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2016-Eddie-Rosenblatt Mo-George-Harrison-web
7/18/24
Eddie Rosenblatt may be best known for signing Nirvana to Geffen Records. But in the 30 years before Nevermind, Rosenblatt worked independent distribution in the Midwest, handled sales for A&M, played a major executive role at Warner Bros. on the West Coast and joined David Geffen shortly after he launched his label. Who moves to Ohio from Queens, N.Y., to jump-start a spectacular career as a record executive? Eddie Rosenblatt, in 1957, thought of himself as “just another loudmouth New York guy with minimum education” —sprung from the Army, married and mired in Macy’s management training program. “I had become friendly with a guy named Mike Lipton, who worked for Cosnat Distributing in New York,” Eddie explained over lunch at a small café on a perfect fall day in Montecito, Calif., where he’s lived for the past 15 years. “He also managed the Cleveland branch. Mike always seemed to be having more fun than me. He called me the Sunday before Thanksgiving and said, ‘I need you in Cleveland, because I fired everybody. I didn’t trust anybody. Come out and I’ll teach you the record business. You’ll be the assistant manager.’” Eddie got a jolt of music-biz magic early on, when he picked up a phone call from [Atlantic’s] Jerry Wexler that was meant for Mike. “I say, ‘He’s not here’ and Jerry wants to know who he’s speaking to. I say, ‘I’m his assistant manager.’ Jerry says, ‘OK, I’ve got a new Ray Charles single. How many do you want?’ ‘I put Jerry on hold, and I say to the two guys in the back room, who were African-Americans, ‘Excuse me. Who the fuck is Ray Charles, and how many do we want to order?’ I loved it. “In 1960, when ‘Money,’ the Barrett Strong record, was out, I got a call from a guy I’d never heard of, asking did I want to be his distributor. Good thing I said yes, because the guy was Berry Gordy. I didn’t think for a minute that this guy was gonna become Berry Gordy.” Besides distributing sermons by Aretha’s father, Rev. C.L. Franklin—“they came on 78s, like three or four of them with the printed text in a huge envelope”—Cosnat also distributed Chess and Checker Records, so Eddie got to know Phil and Leonard Chess, future legends but, to Eddie, just guys. Their product, of course, was sensational: Chuck Berry, Howlin’ Wolf, Muddy Waters. “Cosnat had some good things about it—they taught me the business—and some not-so-good things. They were in competition with many of the independent labels because they had Jubilee Records, and Jerry Blaine was the owner both of Cosnat and Jubilee. That was a conflict.” Eddie left Cosnat in 1962 to join Main Line Distribution, an independently owned RCA Victor distributor, where he built his own staff from scratch. He stayed for five years, picking up lucrative accounts and forging crucial relationships. “I met Jerry Moss and became an A&M distributor. He’s a wonderful guy; he came to Cleveland at Yom Kippur and we went to temple together. I met Jac Holzman and became an Elektra distributor.” Eddie sums up life as a distributor: “You bought records, you promoted records, you sold records, you collected money, and you paid your bills…or you didn’t pay your bills, as the case may be.” GO WEST, YOUNG MAN. AND STAY THERE. Eddie’s first moments in the Golden State, in January 1966, were mind-blowing. “I had to fight through a snowstorm to get from my house to the airport. I’m wearing a suit with a shirt and a tie—that’s how you traveled in those days—and a scarf and a hat with a feather, an overcoat, the whole thing. We land at LAX, and it’s one of those January, 85-degree killer days, clear as a bell. And as I’m walking down the stairs from the plane, I start throwing off my coat, my hat, my scarf and my gloves, and whatever. I walked off and left ’em there, and said, ‘This is for me.’” Talk about shedding East Coast trappings. Eddie went west to work for A&M in the sales department. While at Main Line, Eddie had gotten close with A&M President Gil Friesen and General Manager Bob Fead. They dug that while he was selling Herb Alpert’s monster hits he also pushed other A&M acts like The Baja Marimba Band and Claudine Longet. He stayed at A&M for two and a half years, but ultimately, it didn’t work out; it was the only time he’d ever been fired. The 1970s were approaching, and Eddie was hell-bent on staying on the West Coast. He landed a transitional gig at a new label, TA Records, part of talk-show host David Susskind’s enterprise. A year later, his big break arrived when Joel Friedman brought Eddie in as sales manager of Warner Bros. Records just as WEA was coming together as a branch distribution powerhouse. Warner’s freewheeling culture underscored that Eddie really, truly wasn’t in Cleveland anymore, and he adjusted accordingly. “I remember going to one of the first meetings with [the legendarily hirsute, hip Warner Bros. creative services director] Stan Cornyn and his staff. They were talking about some record and I’m going, ‘Wow, I better grow a beard.’ I didn’t have a beard in those days, and I thought I’d better make myself a little more ferocious-looking because Stan was the king of the hill.” BRANCH DISTRIBUTION GROWING PAINS The motivating force behind WEA was that in order for the three component record companies—Warner, Elektra and Atlantic—to reach their vast potential, they had to control their own distribution. When Eddie came aboard, WEA was just starting to open up branches, and there were growing pains. For one thing, the indies about to lose major accounts had no incentive to plan ahead. “I went out to the East Coast distributors. We had James Taylor’s Mud Slide Slim, a Deep Purple album with ‘My Woman From Tokyo’ on it. There was a Jethro Tull—the one with ‘snot hanging from his nose’ [Aqualung]. So, I mean, we’re talking gold. “With Stan Cornyn’s help, we created these great presentations. We gave everybody books filled with great album covers, we played this amazing music for them, and all of that. Of course, nobody paid attention. They were throwing shit at me. I was appalled. How could this happen? We are Warner Bros. Records! Well, I realized 10 minutes into it, they were losing our business and didn’t give a fuck anymore.” I reminded Eddie that Jerry Wexler once said that the worst branch distribution is better than the best independent. “Exactly,” Eddie confirmed. “Jerry would say it just that way.” The big difference between the WEA companies and their major competitors in those days— Columbia, Capitol, RCA—Eddie stressed, was “those companies were heavily marketing-oriented and we were an A&R-oriented label. Capitol was bringing over this guy who was the head of selling refrigerators in Australia, and now he’s running Capitol Records. And RCA was just RCA. At Warner Bros, Atlantic, Elektra, it was all about the artists. “Mo [Ostin] was the boss…period. And the greatest. You could never go to Mo and stab somebody in the back; it did not work. You could voice things and not be afraid that it was going to cost you. Joe [Smith] had Warner Bros. Records, and Mo had Reprise, because Mo had started with Frank [Sinatra]. He was Frank’s guy. When Joe left promotion he certainly had the knowledge of how to do it, but he was more involved with signing bands, as was Mo. It was perfect. The bosses were signing bands, we were promoting and selling.” Eddie stayed at Warners until September 1980, rising to the position of Senior VP of Sales and Marketing and operating like a partner with Cornyn. When inter-company conflicts arose, Warner Communications chief Steve Ross—“the best guy I ever worked for from the corporate level”—came in and straightened things out. Case in point: Joel Friedman ran WEA as a tight ship, but the strong-willed execs who piloted Warners, Elektra and Atlantic needed more promotional and marketing support for their constant stream of releases. “Joel wanted to be the hero and keep his costs down and show Steve Ross that he was the greatest thing since sliced bread. So we’re sitting at a meeting at the Hotel Bel-Air, and it’s all the guys running the three companies: Mo, Joe, Ahmet, Nesuhi, Jac and Mel Posner and Davey Glew and myself, and some other people. “Then Steve explains to us, with everyone present, that the profits came from here [i.e., the labels]. So he made sure we got our own promotion people, and certain marketing things were taken care of. Then our business just exploded.” DAVID GEFFEN REDUX Eddie had struck up a friendship with David Geffen years earlier when David was managing Joni Mitchell during her Blue period. Geffen had left the business in the mid-1970s when he was diagnosed, wrongly as it turned out, with cancer. Early in 1980, Eddie got wind that David was coming back with a label that Warner Bros. would distribute, Geffen Records. “I thought this might be something I would like to do. I talked it over with my wife, went to see Mo and I said, ‘I think I want to do that, maybe as President.’ Mo said, ‘Go for it.’ Partially, his thinking would have been, ‘Eddie knows the business; he’s good with money; and he and David will work so well together.’ “I’m set to start with David right after Labor Day [1980], and I take a week in Hawaii. The minute I walk into my hotel room in Hawaii, David calls and tells me he signed Elton John and Donna Summer. I say, ‘Holy shit, it’s serious.’ I come back. We start.” “I get a call from Phil Spector, who I knew from A&M. He says, ‘[John] Lennon’s in the studio—he doesn’t have a deal.’ ‘Oh, thank you, Phil!’ I go up to see David and I say, ‘Do you know Yoko?’ He says, ‘Of course.’ I say, ‘Call her and make the deal.’ Which of course he did.” DEC. 8, 1980 Eddie tells a riveting story about the awful night of Dec. 8, 1980. “I’m in New York, staying at the Sherry Netherland. David had an apartment right next door, still does. I’m in bed. I know something’s happening, but it’s all vague. So I call David and say, ‘What’s going on?’ He says, ‘Meet me downstairs in two minutes.’ I go downstairs, we hop a cab to Roosevelt Hospital. It was too late. John had already passed. “We walk out with Yoko—a photo of us made the front page of the Daily News. We get into two police cars and they take us into the underground of the Dakota. We go up to their apartment, where I had been the previous day talking to Yoko about marketing and all the stuff we were gonna do with John. “We stayed with Yoko all night. In the morning I went back to my hotel, passing throngs of saddened fans lining the streets in front of their building. I tried to pull myself together. What a tragedy. Words cannot express my grief, and the grief that shook the world.” BRINGING IN THE NEW Geffen Records had made a splash by spending big dollars to sign established superstars like Elton and Summer. “Now it was time for us to break new artists. We signed Quarterflash, and we put out their album at the end of 1981. It had the ‘Harden My Heart’ track. We did our job by installing them as the opening act on the Elton John tour, and lo and behold, we broke a band. It’s the greatest feeling in the world.” Around the same time, Peter Gabriel and Phil Collins became available; Geffen decided to go after Gabriel. Eddie recalls, “Bruce Lundvall got to see Peter in Paris, and we got to see him outside of Lisbon. It wasn’t even Lisbon itself—that’s how low we were on the totem pole. “David and I get a car and we go out to this resort to have dinner with Peter, who we’d never met. Next night, we went to see him and it was awe-inspiring. We sit down with Peter, Gail Colson, his manager, and the guy who manages Phil Collins and the band. “I saw David in action really for the first time. Before we have a piece of bread, he starts in: ‘OK, here’s what they’re saying about us. Now here’s the truth.’ And he did the most brilliant 10 minutes you ever heard in your life—why we were great, how great I was. He was just fabulous. I knew we had it. And Peter Gabriel was just a wonderful person.” “We signed Don Henley, Ric Ocasek and Neil Young, and Joni Mitchell. We had now become a viable record company. “What turned things around for good was Whitesnake. The first track out of their album was like eight minutes. We make this fabulous video, and all of a sudden, MTV takes that eight-minute track and beats the fucking shit out of it. Ka-boom! And we decide we gotta go into the hard-ass rock & roll world.” That strategy led to superstar after superstar, including mega-million sellers Guns ‘N’ Roses and Aerosmith, plus artistic torchbearers Beck and Sonic Youth, whose signing led to Nirvana. MAKING OF NIRVANA Geffen Records signed the Seattle trio Nirvana in 1990. They become not only the breakthrough artist of the early ’90s, but also—despite releasing only three studio albums during their short-lived career—one of the greatest and most influential rock bands of all time. Eddie tears up as he recalls the overwhelming sense of loss felt by so many millions, including his staff, at the news of Kurt Cobain’s suicide in 1994. “Kurt had a very hard time dealing with his success. A group of us went to Seattle for his funeral. We were all grieving, and found it hard to get back on track. “A lot of the grief at our level was due to the fact that so many young people—the fans, the people at our company who worked with Kurt and loved and believed in him, and in his music—never thought a band with that kind of musical integrity could achieve the success that Nirvana did. That was really tough.” When Universal acquired Geffen Records and consolidated operations in the late 1990s, Eddie left the company. But he’s hardly bitter. “They were very good to me—they wanted me to stay. I was so fortunate to be able to work with David Geffen, Doug Morris, Jimmy Iovine and Mo Ostin. And to work for Lew Wasserman and Sid Sheinberg. THE AMAZING STEVE ROSS I asked Eddie whether he thought corporatization always had to lead to the kind of consolidation—and commodification—that robbed creative businesses of their soul. That sparked a memory of a corporate leader who, time and again, went against perceived wisdom, and won. The back story: In 1976, Ross gambled big time by acquiring and pouring resources into the hot videogame company Atari. At first, sales soared, but when a scandal erupted within Atari, revenues plummeted and so did Warner’s stock price. The entire Warner empire, including the record companies—which were profitable—was threatened. “We’re having a meeting with the national people—Nesuhi, Mo, Joe, Ahmet, David and I, Joel Friedman. Steve walks in and the air leaves the room, because we know he’s gonna say, ‘I want a 25 percent cut’ or whatever. You know the drill, you’ve heard it a thousand times. “So Steve stands up and says, ‘I’ve just got a few words to say to you guys. I want you to do what you’re good at and keep doing it. Sign those bands, market those bands. I’ll take care of the guys in the stock market.’ He gets up and leaves, and I look around the room and like, wow. I wanted to applaud. It was the most brilliant thing I’d ever heard.” With that in mind, Eddie’s parting words at the Montecito café were happy ones: “I left the business in ’99 and moved up here and lived happily ever after. That’s my story. “What a ride. I was given the opportunity to work in a business I loved, in a very exciting and great time in the music world. I was fortunate to work with a fabulous group of in-house record people, and so many creative and talented artists, engineers, and producers. I was, and am, so very proud of the music we made available to everyone.”
