corporations. For the most part, we?re independent contractors or we?re running our own small businesses. Insurance has always been something that people around me have been unsure of and possibly struggled to get.

?I?ve been around a lot of musicians and music creators that have not gone to the doctor because they don?t have insurance. Or they have not gotten a procedure done because they couldn?t afford it. Or I?ve heard from people saying they?re saving their royalties to have a baby. These are real stories that have come across my radar in my career, so I thought it?s something we can do something about.?

According to aMusiCares ?Wellness in Music? survey conducted in late 2020 and early 2021, 19% of survey respondents (people working in the music community) stated they did not have health insurance, compared with just 8% of the general population. Of those, 64% said the reason was that they couldn?t afford it.

?It was something I was very passionate about,? Mason says; ?something I always wondered why we had not done. It was something we talked about at board meetings back when I was a trustee.?

The Recording Academy took the lead on this project, rather than their philanthropic partner MusiCares, because the latter organization was consumed with COVID-19 relief efforts.

Mason says the academy expects to mount this effort again next year. It got a late start in the just-closed enrollment period, but hopes to be on time in the open enrollment period which will begin Nov. 1.

Open enrollment for 2022 health coverage opened nationwide on Nov. 1, 2021. In most states, it ended on Jan. 15. In most states, enrollments completed between Dec. 16 and Jan. 15 will take effect Feb. 1.

?The numbers have shown that there is a demand and a need for this,? Mason says. ?[Nearly] 3,000 had questions about insurance/healthcare. Of those 3,000, 63% went through the entire program and got a recommendation for new coverage. That?s almost 2,000 people that got information about insurance that wouldn?t have had it had we not started this program.?

Stride Health, like all insurance brokerage firms, receives a commission on each person they sign up for health coverage, but the Recording Academy isn?t compensated.

“What we get [out of it] is the feeling of 2,000 music people not having to worry about their coverage and being able to do what they love to do, which is create and work in music,” says Mason, “instead of being overly concerned or stressed out about what are they going to do for their healthcare needs.”


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............................................................



Recording Academy Helped Nearly 2,000 Music Professionals Explore Healthcare Coverage
 
Posted: 20 Jan 2022, 7:28 pm

As someone who has worked in the music industry for decades as a producer, songwriter and music supervisor, Harvey Mason jr. has seen first-hand as fellow musicians struggled with the cost of health insurance. Now that he is CEO of the Recording Academy, Mason had a chance to do something about it.

That was the impetus behind the academy?s partnership with Stride Health, a health benefits platform which helps individuals find affordable health, dental, vision and life insurance. The service searches through all of the Affordable Care Act health insurance plans available, checks to see if users qualify for financial assistance, and then helps choose the right plan.

The academy?s push drove nearly 3,000 U.S.-based members and other music professionals to the Stride Health x Recording Academy onboarding page. Approximately 63% of those visitors (1,871) unlocked recommended healthcare coverage plans for them and their families by the Jan. 15 deadline for coverage starting Feb. 1. (The deadline to enroll for California residents was recently extended to Jan. 31.)

Just 4% (or 77) of the individuals who received recommended plans enrolled directly on the site. But that figure doesn?t include individuals who couldn?t enroll on the Stride Health site because of their location (16 states and the District of Columbia don?t allow it), or individuals who opted to use Stride Health as a tool to get healthcare recommendations and then enrolled directly on the insurance providers? sites.

?As a music person, I?ve seen and been around a lot of people that don?t have coverage and don?t even know where to start to get it,? Mason jr. says. ?None of us work for big organizations or corporations. For the most part, we?re independent contractors or we?re running our own small businesses. Insurance has always been something that people around me have been unsure of and possibly struggled to get.

?I?ve been around a lot of musicians and music creators that have not gone to the doctor because they don?t have insurance. Or they have not gotten a procedure done because they couldn?t afford it. Or I?ve heard from people saying they?re saving their royalties to have a baby. These are real stories that have come across my radar in my career, so I thought it?s something we can do something about.?

According to aMusiCares ?Wellness in Music? survey conducted in late 2020 and early 2021, 19% of survey respondents (people working in the music community) stated they did not have health insurance, compared with just 8% of the general population. Of those, 64% said the reason was that they couldn?t afford it.

?It was something I was very passionate about,? Mason says; ?something I always wondered why we had not done. It was something we talked about at board meetings back when I was a trustee.?

The Recording Academy took the lead on this project, rather than their philanthropic partner MusiCares, because the latter organization was consumed with COVID-19 relief efforts.

Mason says the academy expects to mount this effort again next year. It got a late start in the just-closed enrollment period, but hopes to be on time in the open enrollment period which will begin Nov. 1.

Open enrollment for 2022 health coverage opened nationwide on Nov. 1, 2021. In most states, it ended on Jan. 15. In most states, enrollments completed between Dec. 16 and Jan. 15 will take effect Feb. 1.

?The numbers have shown that there is a demand and a need for this,? Mason says. ?[Nearly] 3,000 had questions about insurance/healthcare. Of those 3,000, 63% went through the entire program and got a recommendation for new coverage. That?s almost 2,000 people that got information about insurance that wouldn?t have had it had we not started this program.?

Stride Health, like all insurance brokerage firms, receives a commission on each person they sign up for health coverage, but the Recording Academy isn?t compensated.

“What we get [out of it] is the feeling of 2,000 music people not having to worry about their coverage and being able to do what they love to do, which is create and work in music,” says Mason, “instead of being overly concerned or stressed out about what are they going to do for their healthcare needs.”


Read the full article

............................................................



Recording Academy Helped Nearly 2,000 Music Professionals Explore Healthcare Coverage
 
Posted: 20 Jan 2022, 7:28 pm

As someone who has worked in the music industry for decades as a producer, songwriter and music supervisor, Harvey Mason jr. has seen first-hand as fellow musicians struggled with the cost of health insurance. Now that he is CEO of the Recording Academy, Mason had a chance to do something about it.

That was the impetus behind the academy?s partnership with Stride Health, a health benefits platform which helps individuals find affordable health, dental, vision and life insurance. The service searches through all of the Affordable Care Act health insurance plans available, checks to see if users qualify for financial assistance, and then helps choose the right plan.

The academy?s push drove nearly 3,000 U.S.-based members and other music professionals to the Stride Health x Recording Academy onboarding page. Approximately 63% of those visitors (1,871) unlocked recommended healthcare coverage plans for them and their families by the Jan. 15 deadline for coverage starting Feb. 1. (The deadline to enroll for California residents was recently extended to Jan. 31.)

Just 4% (or 77) of the individuals who received recommended plans enrolled directly on the site. But that figure doesn?t include individuals who couldn?t enroll on the Stride Health site because of their location (16 states and the District of Columbia don?t allow it), or individuals who opted to use Stride Health as a tool to get healthcare recommendations and then enrolled directly on the insurance providers? sites.

?As a music person, I?ve seen and been around a lot of people that don?t have coverage and don?t even know where to start to get it,? Mason jr. says. ?None of us work for big organizations or corporations. For the most part, we?re independent contractors or we?re running our own small businesses. Insurance has always been something that people around me have been unsure of and possibly struggled to get.

?I?ve been around a lot of musicians and music creators that have not gone to the doctor because they don?t have insurance. Or they have not gotten a procedure done because they couldn?t afford it. Or I?ve heard from people saying they?re saving their royalties to have a baby. These are real stories that have come across my radar in my career, so I thought it?s something we can do something about.?

According to aMusiCares ?Wellness in Music? survey conducted in late 2020 and early 2021, 19% of survey respondents (people working in the music community) stated they did not have health insurance, compared with just 8% of the general population. Of those, 64% said the reason was that they couldn?t afford it.

?It was something I was very passionate about,? Mason says; ?something I always wondered why we had not done. It was something we talked about at board meetings back when I was a trustee.?

The Recording Academy took the lead on this project, rather than their philanthropic partner MusiCares, because the latter organization was consumed with COVID-19 relief efforts.

Mason says the academy expects to mount this effort again next year. It got a late start in the just-closed enrollment period, but hopes to be on time in the open enrollment period which will begin Nov. 1.

Open enrollment for 2022 health coverage opened nationwide on Nov. 1, 2021. In most states, it ended on Jan. 15. In most states, enrollments completed between Dec. 16 and Jan. 15 will take effect Feb. 1.

?The numbers have shown that there is a demand and a need for this,? Mason says. ?[Nearly] 3,000 had questions about insurance/healthcare. Of those 3,000, 63% went through the entire program and got a recommendation for new coverage. That?s almost 2,000 people that got information about insurance that wouldn?t have had it had we not started this program.?

Stride Health, like all insurance brokerage firms, receives a commission on each person they sign up for health coverage, but the Recording Academy isn?t compensated.

“What we get [out of it] is the feeling of 2,000 music people not having to worry about their coverage and being able to do what they love to do, which is create and work in music,” says Mason, “instead of being overly concerned or stressed out about what are they going to do for their healthcare needs.”


Read the full article

............................................................



ABBA Settles Lawsuit Against ‘Parasitic’ Tribute Band With Similar Name
 
Posted: 20 Jan 2022, 7:08 pm

ABBA reached a settlement Thursday (Jan. 20) to end a lawsuit it filed against a British tribute band called Abba Mania that the iconic Swedish pop group had labeled ?parasitic.?

The agreement came just six weeks after ABBA filed the lawsuit, which claimed that Abba Mania?s use of the word “ABBA” in its name had infringed the band?s trademarks and would dupe some fans into thinking the tribute group was officially authorized by the original.

The public notice of the settlement, filed in federal court by ABBA?s attorneys at the law firm Fross Zelnick Lehrman & Zissu PC, did not include any specific terms, like whether money changed hands. But an attorney for ABBA confirmed to Billboard that Abba Mania had agreed to stop using the name. A representative for the defendants did not return a request for comment.

ABBA burst onto the scene in 1974 by winning the Eurovision Song Contest with the song ?Waterloo,? which peaked at No. 6 on the Billboard Hot 100. The band released several more top 10 hits, including the chart-topping ?Dancing Queen? in 1976. Abba Mania, meanwhile, has been touring since 2000 and is in the midst of an extensive tour of U.S. cities.

Tribute bands ? acts that exclusively cover the music of a particular band ? often adopt names that refer or allude to the original. They can typically avoid legal issues by clearly stating that they are not affiliated with the original. Such groups will often append ?A [Band] Tribute? after their name. According to ABBA?s lawsuit, ABBA Mania refused to do so, even when the band expressly asked them to.

?In an attempt to amicably resolve this dispute, [ABBA] explained how defendants could properly use the phrase ?ABBA Tribute? in a non-confusing manner to describe their tribute act so long as the actual name of the tribute act did not include the word ABBA,? attorneys for the band wrote in the lawsuit. ?But Defendants refused to comply and cease use of the name ABBA MANIA.?

The lawsuit named two corporate entities, TAL Entertainment Ltd. and Handshake Ltd., as well as individuals James Stuart Littlewood and Todd Littlewood.


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ABBA Settles Lawsuit Against ‘Parasitic’ Tribute Band With Similar Name
 
Posted: 20 Jan 2022, 7:08 pm

ABBA reached a settlement Thursday (Jan. 20) to end a lawsuit it filed against a British tribute band called Abba Mania that the iconic Swedish pop group had labeled ?parasitic.?

The agreement came just six weeks after ABBA filed the lawsuit, which claimed that Abba Mania?s use of the word “ABBA” in its name had infringed the band?s trademarks and would dupe some fans into thinking the tribute group was officially authorized by the original.

The public notice of the settlement, filed in federal court by ABBA?s attorneys at the law firm Fross Zelnick Lehrman & Zissu PC, did not include any specific terms, like whether money changed hands. But an attorney for ABBA confirmed to Billboard that Abba Mania had agreed to stop using the name. A representative for the defendants did not return a request for comment.

ABBA burst onto the scene in 1974 by winning the Eurovision Song Contest with the song ?Waterloo,? which peaked at No. 6 on the Billboard Hot 100. The band released several more top 10 hits, including the chart-topping ?Dancing Queen? in 1976. Abba Mania, meanwhile, has been touring since 2000 and is in the midst of an extensive tour of U.S. cities.

Tribute bands ? acts that exclusively cover the music of a particular band ? often adopt names that refer or allude to the original. They can typically avoid legal issues by clearly stating that they are not affiliated with the original. Such groups will often append ?A [Band] Tribute? after their name. According to ABBA?s lawsuit, ABBA Mania refused to do so, even when the band expressly asked them to.

?In an attempt to amicably resolve this dispute, [ABBA] explained how defendants could properly use the phrase ?ABBA Tribute? in a non-confusing manner to describe their tribute act so long as the actual name of the tribute act did not include the word ABBA,? attorneys for the band wrote in the lawsuit. ?But Defendants refused to comply and cease use of the name ABBA MANIA.?

The lawsuit named two corporate entities, TAL Entertainment Ltd. and Handshake Ltd., as well as individuals James Stuart Littlewood and Todd Littlewood.


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ABBA Settles Lawsuit Against ‘Parasitic’ Tribute Band With Similar Name
 
Posted: 20 Jan 2022, 7:08 pm

ABBA reached a settlement Thursday (Jan. 20) to end a lawsuit it filed against a British tribute band called Abba Mania that the iconic Swedish pop group had labeled ?parasitic.?

The agreement came just six weeks after ABBA filed the lawsuit, which claimed that Abba Mania?s use of the word “ABBA” in its name had infringed the band?s trademarks and would dupe some fans into thinking the tribute group was officially authorized by the original.

The public notice of the settlement, filed in federal court by ABBA?s attorneys at the law firm Fross Zelnick Lehrman & Zissu PC, did not include any specific terms, like whether money changed hands. But an attorney for ABBA confirmed to Billboard that Abba Mania had agreed to stop using the name. A representative for the defendants did not return a request for comment.

ABBA burst onto the scene in 1974 by winning the Eurovision Song Contest with the song ?Waterloo,? which peaked at No. 6 on the Billboard Hot 100. The band released several more top 10 hits, including the chart-topping ?Dancing Queen? in 1976. Abba Mania, meanwhile, has been touring since 2000 and is in the midst of an extensive tour of U.S. cities.

Tribute bands ? acts that exclusively cover the music of a particular band ? often adopt names that refer or allude to the original. They can typically avoid legal issues by clearly stating that they are not affiliated with the original. Such groups will often append ?A [Band] Tribute? after their name. According to ABBA?s lawsuit, ABBA Mania refused to do so, even when the band expressly asked them to.

?In an attempt to amicably resolve this dispute, [ABBA] explained how defendants could properly use the phrase ?ABBA Tribute? in a non-confusing manner to describe their tribute act so long as the actual name of the tribute act did not include the word ABBA,? attorneys for the band wrote in the lawsuit. ?But Defendants refused to comply and cease use of the name ABBA MANIA.?

The lawsuit named two corporate entities, TAL Entertainment Ltd. and Handshake Ltd., as well as individuals James Stuart Littlewood and Todd Littlewood.


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NatureWorks to Open New Headquarters and Advanced Biopolymers Research and Development Facility
 
Posted: 20 Jan 2022, 2:28 pm

By NatureWorks

LOCATED IN PLYMOUTH, MN, USA, THE NEW R&D CENTER WILL INCLUDE STATE-OF-THE-ART FACILITIES DEDICATED TO FERMENTATION RESEARCH AND DEVELOPMENT OF NEW APPLICATIONS USING INGEO? PLA BIOPOLYMER.

PLYMOUTH, Minn., January 20, 2022? In response to rapid growth in the market for sustainable biomaterials, NatureWorks today announced their intent to open a new headquarters and advanced biopolymer research facility in Plymouth, MN. Expanded laboratory capabilities will support research into the full circular lifecyle of Ingeo? biopolymers from next generation fermentation technology to new applications, to increased functionality.

The expanded R&D capabilities will also support the construction and operation of NatureWorks?s new fully integrated Ingeo PLA manufacturing complex located in Thailand. With an expected opening in 2024, the facility will have an annual capacity of 75,000 tons of Ingeo biopolymer and produce the full portfolio of Ingeo grades.

?In the face of these challenging times, we?ve designed a space that will enable research, invention, and collaboration between us, our partners, and the market, no matter where we are located in the world,? said Rich Altice, President & CEO of NatureWorks. ?These new facilities will help accelerate the pace of research and innovation as the urgent need for real, safe solutions that help address climate and environmental challenges from plastics and chemicals continues to grow.?

The new space is designed to embody NatureWorks?s mission to create sustainable, high-performance materials by incorporating low environmental impact materials including lighting, flooring, and art made with Ingeo as well as systems for reducing water and energy usage. A robust organics recycling collection system will divert food waste away from landfills to compost with compostable food serviceware, coffee pods, and tea bags all available to visitors and employees.

Whether participating in trials in our applications lab or meeting with employees, visitors will find a redesigned experience that facilitates collaboration and showcases examples of Ingeo in applications from appliances to 3D printing, to compostable and recyclable paper coatings.

The move to the new headquarters and R&D facility located at 17400 Medina Road, Suite 800, Plymouth, MN, 55447, USA will begin in February 2022.

For more information about NatureWorks and Ingeo, visitnatureworksllc.com, and follow NatureWorks on Twitter (@natureworks) for the latest updates.

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About NatureWorks

NatureWorks is an advanced materials company offering a broad portfolio of renewably sourced polymers and chemicals. With performance and economics that compete with oil-based materials, naturally advanced Ingeo? biomaterials are valued for their unique functional properties and used in products from coffee capsules and appliances to tea bags and 3D printing filament. NatureWorks is jointly owned by Thailand?s largest ASEAN leading integrated petrochemical and refining company, PTT Global Chemical, and Cargill, which provides food, agriculture, financial and industrial products and services to the world. Learn more atnatureworksllc.comand follow NatureWorks onTwitterandLinkedin.

Read the original press release here

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11th Hour Racing Awards Five New Grants to Advance Composting and Experiential Ocean Education
 
Posted: 20 Jan 2022, 2:25 pm

By 11th Hour Racing

Header image credit: Gather New Haven

As 11th Hour Racing enters its 11th year of philanthropic work, the organization announced today five new grants, funded by The Schmidt Family Foundation, to support environmental projects in Connecticut, Maryland, Hawai?i, and Rhode Island. 11th Hour Racing?s grantmaking strategy focuses on pilot programs that model sustainability best practices, advance ocean stewardship and create systemic change to restore ocean health.

These five grantees ? Baltimore Compost Collective, Gather New Haven, Martin Luther King, Jr. Community Center, Movement Education Outdoors and Polynesian Voyaging Society ? are first-time grantees of 11th Hour Racing and focus on providing experiential education, leading composting initiatives and offering youth development opportunities.

?At 11th Hour Racing, we believe that building a community committed to ocean stewardship and environmental sustainability starts with meaningful experiences for young people, particularly for communities that historically have had less access to the ocean,? said Michelle Carnevale, vice president of programming at 11th Hour Racing. ?We know that experiencing oceans, rivers, and lakes firsthand and seeing all of the natural wonders our planet offers can be inspirational and lead to community-wide participation in sustainable initiatives. We are proud to support these organizations that provide these experiences for young people along with pathways to future career opportunities.?

11th Hour Racing is accepting newgrant applicationsthrough Jan. 31, 2022. The organization awards grants globally and welcomes international organizations to apply.

The current round of grants includes the following organizations:

Baltimore Compost Collective(MD, U.S.) is a residential food scrap collection service with a youth entrepreneurship program that employs local teenagers and trains them in workforce skills, food sustainability programming, and community-scale composting. The workers receive guided, hands-on experience by managing a small-scale composting operation, and the compost they create is used in their local community garden to grow fresh produce.

Gather New Haven(CT, U.S.) hosts the Schooner Camp to teach students ages 6-14 experiential STEAM education with an environmental focus. The organization will develop a new curriculum incorporating composting and extending its marine ecology and on-water education activities into a year-round initiative. It also leads a Growing Entrepreneurs Program that empowers high school students to develop small-scale green ventures through urban farms, composting, and carpentry activities.

Martin Luther King, Jr. Community Center(RI, U.S.) nourishes, educates, and supports Newport County residents to improve their economic, social, and physical well-being. It provides student scholarships and will expand educational opportunities within its Early Childhood and After-School Academy childcare programs. MLK Center has recently added programs focused on movement and mindfulness, outdoor experiential learning, STEAM education, and environmental education.

Movement Education Outdoors(RI, U.S.) provides youth of color and who have limited economic resources with equitable access to experience the outdoors. The organization will expand its Agua Day Camp for students grades 6-8 and MEO Paddles for students grades 9-12 to develop water safety skills, environmental stewardship, and place-based ecological and historical literacy.

Polynesian Voyaging Society(HI, U.S.) will engage student navigators in storm training and the ancient science of non-instrument, wayfinding navigation while sailing through the ?Alenuih?h? Channel between the islands of Maui and Hawai?i in preparation for crossing the Pacific Ocean. The project will galvanize action on climate change and inspire ocean protection.