2016-Eddie-Rosenblatt Headshot
7/18/24
Eddie Rosenblatt, the longtime Geffen Records executive who played a vital role in the careers of such artists as John Lennon, Don Henley, Aerosmith, Guns N’ Roses, Beck and Nirvana, and who helped turn Geffen and its spinoff, DGC, into two of the most successful labels of the era, died on Tuesday at a Santa Barbara hospital. He was 89. His son Michael said the cause of death was pneumonia. David Geffen appointed Rosenblatt president of Geffen when he founded his namesake label in 1980, after the two had struck a friendship when Geffen was managing Joni Mitchell and Rosenblatt was working at Warner Bros. Records in the sales and marketing department. Geffen Records made an early splash, signing big-ticket acts like Elton John and Donna Summer, but it was John Lennon and Yoko Ono’s Double Fantasy, released shortly before Lennon was killed, in 1980, that became its first landmark LP. Rosenblatt, known affectionately as “The Chief,” presided over the label’s run of success in its early years, breaking acts like Peter Gabriel, Quarterflash and Whitesnake, and overseeing releases by established stars Henley, Mitchell and Neil Young. In 1990 David Geffen sold the label to MCA for $550 million and announced the launch of DGC, with Rosenblatt serving as its president. DGC became synonymous with the boom in alternative rock and its harder-edged offshoot grunge, releasing seminal titles from Nirvana, Sonic Youth, Weezer, Hole and Beck, while Geffen continued its success with the likes of Guns N’ Roses and Counting Crows. In 1994 alone, Geffen and DGC generated $500m in album sales, more than a quarter of the global revenue of MCA’s music division. In ’95, David Geffen stepped down from his position as Geffen Records chairman to co-found DreamWorks SKG, naming Rosenblatt as his successor. At the time, Rosenblatt’s former boss at Warner, Mo Ostin, said, “If you think of David as the vision behind Geffen Records, then Eddie is the heart. That label is not just profitable, it’s got hipness and heat, and Eddie is the glue that has held it together all these years.” During his tenure, Rosenblatt served as mentor and leader to such executives as Johnny Barbis, Bill Bennett, Dennis Dennehy, Al Coury, Tom Zutaut, Gary Gersh, John Kalodner, Bryn Bridenthal, Marko Babineau, Peter Baron, David Berman, Mark DiDia and Wendy Goldstein. Amid the massive consolidation brought about by Seagram’s purchase of PolyGram in 1998 and the merger of PolyGram with Universal Music Group, Rosenblatt departed the company and retired from the music business. Eddie Rosenblatt was born on Nov. 6, 1934, in Far Rockaway, Queens, New York. He received a degree in Applied Arts from Brooklyn College in 1952, then served two years in the Army. After a stint in Macy’s management-training program, he moved to Cleveland to work at Cosnat Distributing, where he got to know early rock & roll impresarios Phil and Leonard Chess, among others. In 1962 he left Cosnat to join Main Line Distribution, forging important relationships with such future machers as Gil Friesen, Jerry Moss and Jac Holzman. In 1967, Rosenblatt moved west to work in the sales department at A&M Records, then took a job in 1971 with Warner Bros. By 1972, he, Dave Glew and Mel Posner, under the watchful eye of Joel Friedman, were running the new distribution company WEA; the three were known internally as “Grip” (G for Glew, sales head at Atlantic; R for Warner sales manager Rosenblatt; and P for Elektra's Posner). Rosenblatt remained at Warner until the launch of Geffen Records in 1980. He'd been living in Montecito since his retirement. An avid tennis player and philanthropist, he is survived by his four children—Michael, Steven, Peter and Gretchen—six grandchildren and one great-grandchild. Bobbi, his wife of 68 years, died in 2023. In lieu of flowers, gifts in memory of Rosenblatt can be made to the Sansum Clinic, a nonprofit outpatient health-care organization, at https://www.sansumclinic.org/donate-now. From top of photo array: Rosenblatt with Mo Ostin and George Harrison; with Joni Mitchell; with Henry Droz and Lenny Waronker; with Robbie Robertson; with Rickie Lee Jones; with Debbie Harry.
Adele- AdMat
7/18/24
Adele will begin her huge, 10-date engagement in Germany in two weeks, but she's already prepping fans for a long break once it's complete. “My tank is quite empty from being onstage every weekend in Las Vegas,” she told German broadcaster ZDF of her two-year residency in Sin City. “I don’t have any plans for new music, at all. I want a big break after this, and I think I want to do other creative things just for a little while.” The upcoming shows will take place at the bespoke Munich Messe, an open-air, 80k-cap venue (see rendering below). Beginning 8/2, Adele will play twice a week for five weeks through the end of the month to a total audience of 740k; per promoter Marek Lieberberg of Live Nation and Leutgeb Entertainment Group, a handful of tickets are still available. Pre-sale demand topped more than 2.2 million fan registrations. These will be Adele's first mainland Europe appearances since 2016, and she and her team have designed a “pop-up stadium” for the performance, which is “going to be massive, and a way bigger experience than the capacity of her Vegas shows," said Lieberberg. The LED screens at Munich Messe alone will span 220 meters in width and 30 meters in height—the biggest ever for a stage show in Europe. Adding to the experience will be a pop-up pub in the style of classic English watering holes, a cover-band stage and vendors hawking specialty cocktails. Meanwhile, the 16-time Grammy winner will conclude her Weekends With Adele residency at Caesars Palace with 10 shows in October and November. The run began in November 2022 and has since been extended multiple times. Adele is represented by Jonathan DickinsSeptember Management and booked by Lucy Dickins, partner/global head of Contemporary Music and Touring at WME.