To learn more about 11th Hour Racing?s grant program,click here.

Read the original announcement here

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Fiserv Forum Awarded Prestigious LEED Gold Building Certification
 
Posted: 20 Jan 2022, 2:23 pm

By Johnson Controls

Fiserv Forum has been awarded with the prestigious LEED Gold Certification. Pictured (from left) are Korrine Haefel, U.S. Green Building Council; Sara Greenwood, Greenwood Consulting Group; Peter Feigin, Milwaukee Bucks; Dennis Williams, Fiserv Forum; and Nate Manning, Johnson Controls.

MILWAUKEE (January 14, 2022) ? Fiserv Forum has been awarded with the prestigious LEED Gold Certification. LEED (Leadership in Energy and Environmental Design), developed by the U.S. Green Building Council (USGBC), is the most widely used green building rating system in the world and an international symbol of excellence.

?The Milwaukee Bucks seized an opportunity to guarantee Fiserv Forum ensures a more sustainable, energy-efficient and healthy environment to allow our visitors and employees a healthier quality of life in our building,? said Dennis Williams, Senior Vice President and General Manager of Fiserv Forum. ?We are very proud of our efforts and stewardship in the community while providing first-class entertainment and championship basketball at Fiserv Forum.?

Prior to receiving the LEED Gold certification, Fiserv Forum earned USGBC?s LEED Silver certification in 2019, a year after the arena opened. Now, with the LEED Gold certification, the Bucks continue their commitment to ensuring the arena is performing as designed.

?Fiserv Forum has set the bar for the sports and entertainment industry by demonstrating how sustainable design, construction and operations not only reduce energy costs and the impact on the environment but enhance the fan experience with a state-of-the-art facility,? said Nate Manning, President, North America Building Solutions, Johnson Controls. ?Johnson Controls is proud to provide the energy efficient equipment, technologies and OpenBlue solutions that help drive forward Fiserv Forum?s commitment to sustainability and carbon neutrality.?

Monitoring the performance metrics for energy, waste and water has allowed Fiserv Forum to guarantee optimal building performance. Working closely with Greenwood Consulting Group, a certified women?s owned sustainability consulting firm with over 16-years of experience, Fiserv Forum decided to pursue recertification of both buildings using the Arc platform to get a more comprehensive understanding of how the buildings continue to perform in other areas beyond energy use.

?Now more than ever, the benefits of investing in high quality, healthy buildings are critical to the community at large,? said Sara Greenwood, Principal of Greenwood Consulting Group. ?Fiserv Forum has demonstrated a commitment to transparency when it comes to health and building operations, which is very commendable!?

Arc allows projects to track and report energy, water, waste, transportation and human experience to evaluate a building?s performance and understand how it compares to similar structures. Arc aligns with the LEEDv4.1 for Building Operations and Maintenance: Existing Buildings rating system and is considered a performance scoring tool examining data over a 12-month timespan to inform a building?s performance in key areas. Arc also allows owners to understand the carbon impact associated with a building?s performance over time and gives an initial score of 0-100 which can be improved throughout the years.

?Fiserv Forum?s LEED certification demonstrates tremendous green building leadership,? said Mahesh Ramanujam, President and CEO, USGBC. ?LEED was created to make the world a better place and revolutionize our buildings and communities by providing everyone with access to healthy, green and high-performing buildings. Fiserv Forum is a prime example of how the innovative work of project teams can create local solutions that contribute to making a global difference.?

Fiserv Forum achieved LEED Gold certification with a score of 75, which makes it among the leaders in sports and entertainment venues. Fiserv Forum is leading the charge to transform the market when it comes to sustainable building performance. In addition to energy efficiency and water conservation, Greenwood Consulting Group conducted air quality testing throughout the buildings resulting in confirmation of healthy indoor air quality. Visitors can feel safe coming to Fiserv Forum knowing their health has been prioritized. Moving forward, the arena is working closely with local manufacturing firm SC Johnson to explore ways in which waste can be reduced.

?Plastic waste is one of the great environmental challenges we face today, which is why we are proud to work with the Milwaukee Bucks and the Fiserv Forum to implement a closed-loop recycling process starting this season. It?s especially gratifying that this work contributed to Fiserv Forum?s LEED Gold certification,? said Fisk Johnson, Chairman and CEO of SC Johnson. ?By working together, we will collect the roughly 1 million plastic cups used at Fiserv Forum each year and directly recycle them into bottles for our Scrubbing Bubbles brand. This keeps a significant stream of plastic waste out of our environment, and we hope it encourages even more recycling for fans at home.?

Specific initiatives that contributed toward Fiserv Forum?s certification include:

  • Building efficiency is one of the most affordable ways to curb climate change.
  • Building efficiency can significantly reduce illness and death related to air pollution.

Fiserv Forum would also like to recognize Populous, Mortenson, EUA, Johnson Controls, SC Johnson and GFL Environmental as important contributing partners to this certification.

Fiserv Forum LEED Gold certification video can be foundhere.

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About the U.S. Green Building Council
The U.S. Green Building Council (USGBC) is committed to a healthy, resilient and equitable future for all through the development of green buildings, cities and communities. For more than 20 years, USGBC has been advancing green building practices through the development of LEED, the world?s most widely used green building program. With the support of thousands of members, volunteers and partners, USGBC provides robust green building education courses, a rigorous professional credentialing program, and advocates for effective public policies. It convenes an international network of green building and sustainability leaders through the annualGreenbuild International Conference & Expo, and forward thinking programs, including theCenter for Green Schools. For more information, visitusgbc.organd connect on Twitter, Facebook, Instagram and LinkedIn.

About Greenwood Consulting Group
The Greenwood Consulting Group is a Kansas City, Missouri-based, certified Women-Owned Business and is one of the world?s most sought-after Sustainable Building Consulting firms. The Greenwood Consulting Group has managed projects nationwide. Learn more atwww.greenwoodcg.com.

About Fiserv Forum
Fiserv Forum is a preeminent sports and entertainment arena in downtown Milwaukee that opened on Aug. 26, 2018. Designed by Populous,?Epstein?Uren?Architects and HNTB, the venue offers incomparable sightlines, customer service,?technology?and amenities. Fiserv Forum includes 17,341 seats for basketball, 15,178 for hockey and up to 18,000 for concerts, with 34 luxury suites and three clubs. The world-class arena is home to the NBA?s Milwaukee Bucks and Marquette University?s men?s basketball team?and also?hosts a diverse variety of year-round events, including major concerts, family shows and other sports and entertainment events. Fiserv Forum is the anchor of the surrounding 30-acre Deer District neighborhood, which is Milwaukee?s premier location for people to live, work and play. Founding Partners for Fiserv Forum include Fiserv, BMO Harris Bank, Froedtert & the Medical College of Wisconsin, Johnson Controls, Miller Brewing Company and Motorola. For more information, please visit?fiservforum.com.

Read the announcement from Johnson Controls here

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The Smoker's Club Fest To Bring Kid Cudi, A$AP Rocky, Playboi Carti, Many More To SoCal For Massive One-Day Rap Event
 
Posted: 20 Jan 2022, 2:09 pm
Live Nation announced The Smoker's Club Fest on Thursday, a one-day hip-hop event that will host Kid Cudi, A$AP Rocky, Playboi Carti and many other rappers at Glen Helen Amphitheater in San Bernardino, Calif., east of Los Angeles, on April 30.

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Pollstar Live! Panel Gives A ‘Reality Check’ On Artist Development
 
Posted: 20 Jan 2022, 1:37 pm
Live performances virtually stopped in 2020 and much of 2021, but artist development did not.

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New Orleans Jazz & Heritage Festival Announces 2022 Lineup With The Who, Stevie Nicks, Foo Fighters And More
 
Posted: 20 Jan 2022, 1:22 pm
The Who, Stevie Nicks, Foo Fighters, Jimmy Buffett and The Coral Reefer Band, Lionel Richie and many, many more will be headlining the New Orleans Heritage & Jazz Festival from April 29 ? May 8.

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Agency Intel: WME's Michael Coughlin Talks King Princess’ Big Year, Lewis Capaldi And More
 
Posted: 20 Jan 2022, 1:09 pm
From building acts up from clubs to stadiums and looking back on how he worked his way through WME?s mailroom, to being an agent at the Nashville office, as well as his prior tenure at The Bowery Presents and Front Line Management, Michael Coughlin?s unique perspective on the industry allows him to balance a genre-diverse lineup and figure out what?s best for his artists.

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Just For Laughs London Launches At The O2 In 2023
 
Posted: 20 Jan 2022, 9:31 am
AEG Presents today announced the launch of famous comedy festival Just For Laughs at the O2 London. The premiere of what will be an annual event, takes place March 2-5, 2023.

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Europe's Festival Season 2022 Discussed At ESNS
 
Posted: 20 Jan 2022, 8:41 am
ESNS, usually a fixed date for Europe's live professionals to meet in Gronginen, Holland, in person, kicked off as a digital edition, Jan. 19. One of the first panels addressed the continent's and the UK's upcoming festival season. Speakers included Codruta Vulcu (Artmania, Romania), Christof Huber (Yourope, Gadget, Switzerland), Stephan Thanscheidt (FKP Scorpio, Germany), Paul Reed (AIF, UK) and moderator Greg Parmley (ILMC, UK). These are highlights from the hour-long discussion.

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Qs With: Industry Vet Randy Phillips Goes Global In Latest Chapter
 
Posted: 19 Jan 2022, 11:00 pm
Even if you don?t hear from him for a while, don?t ever think five-decade live veteran Randy Phillips is letting the grass grow under his feet. It?s just not who he is.

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Brett Yormark Named COO Of Roc Nation
 
Posted: 19 Jan 2022, 8:42 pm
Brett Yormark ? who has served as of co-CEO of Roc Nation Unified and President of Business Operations & Strategy since joining the company in October 2019 ? has been promoted to COO of Roc Nation.

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Patti Smith Partners With Substack For Livestream Event
 
Posted: 19 Jan 2022, 4:11 pm
Patti Smith has announced that she will be teaming up with Substack for a special night of music, readings and conversation on Feb. 2 at 8 p.m. ET.

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NIVF Reopens Emergency Relief Fund, Expands Program Beyond COVID Aid
 
Posted: 19 Jan 2022, 3:16 pm
The National Independent Venue Foundation announced the relaunch of its Emergency Relief Fund today in order to provide economic relief to independent, music and comedy venues, festivals, and promoters across the United States experiencing a severe financial emergency due to circumstances beyond their control.

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Emporium Presents Expands Staff, Co-Founder Jason Zink Relocates To Nashville
 
Posted: 19 Jan 2022, 1:50 pm
Emporium Presents announced today the expansion of their U.S. team with several new hires including Kelsey Danca as their new Director of Marketing, Megan Unruh as Director of Ticketing and Jordan Powell as the new Director of Production for the company co-founded by Dan Steinberg and Jason Zink, a joint venture with Live Nation Entertainment.

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Another Planet Entertainment Announces New Partnership With Castro Theatre
 
Posted: 19 Jan 2022, 1:00 pm
The Bay Area-based promotion company, Another Planet, has announced a new partnership with Bay Properties, Inc., the owners of San Francisco landmark, The Castro Theatre.

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U-M unveils universitywide energy conservation projects
 
Posted: 19 Jan 2022, 12:59 pm

By Adam Fisher, Sustainability Communications

Following its commitment last year to achieve universitywide carbon neutrality, the University of Michigan is unveiling an initial $5 million investment in energy conservation measures that will reduce greenhouse gas emissions.

The measures include substantial LED lighting projects, and heating, ventilation and air conditioning improvements that span U-M campuses and units.

Each project is funded by a central revolving energy fund created to support U-M?s carbon neutrality commitment. It provides loans to university units for investments in energy-conserving infrastructure improvements. Units will then return annual energy cost savings to the fund until project costs are repaid, allowing the fund to support new projects over time.

?Sustained innovation is crucial in the fight against climate change, and I applaud the university units who are taking action to conserve energy and reduce carbon emissions,? President Mark Schlissel said. ?Our revolving energy fund will provide a sustainable financing system to encourage the greater participation we will need to fulfill U-M?s carbon neutrality goals.?

?The revolving energy fund and the energy conservation measures it supports are critical steps toward achieving carbon neutrality,? said Drew Horning, special adviser to the president for carbon neutrality strategy. ?These new investments will support projects across all three campuses, allowing U-M to reduce its carbon footprint and use energy more efficiently.?

New projects and funding mechanisms

Over the past year, U-M energy management staff collaborated with units throughout the university to identify more than 200 potential energy conservation projects with the potential to reduce greenhouse gas carbon emissions. From these, more than 25 projects were selected for funding during the current fiscal year.

Projects span the Dearborn, Flint and Ann Arbor campuses, including projects at Michigan Medicine and Student Life. They include:

  • LED lighting upgrades on the Ann Arbor campus, including at Brehm Tower, G.G. Brown Laboratories, Couzens Hall, the Herbert H. Dow Building, the James and Anne Duderstadt Center, East Ann Arbor Health and Geriatrics Center, East Hall, East Quad, Frankel Cardiovascular Center, North Campus Research Complex, Harrison M. Randall Laboratory, Rogel Cancer Center and A. Alfred Taubman Health Care Center.
  • LED lighting upgrades at UM-Flint?s William R. Murchie Science Building and Riverfront Residence Hall.
  • LED lighting upgrades at U-M Dearborn?s High Performance Educational Center, Mardigian Library, Natural Sciences Building South, Professional Education Center, Science Learning and Research Center, Social Sciences Building and University Center.
  • HVAC improvements at University Hospital and pump upgrades at East Hall and the North University Building.

?We?re thrilled by the amount of interest on the part of schools, colleges and units wanting to make their operations more sustainable,? said Andy Berki, director of the Office of Campus Sustainability. ?We selected a number of projects that will reduce emissions and don?t require a significant amount of engineering design, enabling each to be a great opportunity to make quick progress.?

Last year, Schlissel committed $25 million in preliminary funding over the next five years. The revolving energy fund is expected to fully launch during the 2022-23 fiscal year. Additional details, regarding the project review and selection process as well as guidelines for campus units interested in proposing projects for funding, will be forthcoming.

Ongoing energy efficiency and carbon neutrality efforts

While the revolving energy fund will primarily support retrofits within U-M facilities, major building renovations also include significant energy efficiency improvements as part of their capital project budgets.

The recently completed School of Kinesiology Building renovation and addition project, for instance, included features with a predicted energy cost savings of 41 percent, as compared with a code-compliant building per 2007 guidelines from the American Society of Heating, Refrigerating and Air-Conditioning Engineers.

All new U-M buildings and additions with an estimated construction budget greater than $10 million are required to achieve at least a Leadership in Energy and Environmental Design Silver certification from the U.S. Green Building Council.

Additional current efforts toward carbon neutrality include exploring geothermal heating and cooling systems for the planned Leinweber Computer Science and Information Building on North Campus, committing to procure all purchased electricity from renewable sources, and acquiring four all-electric buses for the Ann Arbor campus. E-buses will be deployed during the 2022-23 academic year in a step toward decarbonizing the university?s vehicle fleet.

U-M aims to achieve carbon neutrality for emissions from purchased power ? known as Scope 2 emissions ? by 2025; eliminate direct, on-campus greenhouse gas emissions ? Scope 1 emissions ? by 2040; and establish goals by 2025 for a wide range of indirect emission ? Scope 3 ? sources.

U-M commitments are informed by guidance from the United Nations Intergovernmental Panel on Climate Change. Relative to 2010 greenhouse gas emissions levels, the university is on pace to reduce Scope 1 and 2 emissions by 50 percent by 2025, which exceeds the IPCC?s guidance to reduce emissions by 45 percent by 2030.

U-M?s commitment to eliminate 100 percent of Scope 1 and 2 emissions by 2040 is 10 years ahead of the IPCC?s global net-zero target.

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Dutch Soccer Clubs To Admit Fans Into Stadiums In Protest Against COVID Restrictions
 
Posted: 19 Jan 2022, 10:57 am
Soccer clubs of the two top leagues in the Netherlands have been playing in empty stadiums since November, when new coronavirus restrictions got introduced by the government. In light of the upcoming review of these measures on Jan. 25, both leagues have issued a statement declaring that either the government open stadiums back up, or the leagues will do it in defiance.

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WinCup Joins Green Sports Alliance as Official Program Partner
 
Posted: 19 Jan 2022, 9:59 am

 

Developer of phade home and industrial compostable and marine biodegradable drinking straws partners with leading sports environmental advocacy organization to promote sustainable practices across the industry

PORTLAND, OR (January 14, 2022)? WinCup, Inc. has become an official program partner of the Green Sports Alliance (GSA), an environmentally and socially focused nonprofit organization that convenes stakeholders from around the sporting world to promote healthy, sustainable communities. The announcement comes as a growing list of professional sports teams and venues have selected WinCup?s phade, the world?s first marine biodegradable, home and industrial compostable drinking straw, as their exclusive straw. Made with PHA (polyhydroxyalkanoate), a biopolymer derived from the fermentation of canola oil, the phade brand is a breakthrough line of sustainable drinking straws and stirrers that maintain the feel and user experience of traditional plastic equivalents while delivering superior sustainable benefits.

 

 

The new partnership supports GSA?s mission to use the influence of sports to promote sustainable practices across the globe. The organization?s members include over 300 professional sports leagues, sports governing bodies, colleges, teams, and venues representing millions of fans.

?Sports have an enormous influence on our culture as millions of fans follow the lead of their favorite teams? sustainability choices, from energy and water use to drinking straws,? said Roger McClendon, Executive Director of GSA. ?That?s why we?re so pleased to partner with WinCup. The company?s commitment to developing innovative sustainable foodservice products is already making an impact at pro sports venues and events through its phade straws and stirrers, and we look forward to sharing the benefits of compostable and biodegradable products, as alternatives to petroleum plastics, through this partnership.?

While relatively new to the marketplace, phade has already become the sustainable straw of choice for several professional sports venues, teams and events, including SoFi Stadium in Los Angeles, Mercedes-Benz Stadium in Atlanta, Gillette Stadium in New England, the Atlanta Falcons and the 2021 PGA Championship in Kiawah Island, South Carolina.

The development of phade involved a rigorous testing and certification process. TV AUSTRIA, a globally recognized independent third-party certifying body, certified phade as both industrial and home compostable in a matter of months. TV also certified the material from which WinCup?s phade straw is made as marine biodegradable. Additionally, the Biodegradable Products Institute Inc. (BPI) has certified phade as industrial compostable.

?The Green Sports Alliance is a tremendously influential organization that engages with both professional and collegiate sports leagues, teams and venues to promote best practices in sustainability,? said Michael Winters, WinCup President and Chief Revenue Officer. ?As a result, millions of fans experience the most advanced sustainable practices while cheering on their favorite team and take those ideas back into the community. phade straws and stirrers are a perfect example of something simple every sports fan can use at home or when dining out and know they are helping to protect the environment. We could not be prouder to be GSA?s partner to create a more sustainable future for sports fans, businesses and consumers across the globe.?

WinCup has also won numerous awards for the development and launch of phade, including the 2021 Innovation in Foodservice Award for Sustainability Solutions from the National Restaurant Association and SmartBrief and 2020 Innovation in Bioplastics Award from the Bioplastics Division of PLASTICS (The Plastics Industry Association). Most recently, WinCup was recognized out of a pool of more than 4,000 global entries by Fast Company?s 2021 World Changing Ideas Awards as a finalist in the Consumer Products and Enduring Impact categories and as an honorable mention in the World Changing Ideas -North America and General Excellence categories.

?Every day, there are new innovations that promise a greener outcome, but what makes phade unique is PHA, which acts as a food source for bacteria, allowing for faster decomposition in various bacteria rich environments? explained Brad Laporte, WinCup Chief Executive Officer. ?Paper straws can often contain harmful chemicals if not disposed of properly and petroleum-based straws can take centuries to decompose. Our phade straws can biodegrade in a matter of months.?

WinCup?s focus on sustainable solutions was bolstered in September 2020 when Los Angeles-based global private investment firm Atar Capital acquired the company. Among Atar?s core principles is a commitment to sustainability and investing in companies that work toward protecting the environment.

About WinCup, Inc.

WinCup, Inc. is headquartered in Stone Mountain, Georgia. WinCup is a leading manufacturer of traditional and sustainable disposable cups, bowls, containers, lids, and straws. The company?s eight manufacturing locations are committed to high-quality products and superior customer service. To learn more, please visitwww.wincup.comandwww.phadeproducts.com.

About Green Sports Alliance

The Green Sports Alliance leverages the cultural and market influence of sports to promote healthy, sustainable communities where people live and play. The GSA inspires professional sports leagues, sports governing bodies, colleges, teams, venues, their partners and millions of fans to embrace renewable energy, healthy food, recycling, water efficiency, safer chemicals and other environmentally preferable practices. Visitgreensportsalliance.orgfor more information.