ezgif-4-633b58d6fa
7/18/24
In our latest roundup, we present eight more stars of tomorrow from various parts of the biz whose dedication and effort make their superiors look good. This week's entrants will also find their faces in our latest mag. Thankfully, they can lament this mortifying experience from the comfort of their air-conditioned spaces. Emmy LovellGlobal Head of Music, SoundCloud For Lovell, nothing tops being part of the little things that make the big things happen, such as soundchecks and rehearsals in empty rooms, stadiums and arenas around the world. Presently, she’s focused on finding, building and breaking the household names of tomorrow, including IIXL/SoundCloud’s latest signing,17-year-old Brooklynite Laila!, whose debut single, “Like That,” increased its global streaming consumption 16X from February to April, reaching 1.6m weekly streams. Lovell is named after Emmylou Harris. We’re fortunate our given name isn’t loser. Peter MadanaA&R/Manager of Digital Rights, Create Music Group Celebrating his birthday with Tory Lanez in the studio previewing Daystar (110m+ Spotify streams) was a standout moment for Madana. He’s now spearheading NE-YO’s debut independent release, “2 Million Secrets,” which is trending on Instagram Reels and has surpassed 1m YouTube views. He also managed the rollout of TroyBoi’s 4 ON DA FLOOR EP, which included appearances at Coachella and EDC 2024. Madana’s been a touring DJ and producer for 15+ years, having shared stages with the likes of Smiley, Jay Sean and Ludacris. Most people would like us lower in the mix. Anna CageVP, Radio, Warner Music Nashville Cage savors surreal career moments like Dan + Shay’s heartfelt stage acknowledgment in her hometown, intimate wine-tasting with Cole Swindell, singing with Zach Bryan at Red Rocks before a snowy backdrop and being part of the project that gave Randy Travis his voice back. Now, she’s driving radio success for artists like Kenny Chesney, who recently secured his 33rd #1, and Bailey Zimmerman, who achieved a record-setting run of hits. Cage once flirted with a fencing career, even attracting an Olympic coach’s attention. Too bad she’s been foiled by us. Jazmin CovarrubiasSenior Director, Commercial Partnerships, AWAL From fulfilling her teenage dream of working with the Jonas Brothers at Radio Disney to launching Kim Petras’ annual Halloween takeover on Apple Music 1 at AWAL, Covarrubias’ career is nothing short of exciting. She’s now boosting the streaming success of Djo’s “End of Beginning” (790m+ streams), prepping for Moses Sumney’s summer EP and Laufey’s sold-out Hollywood Bowl show on 8/7, while supporting emerging acts like hemlocke springs and The Beaches. Covarrubias’s dog Leo, @loco4leo, will be featured in an Amazon product ad. We still haven’t had all our shots. Shauni CaballeroSenior Director, Creative, Sony Music Publishing Caballero is still riding the high from Central Cee & Dave’s “Sprinter” topping the U.K. charts for 10 weeks and achieving gold status in the U.S. Now based in NYC, she’s focusing on creating international opportunities for U.K. acts like Central Cee, Nemzzz and Nippa, leveraging SMP’s global network. She notes that Central Cee’s recent collaboration with Lil Baby on “BAND4BAND” exemplifies the narrowing gap between the U.K. and U.S. rap scenes. A big fan of The Walking Dead, Caballero dreams of starring in a zombie film. She should experience our editorial meetings. Priscilla FeltenGeneral Manager, Immersive Music Having worked on Reneé Rapp’s breakout in tandem with Adam Mersel, Felten is proud to have steered the release of Snow Angel—2023’s biggest female pop album debut. She also helped manage Rapp’s SNL and Coachella appearances and her sold-out international tour, and she’ll play a role in upcoming festival gigs including headlining All Things Go. She’s now producing Ben Platt’s Broadway residency at the renovated Palace Theatre and his U.S. tour. Felten once raced Olympic gold medalist Katie Ledecky in a high school swim meet. Just reading those words makes us reach for our inhaler. Bo MartinovichSenior Director, Promotion, Sony Music Nashville Martinovich will never forget bowling with The (then-Dixie) Chicks in 1999, fresh off their success with Wide Open Spaces and Fly. That moment, a year after graduating from MTSU, solidified his passion for music promotion. He’s since worked with iconic artists like Gretchen Wilson, Miranda Lambert, Maren Morris and Megan Moroney. Now, he’s promoting Graham Barham’s new song, “Whiskey Whiskey,” while reveling in the joy of watching artists rise to stardom. Martinovich says his phone autocorrects “Bo” into words. That must be Bo annoying. Abhi KanakadandilaCo-Founder & CEO, D36 Kanakadandila saw the release of the remix “tu hai kahan” by Pakistani band AUR f/Zayn Malik earn 25m+ streams and 1b+ social impressions in its first month, serving as a glimpse of what D36—a new JV with Sony—aims to achieve globally. Blending music with cinema, he was chuffed for the release of Abdullah Siddiqui’s score from Joyland and looks forward to an in-house film capturing a pivotal Indian movement. Kanakadandila once explained rocket science to Takashi Murakami via a translator outside SpaceX. Too bad he can’t explain this feature.
Grammy Online Entry
7/17/24
The Recording Academy has rolled up the proverbial gates on its online-entry process for the 67th Annual Grammy Awards, and members are now welcome to submit recordings for consideration released from 9/16/23 through 8/30/24. The deadline for all entries, including those with release dates scheduled after the entry process closes but before the end of the eligibility period, is 6pm PT 8/30. The awards team is hosting a live demo of the whole shebang on 7/24 at 11am PT. Interested parties can register in advance. For more information about the voting process, check out the online-entry reference guide here. Rest assured that HITS will be submitting our old ukulele demos because they "came to prominence" this year.
Screenshot 2024-07-17 at 11.57.34 AM
7/17/24
On 7/16, RCA’s Red Clay Strays took the stage at L.A.'s storied Troubadour for a triumphant, sold-out show during which they performed their album, Made by These Moments (due 7/26), in its entirety. After the packed, sizzling show, label promo wizards Gary Gorman and Keith Rothschild kept the roots-rock energy going, regaling the VIPs in the upstairs bar with such classics as “Hey Buddy Blues.” Seen feeling the heat are (l-r) Gorman, the band’s Brandon Coleman and Andrew Bishop, and Rothschild.