 

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England, Scotland & Wales To End Most Coronavirus Restrictions Next Week
 
Posted: 19 Jan 2022, 9:09 am
UK prime minister Boris Johnson announced today, Jan. 19, that the country's so-called Plan B restrictions to tackle coronavirus will expire on Jan. 26

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Japanese Breakfast’s Jubilation: From Coat Check Room To Grammy Noms & Global Touring
 
Posted: 18 Jan 2022, 8:09 pm
Philadelphia?s Union Transfer has long served as a benchmark for where songwriter, musician and author Michelle Zauner is at in her career. Zauner, who heads up the indie rock/pop band Japanese Breakfast, recalled how promoter Sean Agnew of R5 Productions gave her a job working as the ?coat check girl and concessions employee? when she was ?down and out, going on DIY tours, coming back, getting fired from restaurant jobs.?

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Wasserman Music Signs Emerging Nashville Star Madeline Edwards
 
Posted: 18 Jan 2022, 6:07 pm
Wasserman Music has signed Nashville-based Madeline Edwards a rising singer/songwriter who will be represented by Wasserman Senior Vice President Lenore Kinder.

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Grammy Awards Move To MGM Grand In Las Vegas April 3
 
Posted: 18 Jan 2022, 5:12 pm
The 2022 Grammy Awards will shift to an April show in Las Vegas after recently postponing the ceremony due to rising COVID-19 cases because the omicron variant.

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Club Collaborates with Heineken on #NoPlasticFansHere Campaign
 
Posted: 18 Jan 2022, 12:24 pm

By Tottenham Hotspur

  • Our Official Beer Partner has launched a campaign championing the removal of single-use plastic from football
    #NoPlasticFansHere involves reclaimed plastic waste sculptures appearing at both Tottenham Hotspur Stadium and Manchester City?s Etihad Stadium
  • Created by renowned sculptor Sarah Turner, the sculptures will be on display for this weekend?s fixtures to highlight the sustainability efforts of both clubs
  • Last year, Tottenham Hotspur was named the Premier League?s greenest club following a study carried out by the UN-backed Sport Positive Summit and BBC Sport, and hosted Game Zero ? the world?s first net zero carbon football match at an elite level
  • Our range of sustainable measures includes the removal of single-use plastic bottles for beers and ciders at the stadium, as well as players drinking water from cartons and food served in recyclable packaging with wooden cutlery

Today, Tottenham Hotspur has joined forces with its Official Beer Partner, HEINEKEN UK, to launch #NoPlasticFansHere – a campaign to remove single-use plastic from football.

#NoPlasticFansHere seeks to inspire football fans, hospitality venues and the general public to embrace the adoption of more sustainable and environmentally friendly alternatives to reduce their carbon footprint and impact on the planet.

To launch the campaign, HEINEKEN UK has commissioned sculptor Sarah Turner to create two life sized plastic fan sculptures made entirely of reclaimed recyclable plastic waste. The sculptures will be on display at both Tottenham Hotspur Stadium and Manchester City?s Etihad Stadium for this weekend?s Premier League fixtures, to highlight the sustainability efforts of both clubs.

Last year, Tottenham Hotspur was named the Premier League?s greenest club following a study carried out by the UN-backed Sport Positive Summit and BBC Sport, with a range of sustainable measures implemented across its operations.

These measures include:
? the removal of single-use plastic bottles for beers and ciders, in partnership with Heineken
? wider plastic reduction measures such as players drinking water from cartons and food served in recyclable packaging with wooden cutlery
? a ?zero to landfill? waste management programme, with clear recycling instructions for fans on its bins for products still served in PET, as well as a reusable beer cup scheme
? Nike shirts that players wear on the pitch and the replica jerseys for fans to buy are constructed with 100% recycled polyester fabric, which is made from recycled plastic bottles
? Tottenham Hotspur Stadium uses 100% renewable energy and has Zero Scope 2 emissions, utilising LED lighting (including floodlights) and high efficiency building services systems to reduce energy use

In September 2021, in partnership with Sky, the Club hosted Game Zero – the world?s first net zero carbon football match at an elite level. Findings showed that 94% more vegetarian and plant-based meals were sold at this match compared to a previous game, with fans walking a total of 36,000 miles and driving 225,000 miles in electric or hybrid cars to and from the game.

HEINEKEN UK, brewer of well-known brands including Heineken, Birra Moretti, Foster?s and Amstel, as part of its ongoing sustainability commitments, last year made the bold move to remove supply of all single-use plastic bottles to all its pub, bar, stadia and event customers. The removal of PET for beer and cider will save an estimated 6 million PET bottles or over 170 tonnes of plastic per year.

To further reduce environmental impact, following successful trials, HEINEKEN UK offers more sustainable cups for events, as an alternative to single use plastic. The reusable rental cup model features cups that can be used as many as 500+ times before being recycled. Each reusable cup uses significantly fewer materials and lower energy consumption during its lifetime than producing the equivalent number of single use cups. Alternatively, HEINEKEN’s paper cup option can be recycled in the normal wastepaper streams, are biodegradable, compostable and repulpable too.

Through #NoPlasticFansHere, HEINEKEN UK wants to inspire other football clubs, hospitality venues and consumers alike to join them on the mission to becoming more sustainable and challenge their suppliers to provide better, greener alternatives.

Donna-Maria Cullen, Executive Director, Tottenham Hotspur, said: ?We are delighted to have a partner in Heineken that shares our vision around using the unique platform of Premier League football to inspire positive climate actions. We have seen from our participation in Game Zero that our fans are fully engaged in our sustainability journey and will welcome the #NoPlasticFansHere campaign to Tottenham Hotspur Stadium. Our reusable beer cup scheme has proven to be a huge success since we opened our stadium and seeing our players drink water from cartons is an extremely powerful message. We look forward to continuing our work with Heineken to reduce and remove single-use plastic from our stadium, while also encouraging our fans to recycle their waste so that we remain a Club that proudly sends zero to landfill.?

James Crampton, Corporate Affairs Director for Heineken UK, said: ?Over the past 10 years, we have laid a solid foundation with our sustainability strategy, Brew a Better World, which focuses on the environment, social sustainability and responsible consumption. However, there is still much work to be done, we are on a journey just like every other business and individual on this planet, to make positive changes to reduce our impact on the planet. Together with forward-thinking partners like Manchester City and Tottenham Hotspur, we hope to inspire others by demonstrating the benefit small changes can have on our planet?s future. We hope our #NoPlasticFansHere campaign will do just that and spark a conversation among football fans and the wider public, encouraging more people to choose plastic-free, sustainable options where possible.?

For more information on HEINEKEN UK and its sustainability practices, visithttps://www.heineken.co.uk/.

For more information on Tottenham Hotspur?s sustainability measures, visithttps://www.tottenhamhotspur.com/the-stadium/passionate-about-our-planet/.

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Red Sox make history, hire Katie Krall as minor league coach
 
Posted: 14 Jan 2022, 2:21 pm

By Scott Rogust, FanSided

The Boston Red Sox made history this week after they hired Katie Krall to their minor league coaching staff.

Earlier in the week, the New York Yankees announced that they had hired Rachel Balkovec as manager of the Tampa Bay Tarpons, the Low-A affiliate of the organization. With this, Baklovec became thefirst female manager in affiliated professional baseball. That was not the only news to break in the AL East division.

The Boston Red Sox recently hired Katie Krall as a developmental coach for the Double-A Portland Seadogs. With Krall and Bianca Smith (hitting/outfield coach), the Red Sox are now the first organization in affiliated baseball to have two women on their coaching staffs.

 

Red Sox hire Katie Krall as developmental coach

According to Alex Speier of the Boston Globe, Krall will be ?helping to integrate technology and information into on-field work? with the team.

Krall had previously worked for the Cincinnati Reds organization as a baseball operations analyst in the past two seasons. Prior to that, Krall worked in the Commissioner?s Office.

Last year, Smith was hired as a hitting and outfield coach for the Red Sox organization, making her the first Black woman to be hired as a coach in affiliated baseball. Smith had previously worked internships with the baseball operations departments with the Texas Rangers and Reds.

Per Speier, Smith is being promoted to a full-time coaching role this year at Boston?s facility in Fort Myers, Fla.

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4 Denver music venues to use new reusable cup system
 
Posted: 13 Jan 2022, 12:11 pm

By Alexander Kirk, 9News

Four Denver venues will use a new reusable cup system to remove single-use plastic.

DENVER ? Concert promoterAEG Presentshas announced a new plan to remove single-use plastic at all of its Denver venues.

AEG Presents said it is partnering with reusable cup systemr.Cupon a new wash hub facility in Denver.

The r.Cup wash hub provides sustainable reusable cup and serveware services to any location that uses single-use waste, such as venues, festivals, restaurants, food courts, airports and corporate campuses.

r.Cup?s reuse system has been installed at four venues in Denver: Bluebird Theater, Gothic Theatre, Mission Ballroom and Ogden Theatre.

r.Cup will supply the venues with the reusable cup inventory, collection and sanitization needs for all shows ? completely eliminating thousands of single-use and disposable cups each week.

?We can?t think of a better partner than AEG and their vast network of venues to set the stage, ignite the awareness and support needed to grow impact through reuse,? said Michael Martin, CEO and Founder of r.Cup. ?It?s exciting to give guests an easy action they can take to help our environment while also helping our partners meet their zero waste and ESG goals.?

?Sustainability has been a focus of operation for the Mission Ballroom since day one, and we are excited to see this partnership with r.Cup producing impactful results across all of our venues,? said Jake Hiersteiner, VP of Operations, AEG Presents Rocky Mountains.

?A staggering amount of single-use plastic has been diverted from the waste stream, and response from patrons has been overwhelmingly positive. In a high volume, fast-paced environment, it can be difficult to implement meaningful change. This program is clearly hitting the mark. We hope that our patrons will take pride in their role in the process, and that this partnership adds to the quality concert experience we always aim to provide and improve.”

Founded in 2017, r.Cup said its goal is to help eliminate the more than four billion single-use aluminum and plastic disposable cups used at live events in North America each year. r.Cup has been activated at thousands of events in over 70 cities, 30 U.S. states, 12 countries and 90 venues to date.