The-Bear
7/17/24
Two FX series lit up the scoreboard when the 2024 Emmy nominations were announced Wednesday morning (7/17) at Hollywood’s El Capitan Theatre. The Bear set a new single-year record in the comedy-series field, earning 23 noms in all—including series, lead actor (Jeremy Allen White), lead actress (Ayo Edebiri) and three supporting roles (Lionel Boyce, Liza Colón-Zayas, Ebon Moss-Bachrach). And Shōgun led on the drama side with 25 noms, including series, lead actress (Anna Sawai), lead actor (Hiroyuki Sanada) and supporting actor (Tadanobu Asano, Takehiro Hira). Only Murders in the Building snagged 21 nods in the comedy field, while Hacks picked up 16. Drama-wise, The Crown got 18 total nominations; Fallout, The Morning Show and Mr. & Mrs. Smith landed 16 apiece. A pair of moonlighting musical artists scored major noms: Selena Gomez for lead actress in a comedy series (Only Murders in the Building) and Donald Glover for lead actor in a drama series (Mr. & Mrs. Smith). Other familiar names included Billy Joel, Lionel Richie, USHER and JAY-Z. Billy Joel: The 100th–Live at Madison Square Garden picked up four noms, including outstanding variety special (pre-recorded), and Richie got one for outstanding documentary or nonfiction special as an executive producer of The Greatest Night in Pop, which also earned two other noms. The Apple Music Super Bowl LVIII Halftime Show Starring USHER earned three nominations, including outstanding variety special (live). USHER shares it with JAY-Z and Jesse Collins, who double-dipped in the category for executive-producing the 2024 Grammys with fellow EP Ben Winston and producer/host Trevor Noah. The nominees for music supervision are Catherine Grieves (Baby Reindeer), Trygge Toven (Fallout), Maggie Phillips (Fargo), Jen Malone (Mr. & Mrs. Smith), Bruce Gilbert and Lauren Marie Mikus (Only Murders in the Building) and Susan Jacobs (True Detective: Night Country). Shockingly—especially for dad-rock connoisseurs like us—The Bear’s extremely deserving Christopher Storer and Josh Senior were snubbed in the category.
Torie Mason
7/17/24
Warner Music Nashville has promoted Torie Mason to SVP, Marketing & Analytics after three years of successfully leading the strategic marketing and analytics teams. In Mason's new role, she'll merge and rebrand the artist development team into WMN's marketing department. The WMN interactive marketing team will now be digital marketing, as well. The marketing department now encompasses artist marketing, digital marketing, analytics, brand partnerships, video strategy, and advertising strategy, who will all report to Mason."This new structure will allow us to continue to super-serve our artists and their music with more focus and urgency," WMN Co-Chair/Co-President Ben Kline said. "Torie's reputation both inside our building and in the community at large makes her one of the most respected and trusted thought leaders in our industry today. She is the right person to lead these efforts for Warner Music Nashville in an ever-changing marketing landscape." We're also told she's the right person to send HITS emails into the trash.
Morgan Wallen Knoxville
7/17/24
Morgan Wallen will play two massive hometown shows in Knoxville, Tennessee, this fall at Neyland Stadium, becoming the first artist to do multiples at the venue (home to the U of T Tennessee Volunteers). The 9/20 and 9/22 gigs, Wallen's first in Knoxville since a 2019 appearance at the Tennessee Valley Fair, are expected to draw a combined 120k fans. HARDY and Ernest will open; click here for tickets. “I’ve had the honor of playing in a lot of college, MLB and NFL stadiums the past two years, but getting to play to my hometown at Neyland Stadium... Nothing tops this for a boy from East Tennessee," said Wallen, who is newly managed by The Neal Agency's Austin Neal. The artist is donating a portion of proceeds from every ticket to his own Morgan Wallen Foundation, which recently pledged $100k to renovate baseball fields in Jefferson City, Tennessee. Fresh off headlining the biggest country show ever at London's Hyde Park on 7/4, Wallen will commence his first proper European tour 8/28 in Stockholm. We hear the pickled herring and cinnamon buns are exquisite this time of year.
Chris Stapleton
7/17/24
A 2017 single called “Either Way” by Chris Stapleton is Shazam’s Biggest Mover this week. Initially recorded by Lee Ann Womack for her 2008 album, Call Me Crazy, the track won Best Country Solo Performance at the 60th Annual Grammy Awards. Stapleton’s version, co-written by Tim James and Kendell Marvel, lives on the country star’s From a Room: Volume 1 album. In the #2 spot is "Beckham" by rappers Dee Billz, Kyle Rich and Kai Swervo with special guest KJ Swervo. Following closely behind at #3 is the UEFA Euro 2024 anthem "Fire" by Meduza, OneRepublic and Leony. Victoria Monét's “Power of Two" from the film Star Wars: The Acolyte and Bossman Dlow's “PJ” f/Lil Baby round out the Top 5, respectively. Listen to Stapleton's track below—or don't. He'll hate us "either way."