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Warriors Name Jennifer Vasquez as Vice President, Diversity, Equity & Inclusion
 
Posted: 12 Jan 2022, 10:46 am

By Golden State Warriors

Vasquez Brings Over 15 Years Of Diversity, Equity And Inclusion Experience To The Warriors And Chase Center; Vasquez Serves As The Team?s First-Ever Vice President Of Diversity, Equity And Inclusion

The Golden State Warriors have named Jennifer Vasquez (she/her) as the team?s Vice President of Diversity, Equity and Inclusion, it was announced today. Vasquez will play a central role in the continuation of the team?s internal and external diversity, equity and inclusion (DEI) strategy, including oversight of the design, management and measurement. Additionally, she will lead the franchise?s established Diversity, Equity and Inclusion Council, which launched several years ago, and the ecosystem of employee resource groups (ERGs). Vasquez will report to Warriors Senior Vice President of People Operations and Culture, Erin Dangerfield.

?Jennifer has a proven track record driving strategies around corporate diversity, equity and inclusion,? said Warriors President & Chief Operating Officer Brandon Schneider. ?In the creation of this role at the Warriors, we envision a dynamic leader to drive the success of our DEI initiatives, including organization-wide accountability and facilitation of our ERG network. We are thrilled that Jennifer is joining the team and look forward to more meaningful inclusionary practices that will continue to enhance the experiences we create for all of Dub Nation.?

Most recently, Vasquez led Amgen?s Global Diversity, Inclusion and Belonging efforts, integrating a DEI lens to the employee experience and organizational design. With over 15 years of experience in both the private and public sectors, her successful initiatives have focused on bringing fundamental and transformative changes to organizations to embed equity and inclusionary practices in corporate and political structures. She has driven a variety of human capital management initiatives, including performance management process; wrap-around support and benefits; employee relations; recruiting efforts and talent development. Her experience, ranging from grassroots to large global matrix organizations, brings a unique educational and data-driven lens to building communities of practice for equitable solutions to this space.

Vasquez earned a dual Bachelors of Arts in International Relations and Government from George Mason University. She holds her Masters of Science in Intercultural Studies with a concentration in Education & Development and Masters of Business Administration from Florida International University. Vasquez also holds a Diversity and Inclusion Certification from Cornell University.

Vasquez was recently recognized as a Diversity Global Top 15 Diversity Champion, a DEI Advocate of the Year for California in 2021 from National Diversity Council and was featured as a DiversityComm 2021 Wonder Woman.

Read the original announcement here

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ASM Global Names Jessica Ragsdale Vice President of Diversity, Equity and Inclusion
 
Posted: 12 Jan 2022, 10:38 am

By International Association of Venue Managers (IAVM)

ASM Global has named Jessica Ragsdale Vice-President of Diversity, Equity and Inclusion (DEI).

Ragsdale comes to ASM Global after eight years with Microsoft, most recently working with their global diversity and inclusion team. For ASM, Ragsdale will be working within a team to turn ideas into action that can be implemented within the ASM organization to further their education, understanding, and engagement with internal employees and external partners. Ragsdale?s focus will be to provide strategic leadership in the areas of diversity, inclusion, and equity by implementing programs to support ASM Global?s goals and monitoring progress to meet those goals.

ASM Global President and CEO Ron Benision commented on Ragsdale appointment, ?We are honored to have Jessica join us to serve as our new vice president of DEI, which remains an important part of business today and into the future. Jessica?s experience and dedication to this important aspect of our business fits perfectly with our community and employment goals embodied in our ASM Acts platform.?

Prior to Ragsdale?s appointment, ASM Global announced they?re launching the ASM Global Acts Foundation to support philanthropic and community-based endeavors guided by its sustainability and diversity pillars as well as the ASM Global Acts Scholarship, which will focus on serving diverse and under-resourced communities with education and career-development opportunities.

?As many of us know, DEI is a journey, and this is an adventure I am thrilled to be a part of,? Ragsdale said. She will be located in the ASM Global Los Angeles office.

The postASM Global Names Jessica Ragsdale Vice President of Diversity, Equity and Inclusionappeared first onInternational Association of Venue Managers.

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Virginia’s History, Resorts and Culture Make it an Attractive Meetings Destination
 
Posted: 24 Oct 2019, 5:00 am

Virginia’s history, resorts and culture make it an attractive meetings destination in 2019. Read to discover the state’s best-in-class venues and other group offerings.

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New and Expanded Convention Centers Heat Up the Texas Market
 
Posted: 23 Oct 2019, 6:20 am

The Texas convention center scene is a competitive market. With new developments stretching from the DFW Metroplex to West Texas, read the latest on the Lone Star State convention scene.

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Caesars Forum Strides to Open
 
Posted: 23 Oct 2019, 4:00 am

Ahead of IMEX America 2019, Meetings Today content developer Kate Cripe got a sneak peek of the $375 million Caesars Forum. During a hard hat tour, she got a first hand look at how the conference center project, which is expected to open in March 2020, is progressing.

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4 Reasons to Leverage Digital Displays at Conventions
 
Posted: 26 Aug 2019, 12:10 pm

Learn why digital display technology is one of the best ways to take your event to the next level. We explore what it can mean for branding, the attendee experience, sustainability and more.

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Boise Centre Unveils New Art Installation
 
Posted: 23 Jul 2019, 4:30 am

A glass sculpture titled You Are Here by Boise native Amy Westover was designed to inspire attendees and guests to look beyond the walls of the city's Boise Centre.

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Speakers in the Open Expo Hall? A New Way to Maximize Conference Content
 
Posted: 21 May 2019, 6:00 am

When it comes to conference speaking, an innovative speaker stage setup can drive more and unexpected engagement. Meetings Today Chief Content Officer Christoph Trappe reports live from DES Madrid on how the "open air" concept works for attendees and presenters.

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6 Tips for Working With a Convention Services Team
 
Posted: 30 Apr 2019, 7:35 am

Meeting and event planners working with a facility’s convention services team can help ensure their program is a success by providing some very basic, but essential, information. Maxine Compean, associate event manager for the dual-branded the DOUGLAS, Autograph Collection and the JW Marriott Parq Vancouver, offered the following six tips to keep meeting and event planners and the convention services team on the same page.

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An Event Planner’s Take on the New Kentucky International Convention Center
 
Posted: 13 Mar 2019, 3:05 pm

Event planner Christa Mekki, founder and senior planner at Magnetic Magnificent Events, was one of the first to experience the brand-new Kentucky International Convention Center (KICC). Meetings Today reached out to Mekki for her take on the reimagined convention center.

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6 Innovative Convention Center Projects That Are Reinventing the U.S. Meetings Landscape
 
Posted: 13 Mar 2019, 7:30 am

Innovation is requisite for staying ahead in the convention business. It’s second nature for Las Vegas, and it’s also the watchword for reinvention in convention markets around the U.S.

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Event Venue Titans AEG Facilities and SMG Announce Merger
 
Posted: 8 Feb 2019, 10:20 am

AEG Facilities and SMG owner Onex announced they will merge to create ASM Global. The new company will be headquartered in Los Angeles and will operate over 300 venues across five continents that include arenas, stadiums, convention centers and performing arts centers.

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San Francisco’s Moscone Center Nearly Doubles in Size
 
Posted: 19 Dec 2018, 5:45 am

As the new year approaches, so does a new beginning for San Francisco’s meetings business. The long-awaited opening of an upgraded Moscone Center came in early January, as the convention complex debuted a $551 million expansion.

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Q&A With David Gibbons, Executive Director, Massachusetts Convention Center Authority (MCCA)
 
Posted: 20 Nov 2018, 8:45 am

Meetings Today Senior Contributor Jeff Heilman touched base with Massachusetts Convention Center Authority (MCCA) Executive Director David Gibbons on the MCCA’s increase in group business and the future of the facility.

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Orlando Continues Convention Center Expansion
 
Posted: 25 Oct 2018, 8:00 pm

Orlando's Orange County Convention Center is moving forward with a $605 million campus improvement plan. The project will bring expansions and new meeting and exhibit space in the North and South concourses, further increasing the center’s seven million square feet of total function space.

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IACC Set to Double European Members
 
Posted: 16 Oct 2018, 9:00 pm

IACC, the association that represents the global conference center segment, is set to more than double its number of European facilities within the next four months if a deal to add the supplier members of two conference center groups comes to fruition, according to IACC CEO Mark Cooper.

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St. Louis Convention Center Plans Extensive Renovation
 
Posted: 7 Oct 2018, 8:00 pm

The America’s Center Convention Complex in St. Louis will undergo an expansion and extensive renovations. The AC Next Gen Project, which will include the addition of 92,000 square feet of exhibit space, a 65,000-square-foot ballroom and meeting area, a new outdoor pavilion and 26 new loading docks, was announced during a press conference held on October 3.

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How to Cope With a Convention Center Renovation
 
Posted: 26 Sep 2018, 8:00 pm

On a recent tour of the Greater Columbus Convention Center, Meetings Today spoke with John Page, general manager for SMG for the Greater Columbus Convention Center (GCCC). Page shared his advice for navigating a convention center renovation or expansion.

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5 Things You May Not Have Known About the Chattanooga Convention Center
 
Posted: 18 Sep 2018, 8:00 pm

Once you’ve seen one convention center you’ve seen them all, right? A recent visit to the Chattanooga Convention Center left me surprised to find some nice touches that many of its bigger—and smaller—city counterparts lacked. Following are five standout features I noticed during my tour of the Chattanooga Convention Center led by Executive Director Mike Shuford, during a press trip with the Chattanooga CVB.

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Convention Center Reopens in Louisville
 
Posted: 5 Aug 2018, 8:00 pm

The Kentucky International Convention Center (KICC) hosted a grand opening ceremony, Monday, Aug. 6, 2018 following a two-year, $207 million renovation and expansion project. State and local government officials, along with KICC facility officials and staff welcomed meeting clients, local stakeholders, interested citizens, and media to an open house that showcased how the new facility will host small to large-scale events.

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Caesars Forum Conference Center Breaks Ground in Vegas
 
Posted: 16 Jul 2018, 8:00 pm

Caesars Entertainment broke ground on its $375 million, Caesars Forum conference center on Monday, July 16, during a ceremony for trade press, industry executives and Caesars staff members. The ceremony was also livestreamed by Caesars so that people could tune in from all over the world.

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Q&A With Jennifer B. Davis on Greater Columbus Convention Center Updates
 
Posted: 30 Jun 2018, 8:00 pm

Meetings Today contributor Carolyn Blackburn interviewed Jennifer B. David, Senior Marketing & Communications Manager with the Greater Columbus Convention Center (GCCC), to discuss recent updates to the facility. The GCCC, which features 373,000 square feet of contiguous exhibit space, wrapped a two-year $140 million renovation and expansion project in July 2017 to improve the overall guest experience, including the installation of an impressive art collection and local F&B concepts.

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5 Campus Conference Centers That Will Enhance Any Event
 
Posted: 1 May 2018, 8:00 pm

College towns are happening hubs of activity, where the arts, sports and culinary delights thrive. All that and more is on deck for planners who book a university setting for a conference.

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Vegas Convention Center Expansion Design Unveiled
 
Posted: 9 Apr 2018, 8:00 pm

Architects have submitted their designs for the phase two expansion of the Las Vegas Convention Center.

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Creativity Takes Center Stage at Convention Centers
 
Posted: 26 Mar 2018, 8:00 pm

The artwork installed at an increasing number of popular convention centers transforms these necessarily utilitarian buildings into magnificent galleries that rival some of the most inspired museums in the world.

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Arlington Unveils Plans for Massive Esports Stadium
 
Posted: 18 Mar 2018, 8:00 pm

The City of Arlington announced plans for Esports Stadium Arlington, an esports-specific venue designed to draw competitive gamers and fans from around the world. The proposed venue will be built within the existing Arlington Convention Center in collaboration with architecture firm Populous.

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Q&A With Michele Hughes, Director of Sales, Connecticut Convention Center
 
Posted: 24 Jan 2018, 7:00 pm

Meetings Today checked in with Michele Hughes, Director of Sales & Marketing with the Connecticut Convention Center (CTCC).

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Convention Centers Are Making Bold New Statements
 
Posted: 1 Jan 2018, 7:00 pm

Goodbye big-box, bunkeresque venues. Hello green rooftop micro-environments, wellness spaces and hip street-party-scapes.

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Conference centers revamp to provide connectivity
 
Posted: 1 May 2017, 8:00 pm

Addressing profound changes in how their customers are approaching learning, many conference centers are in a process of reinvention

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Convention centers design for a sense of place
 
Posted: 4 Apr 2017, 8:00 pm

Many convention centers are striving to reflect and showcase their locations.

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Groups in Greater Boston utilize college campuses
 
Posted: 31 Oct 2016, 8:00 pm

An exceedingly intelligent choice for meetings and events.

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CEIR Releases Third Report in Attendee Retention Insights Series
 
Posted: 24 May 2016, 1:00 am
DALLAS, 24 May 2016 ? The Center for Exhibition Industry Research (CEIR) announced today the release of the third report in its newest series, 2016 Attendee Retention Insights Part Three: Education Content that Builds a Loyal Alumni Attendee Audience. This landmark body of research offers organizers a comprehensive resource to help understand the profile of attendees that visit an exhibition repeatedly and the content that turns them into loyal customers.

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CEIR Releases Second Report in Attendee Retention Insights Series
 
Posted: 10 May 2016, 1:00 am
DALLAS, 10 May 2016 ? The Center for Exhibition Industry Research (CEIR) announced today the release of the second report in its newest series, 2016 Attendee Retention Insights Part Two: Exhibition Floor Features that Build a Loyal Alumni Attendee Audience. This landmark body of research offers organizers a comprehensive resource to help understand the profile of attendees that visit an exhibition repeatedly and the content that turns them into loyal customers

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Fourth Annual IAEE Women’s Leadership Forum Another Sold Out Event
 
Posted: 4 May 2016, 1:00 am
DALLAS, 4 May 2016 ? The International Association of Exhibitions and Events? (IAEE) celebrates another successful Women?s Leadership Forum on 26 April 2016 at the Walter E. Washington Convention Center in Washington, D.C. More than 200 attendees sold out this year?s event which featured education sessions for women at all stages of their career.

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IAEE Now Accepting Applications for 2016 Bob Dallmeyer Education Fund Grants
 
Posted: 3 May 2016, 1:00 am
DALLAS, 3 May 2016 ? The International Association of Exhibitions and Events? (IAEE) has opened the application process for the 2016 Bob Dallmeyer Education Fund Grants, which aid qualified professionals in their pursuit of continuing education and career development in the exhibitions and events industry.

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IAEE Now Accepting 2016 Helen Brett Scholarship Applications
 
Posted: 2 May 2016, 1:00 am
DALLAS, 2 May 2016 ? The International Association of Exhibitions and EventsTM (IAEE) has opened the application process for the Helen Brett Scholarship awards in 2016. The scholarship serves to promote the exhibitions and events industry by attracting college-level students into the field of study and encouraging their pursuit with financial support.

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Conference center education shifts dramatically
 
Posted: 30 Apr 2016, 8:00 pm

The times they are a changin’, and all for the better from this reporter’s perspective.

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CEIR Debuts New Report Series Focusing on Attendee Retention
 
Posted: 28 Apr 2016, 1:00 am
DALLAS, 28 April 2016 ? The Center for Exhibition Industry Research (CEIR) announced today the release of the first report in its newest series, 2016 Attendee Retention Insights. Reports from this exciting new, landmark study offers organizers a comprehensive resource to help understand the profile of attendees that visit an exhibition repeatedly and the content that turns them into a loyal fanbase. The series consists of five reports, beginning with Part One: Basics for Creating Your Attendee Retention Strategy: Tracking, Profiling and Why They Come Back.

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IAEE Public Events Council Releases 2016 Survey Report
 
Posted: 26 Apr 2016, 1:00 am
DALLAS, 26 April 2016 ? Today, the International Association of Exhibitions and Events? (IAEE) Public Events Council released its Public Events Industry Report: 2015 Results. In 2009, the Public Events Council distributed a survey to public event organizers across 22 public events industry sectors to examine overall industry performance. The report identified which public events industry sectors fared well, which sectors struggled and their expectations for the future. As a follow-up to the benchmark report, the survey is repeated annually with subsequent reports detailing individual and comparative statistics over the years.

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Your Industry - Your Voice!
 
Posted: 22 Apr 2016, 1:00 am

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CEM Week - Register Now!
 
Posted: 18 Apr 2016, 1:00 am

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2016 CEIR Index Report Now Available
 
Posted: 13 Apr 2016, 1:00 am
DALLAS, 12 April 2016 ? Today, the Center for Exhibition Industry Research (CEIR) released the 2016 CEIR Index Report. The CEIR Index analyzes the 2015 exhibition industry and provides a future outlook for the next three years. Despite widespread pessimism and deceleration of activity during the fourth quarter, the U.S. economy still displayed significant signs of strength in 2015, led by personal consumption and residential construction. These strengths were offset partially by deterioration in energy development and net exports to produce real GDP growth of 2.4%. According to CEIR?s current projection, 2016 growth will be about the same, or perhaps slightly weaker as the trade gap widens further, before GDP accelerates in 2018 (see Figure 1).

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IAEE Renews Reciprocity Agreement with JEXA
 
Posted: 5 Apr 2016, 1:00 am
DALLAS, 5 April 2016 ? The International Association of Exhibitions and Events? (IAEE) and the Japan Exhibition Association (JEXA) announced the renewal of a reciprocity agreement to benefit members of both organizations. Originally signed in 2012, the agreement renews the commitment of IAEE and JEXA to promote and develop the exhibitions and events industries in their respective countries through membership collaboration.

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IAEE Announces New Chapter in India
 
Posted: 4 Apr 2016, 1:00 am
DALLAS, 4 April 2016 ? The International Association of Exhibitions and Events? (IAEE) announces the addition of its latest chapter in Asia, the IAEE India Chapter. The IAEE Board of Directors approved the creation of this new chapter during its meeting held 31 March 2016 at the HITEX Exhibition Center in Hyderabad, India.

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Convention centers transform to meet attendees’ needs
 
Posted: 1 Apr 2016, 8:00 pm

Generic big-box convention centers seem to be going the way of the buggy whip and typewriter.

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IAEE MATSO Council Adds New Content for May Meeting
 
Posted: 31 Mar 2016, 1:00 am
DALLAS, 31 March 2016 ? The International Association of Exhibitions and Events? (IAEE) MATSO Council?s program for this year?s MATSO Spring Program on 23-24 May 2016 at McCormick Place in Chicago, Ill. will focus on exchanging information that address challenges, share best practices and understand the changing landscape of Tier 1 cities.

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IAEE Awards Jacqueline Russo with 2016 Woman of Achievement Award
 
Posted: 30 Mar 2016, 1:00 am
DALLAS, 30 March 2016 ? The International Association of Exhibitions and Events? (IAEE) proudly congratulates Jacqueline Russo, Vice President of Kuehne + Nagel, Inc., as this year?s recipient of the IAEE Woman of Achievement Award. This award recognizes a woman who has led the way in the advancement of women in the exhibitions and events industry, exhibited outstanding leadership, and made significant contributions to the industry and her community.

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CEIR Releases New Industry Insight Series Report Written by Candy Adams
 
Posted: 29 Mar 2016, 1:00 am
DALLAS, 29 March 2016 ? Today the Center for Exhibition Industry Research (CEIR) announces a new Industry Insight Series report, 99 Cost-Savings Tips and Tricks for Exhibit Managers written by Candy Adams, CTSM, CME, CEM, CMP, CMM, a revered and well-known exhibition industry veteran and owner of ?The Booth Mom? Trade Show Consulting.

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IAEE Announces 2016 Krakoff Leadership Institute
 
Posted: 28 Mar 2016, 1:00 am
DALLAS, 28 March 2016 ? Registration is now open for the International Association of Exhibitions and Events? (IAEE) Krakoff Leadership Institute (KLI) to be held 7-9 August 2016 at The Waterfront Beach Resort, A Hilton Hotel in Huntington Beach, Calif. The program is open to IAEE members interested in enhancing their strategic skills, and broadening their knowledge as current and future leaders in the exhibitions and events industry.

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IAEE Congratulates its 2016 International Excellence Award Recipient
 
Posted: 17 Mar 2016, 1:00 am
DALLAS, 17 March 2016 ? The International Association of Exhibitions and Events? (IAEE) congratulates Edward J. Krause III (Ned), President and CEO of E.J. Krause & Associates, Inc. (EJK) as this year?s recipient of the IAEE International Excellence Award. The IAEE International Excellence Award recognizes an individual or organization that has made exceptional strides in creating, launching and managing an international event in the exhibitions and events industry on an international scale.

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CEIR Releases Final Digital Toolkit Report
 
Posted: 15 Mar 2016, 1:00 am
DALLAS, 15 March 2015 ? Today, the Center for Exhibition Industry Research (CEIR) announced the release of the final report in the CEIR Digital Toolkit series. The new report, entitled Focus Report on Exhibition Organizer Onsite and Post-event Offerings provides an in-depth look at attendee preferences compared to business-to-business exhibition offerings for show mobile apps, as well as other onsite digital amenities and post-event digital communications.