Post Malone Blake Shelton
7/17/24
Post Malone and Bud Light gave Nashville a lot to celebrate last night (7/16) with a special one-off show at the 1,800-capacity Marathon Music Works featuring guest spots from Blake Shelton, HARDY, Joe Nichols and Sierra Ferrell. The bash came ahead of Posty's upcoming Republic/Mercury album F-1 Trillion, due 8/16. The artist debuted two songs from the project—"Yours" and "Hide My Gun" featuring HARDY—and also played "Pour Me a Drink," his hit collaboration with Shelton. Malone will embark on a 21-date Live Nation-promoted tour in support of F-1 Trillion on 9/8 in Salt Lake City. It will stop at a combination of stadiums and amphitheaters, including Boston's Fenway Park and Nashville's Nissan Stadium, where it will wrap 10/19. In case you were wondering, we should have our new face tattoo by then. Photo: Jason Kempin/Getty Images for Bud Light
Grammy-Awards-logo-gramophone
7/17/24
This has been an outstanding year for major releases, and that's likely to be reflected in the top-tier Grammy noms. I say “likely” rather than “certainly” because nobody knows what the Academy cabal will do or what mysterious agendas will be at work in the byzantine subterranean chambers where artists and records are anointed. That is to say: Grammys gonna Grammy, y’all. Album of the Year is a particularly compelling conversation this year given the three heavyweights who are likely to be locks for noms: Beyoncé, Taylor and Billie. But of those three, who might have the edge? That Bey, who has schlepped home 32 golden gramophones and earned an incredible 88 noms over the course of her career, has never won AOTY is mind-boggling. Her albums, always meticulously crafted and inventive, are also often cultural events. This is certainly the case with COWBOY CARTER (Parkwood/Columbia), a Texas-fried manifesto about genre and identity that lassoed the zeitgeist. The album boasted a bona fide smash in “Texas Hold 'Em” and participation by legends like Willie Nelson, Dolly Parton and Black country trailblazer Linda Martell. In addition to righting a longstanding wrong by rewarding Bey in this category, an AOTY win for her would enable Grammy to simultaneously acknowledge country’s huge profile on the current landscape and further subvert the shallow notion that it’s a “white” form. Then again, if Album of the Year should go to the biggest album of the year—not exactly a radical notion—it's undeniable that Taylor Swift’s THE TORTURED POETS DEPARTMENT (Republic)—owns that distinction. The chart-ruling set’s staggering reign in the marketplace (it’s approaching 5m in U.S. ATD) is but one prong of Tay’s pop-cultural dominance, which recalls The Beatles in fan adulation and multimedia saturation. It’s also been available in an array of retail variations rivaling the output of the Marvel cinematic universe. As ever, the set is a showcase for Tay’s deft and literate songwriting. It is both a puzzle and a shandeh that she's never won Song of the Year. In any case, Grammy desperately wants Tay, who took home AOTY last time, on the telecast—what moves might be necessary to make that happen? Then there’s Billie, who scored SOTY last time for her world-rocking Barbie ballad. With HIT ME HARD AND SOFT, the Darkroom/Interscope star and Grammy darling reached a new creative plateau and addressed her sexuality with fearless, ferocious openness. Her musical collaboration with brother FINNEAS reached new peaks of exploration and feeling, and she's never sounded more assured as a vocalist. Cuts like the erotically ravenous “Lunch,” the soaring “Birds of a Feather” and powerhouse “The Greatest” rank among her most confident, affecting creations yet. In most other years, HIT ME would be the title to beat in this category. But this time, Billie’s caught in a clash of titans. Of course Grammy could split the difference by giving the trophy to a jazz record only 11 people have heard. Because Grammys gonna Grammy. In any case, we look forward to Harvey arriving for his speech on horseback.
Justin Bumper Reeve
7/17/24
Virgin Music Group has hired Justin Bumper Reeve as senior VP of Global Sync, paying off the work he's put in since founding his own Hidden Track Music placement and licensing firm in 2008. In the new, Los Angeles-based role, Reeve will oversee a global team placing Virgin artists in advertising, film, television, trailers and video games. His early wins have included BTS’s “Dynamite” in the film Despicable Me 4, NewJeans’ “ETA” for Gucci, bbno$’s “edamame” for Mountain Dew’s Baja Blast Super Bowl ad and David Kushner’s “Daylight” for Armani perfume Acqua de Giò. At Hidden Track, Reeve worked with artists such as Alt-J, CHVRCHES, Courtney Barnett, Oasis and Haim. “Bumper is one of the most successful and respected creative sync executives in the business,” said Virgin EVP of Global Marketing Jeremy Kramer. “He is already proving to be invaluable for our label and artists clients around the world, having already secured syncs with global blue chip brands and some of the most commercially successful films and television shows.”
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7/16/24
Songwriters of North America (SONA) will honor BMAC co-founder Willie "Prophet" Stiggers, late songwriter Andrea Martin, Thomas Scherer, RAYE and Ross Golan at its fourth annual SONA Warrior Awards gala on 10/6 at the Skirball Center in L.A. “We created the Warrior Award to honor and thank those starlit humans who use their platforms to speak up and speak out for songwriters," SONA CEO Michelle Lewis said. "We call our honorees ‘Warriors’—these incredible artists, executives, activists and of course songwriters—to echo what one of our greatest living American songwriters, Paul Williams, calls songwriter advocates: warriors for the light.” As Lewis explained, Williams became the first honoree four years ago and since then, the annual ceremony “has become known as one of the most heartfelt and inspiring events in the music industry, run by songwriters and for songwriters. She added, "We hope it is meaningful for those being honored to know that these awards are not given for charts or numbers, and that the only measure we use is gratitude for the often thankless and unseen work they’ve done." Tickets for the Warrior Awards are on sale here. Find more information on the SONA website. Our invitation will probably get lost in the mail (again).