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IAEE MATSO Council Announces City Working Group Initiative, Finalizes Governance Procedures
 
Posted: 9 Mar 2016, 1:00 am
DALLAS, 9 March 2016 ? The International Association of Exhibitions and Events? (IAEE) MATSO Council announced it will resurrect city task force updates following a recent council meeting that focused on future programming and governance procedures.

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IAEE Announces 2016 Call for Nominations for Individual Awards
 
Posted: 8 Mar 2016, 1:00 am
DALLAS, 8 March 2016 ? Today, the International Association of Exhibitions and Events? (IAEE) has opened the Call for Nominations for its annual awards program to recognize exceptional professionals in the exhibitions and events industry. Industry professionals who meet the outlined criteria may be nominated for any of the awards listed below, and recipients will be honored at Expo! Expo! IAEE?s Annual Meeting & Exhibition to be held 6-8 December in Anaheim, Calif.

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Conference center experts weigh in on five hot trends
 
Posted: 30 Apr 2015, 8:00 pm

Here is the top feedback when it comes to staging cutting-edge conference meets.

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Convention center tradeshows focus on interaction
 
Posted: 31 Mar 2015, 8:00 pm

Are you fully engaging your attendees?

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State College brims with entertaining endeavors
 
Posted: 30 Oct 2014, 8:00 pm

When it comes to putting fun on the agenda, State College is one smart choice.

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Ebola and the venue industry
 
Posted: 16 Oct 2014, 2:57 pm
IAVM is actively monitoring the impact of recent Ebola incidents. At the direction of Chair Kim Bedier, CFE ? in collaboration with our Industry Affairs Council and key IAVM staff ? an Ebola task force has been formed to work on relevant communications to the IAVM community.

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Close encounter of the third kind with Google Glass, part 2
 
Posted: 16 Oct 2014, 2:57 pm
More from Portland?5?s Joe Durr about this ?cool? technology product.

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Watch: Hugh Jackman talks about ticketing
 
Posted: 16 Oct 2014, 2:57 pm
Hugh Jackman and the show's producer are making sure pricing allows anyone that wants to see his new play will not have to worry about scalpers.

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Yarra, Australia, creates venue soundproofing fund
 
Posted: 16 Oct 2014, 2:57 pm
The city house 500 venues, 50 of them live music venues.

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Can a team have too much talent?
 
Posted: 16 Oct 2014, 2:57 pm
Yes, and here?s why having too much talent on a team is bad.

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Wesley Burtch Dickson
 
Posted: 16 Oct 2014, 2:57 pm
Wes founded his business, Advanced Equipment Corp., in 1957. In 1959, the business moved to Orange County, California.

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The Marvel Experience lets you save the world
 
Posted: 16 Oct 2014, 2:57 pm
The event will incorporate augmented reality, multiperson gaming, and RFID tracking for full fan immersion.

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Session proposals wanted
 
Posted: 16 Oct 2014, 2:57 pm
Please submit your session ideas for IAVM?s conferences. Presentations cannot be sales pitches, and if your topic is selected, IAVM will contact you concerning the coordination of the session speaker/panelists.

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The Firestation Centre launches its neo-ticketing project
 
Posted: 16 Oct 2014, 2:57 pm
With its new project, the venue wants to find out if it will sell more tickets, if guests will get better deals, and if artists will earn more.

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VenueConnect's environmental impact was minimal
 
Posted: 16 Oct 2014, 2:57 pm
VenueConnect's is the first conference that the Oregon Convention Center has measured the water, waste, and energy statistics.

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Shared activities make experiences more intense
 
Posted: 16 Oct 2014, 2:57 pm
Here?s some scientific support on the value of live experiences.

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Upcoming webinars
 
Posted: 16 Oct 2014, 2:57 pm
These two, free webinars next week will focus on becoming a CFE and the Mentor-Connector Program.

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AEG Live acquires two historic Virginia theatres
 
Posted: 16 Oct 2014, 2:57 pm
Those theatres are The National Theatre in Richmond and The NorVa Theatre in Norfolk, Virginia.

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Elmer Randolph 'Randy' Pugh
 
Posted: 16 Oct 2014, 2:57 pm
Randy was employed with the City of Virginia Beach as the Operations Supervisor of the Pavilion Convention Center from 1980-1999.

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Earl R. Williams
 
Posted: 16 Oct 2014, 2:57 pm
Earl was employed with Kimble Glass Co. and later Ball State University as Conference Director and General Manager of Emens Auditorium.

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New Miami convention center and hotel approved
 
Posted: 16 Oct 2014, 2:57 pm
The new development will be on the site of the old Miami Arena.

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Take 10 - Invigorate Your Large Events!
 
Posted: 13 May 2014, 8:00 pm

Dana Freker Doody answers questions from Meetings Focus' Invigorate Your Large Events webinar.

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Cookie-cutter conference centers are a thing of the past
 
Posted: 30 Apr 2014, 8:00 pm

Today's conference centers are more about standing out than fitting in.

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Scheduling events at Florida colleges and universities is a smart choice
 
Posted: 31 Mar 2014, 8:00 pm

Educational facilities throughout Florida give attendees a chance to relive the college experience.

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Convention centers adapt to tradeshows of today
 
Posted: 31 Mar 2014, 8:00 pm

Modern convention centers are about experience as much as setting.

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IACC Americas Conference Sees Attendee Uptick
 
Posted: 18 Mar 2014, 8:00 pm

The 2014 IACC Annual Conference reported it has attracted the most registered attendees since 2008.

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State College, Pennsylvania, is a happening, business-savvy hub
 
Posted: 27 Oct 2013, 8:00 pm

State College, home to Pennsylvania State University, welcomes groups with its vibrant ambiance and excellent on-campus (and off-site) facilities.

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A Q&A with Mark Cooper, new CEO of the International Association of Conference Centres
 
Posted: 24 Apr 2013, 8:00 pm
IACC's new CEO shares his insights on the events industry

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A quick take on recent openings and upgrades in the world of conference centers
 
Posted: 24 Apr 2013, 8:00 pm

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School Spirit
 
Posted: 17 Feb 2013, 7:00 pm
College stadiums and arenas are a classic choice for large groups

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Get Smart
 
Posted: 17 Feb 2013, 7:00 pm
On the fence about booking a college venue? These benefits might convince you.

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Areas of Study
 
Posted: 17 Feb 2013, 7:00 pm
University meetings think outside of the classroom

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Virtual Visionaries
 
Posted: 25 Nov 2012, 7:00 pm
Emilie Barta and John Pollard aim to take the fear out of planning hybrid events

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Take 10 - Conference Centers
 
Posted: 11 Jun 2012, 8:00 pm
Take 10 - Conference Centers

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New School
 
Posted: 30 Apr 2012, 8:00 pm

More...


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Final Bow
 
Posted: 28 Mar 2012, 8:00 pm

More...


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IACC Makes Global Push; Criteria to 'Evolve'
 
Posted: 21 Mar 2012, 8:00 pm

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IACC Board Sets New Service Standards
 
Posted: 30 Nov 2011, 7:00 pm

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Association Meetings 3.0
 
Posted: 16 Sep 2011, 5:10 pm
What does the association meeting of tomorrow look like and how can you prepare to provide your members with the type of meetings they need? A presenter at ASAE's 2011 Annual Meeting & Expo provides her expert glimpse into the future.

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Rethinking Sponsorships in the Age of Social Media
 
Posted: 16 Sep 2011, 4:56 pm
Technology is changing our lives in seemingly countless ways, including association event sponsorships. Find out what a leading event software expert believes are the best ways to make the most of sponsorships in the age of social media.

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What You Need to Know About Simultaneous Interpretation
 
Posted: 16 Sep 2011, 4:54 pm
As more associations venture overseas, simultaneous interpretation is more important than ever. Two experts who have conducted events around the globe share their insights.

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Reduce Expenses for Meetings of Any Size
 
Posted: 16 Sep 2011, 4:51 pm
Even the largest associations sometimes have meetings that don't represent a lot of room nights, which can reduce your ability to negotiate with the host hotel. Here are nine tips to help you get the best deal for your next meeting, no matter how many attendees you have.

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Strategic Meeting Planning
 
Posted: 6 Jul 2011, 11:00 am
We use strategic planning in our everyday lives but often get too caught up in all the details to apply it effectively during the meeting planning process. Discover how to be truly strategic the next time you're planning an important meeting.

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New Models for Successful Convention Strategy
 
Posted: 6 Jul 2011, 10:56 am
There's more to meetings than good content and a nice location. An ASAE Fellow and association business strategy consultant shares his views on factors such as information needs, competing resources, and strategic barriers that impact attendance at association conventions and tradeshows.

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Post-Recession Economy Requires New Guidelines for Association Events
 
Posted: 6 Jul 2011, 10:53 am
Association events are making a comeback following the deep recession, but everyone remains sensitive to appearing too extravagant and expensive. Here's a process for determining what's appropriate for your next events.

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Increase Exhibitor Engagement Without Increasing Your Budget
 
Posted: 6 Jul 2011, 10:49 am
Every association tradeshow is under pressure to increase traffic, but at what cost? Follow these strategies for increasing traffic and enhancing exhibitor loyalty without busting your budget.

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Letter From the Chair: ME Section Contributes to "199 Ideas" for Planners
 
Posted: 6 Jul 2011, 10:47 am
The Meetings & Expositions Section Council chair discusses the debut of an exciting new resource for association planners, provides a glimpse of the upcoming Annual Meeting & Exposition, and lends his perspective on the value of associations to society.

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Tips to Make Transportation at Your Conference Greener
 
Posted: 9 May 2011, 10:09 am
Greening meetings has come a long way in recent years, but you can take it to the next level with a little strategy and a lot of enthusiasm. Learn how to get your group actively involved in being a deeper shade of green.

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University Venues
 
Posted: 30 Apr 2011, 8:00 pm
Collegiate athletic venues are ideal for team building and spectator fun

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Conference Centers
 
Posted: 31 Dec 2010, 7:00 pm
With mounting competition, conference centers get flexible

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Conference Center Changes
 
Posted: 31 Dec 2010, 7:00 pm
Conference Center Changes

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On Location - Convention Centers
 
Posted: 31 May 2010, 8:00 pm

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University Venues
 
Posted: 30 Apr 2010, 8:00 pm
Campus Culture

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Conference Centers
 
Posted: 31 Mar 2010, 8:00 pm

After a tough year, conference centers see better times ahead

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University Venues
 
Posted: 28 Feb 2010, 7:00 pm

Universities offer an exciting range of museum venues

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