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7/16/24
At Top 40, ICLG's Team Marella has the #1 Most Added track at T40 as Katy Perry's "Woman's World" (Capitol) pulls in 148 impact adds, while Republic Corps' Spangler & Lucas squad post 104 adds on Taylor Swift's "I Can Do It With a Broken Heart" (Republic) on impact week for the #2 spot. In addition to topping the add board with Perry, ICLG also has three other tracks in the Top 10 Most Added, pulling another 26 adds on Billie Eilish's "BIRDS OF A FEATHER" (Darkroom/Interscope), 20 more on Camila Cabello's "HOT UPTOWN" f/Drake (Geffen) and 13 more adds on Gracie Abrams' "Risk" (Interscope). Columbia's Gray and staff secure 10 early adds on Koe Wetzel & Jessie Murph's "High Road" (RECORDS Nashville). Republic Corps' second entry in the Top 10 is Sabrina Carpenter's "Please Please Please" (Island), grabbing another 10 close-out adds. And rounding out the Top 10 this week is Rothschild's RCA crew with nine more adds on LISA’s "Rockstar" (Lloud Co.). At Rhythm, meanwhile, Dixie and ICLG top this week’s add board with Ice Spice & Central Cee’s "Did It First,” which pulls in 25 stations. James White and Columbia grab 21 adds on ian’s "Magic Johnson,” as well as 14 stations on The Kid LAROI’s “GIRLS.” ICLG also closes out another 29 believers on JT’s "OKAY” and grabs nine more adds on Camila Cabello’s "HOT UPTOWN" f/Drake. And at Modern Rock, congrats to Republic’s Amanda Dobbins for claiming Most Added honors this week with Eddie Vedder’s “Save It for Later.” Big Loud’s Dave Barbis had a nice week with HARDY’s “PSYCHO” (Mercury/Republic) and Dexter and the Moonrocks’ “Sad in Carolina” (Severance/Big Loud Rock). Other winners include BeggarsRisa Matsuki with Fontaines D.C.’s with “Starburster” and BMG’s Nick Attaway with Sum 41’s “Dopamine.” Arista’s Nick Petropoulos also had a nice week on Beach Weather’s “High in Low Places,” as did RCA’s Gary Gorman with Cage the Elephant’s “Rainbow.”
jaq pepe
7/16/24
Team Virgin Music Group assembled at L.A.’s Crypto.com Arena to witness a performance by música Mexicana star Pepe Aguilar, whose back-to-back shows at the downtown venue were part of the Jaripeo Hasta Los Huesos tour and featured offspring Angela and Leonardo Aguilar. Seen just before beginning the 17-mile hike to their Ubers are (l-r) Virgin Music Group SVP Biz Affairs and Development Michael Cantor and President of North America and EVP Biz Relations Jacqueline Saturn, Aguilar and VMG President of Latin Victor Gonzalez and VP of Strategy Chi Orjiakor.
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7/16/24
With interest in women's basketball at a fever pitch, Culture Jam, ESPN and the WNBA have teamed up for a single called "Can't Get Enough" f/BIA, Lakeyah and Flau'jae. The official season anthem of the WNBA on ESPN, the song is part of the "Can't Get Enough" campaign that launched the league on the network this season. The track also highlights the 2024 AT&T WNBA All-Star Game taking place 7/20 at Phoenix's Footprint Center​. Said Culture Jam founder/CEO Eesean Bolden, “We’re thrilled to be collaborating with ESPN and the WNBA for a truly one-of-a-kind moment that amplifies Culture Jam's mission to merge the larger-than-life worlds of music and sports. We’re elated by this collaboration among these extraordinary women, artists BIA, Lakeyah and Flau'jae and the best players in the world." The first release by Culture Jam this year, “Can’t Get Enough” introduces its second season. The brand was unveiled in 2021 via the Culture Jam Vol. 1 compilation album and inaugural athlete L.A. Clipper Kawhi Leonard. The single version of “Can’t Get Enough” debuted Monday (7/15) on all ESPN platforms; the full track will hit DSPs Friday (7/19) on ADA/Warner. Meanwhile, we've just been informed that all concerned have had "enough" of us.
prajin deorro cropped
7/16/24
DJ-producer Deorro has signed with Prajin Parlay and Peso Pluma's Double P Records for management and label services. Bridging the gap between Latin culture and EDM, Deorro is now booked across the globe and has become a marquee name on the Las Vegas club scene. Among Prajin Parlay's management roster are Santa Fe Klan, Peso Pluma and Codigo FN. Double P's artists include Jasiel Nuñez, Tito Double P and Dareyes de los Sierra. “Deorro has made an incredible name for himself in the music industry,” said George Prajin, CEO of Prajin Parlay and co-founder of Double P Records. “For years he’s been remixing hits and DJing all over the world. He's the full package. We are really excited to welcome him into our home here at Prajin Parlay and Double P and are looking forward to being part of his continued growth and success.” Peso Pluma, co-founder of Double P, said, “I'm a fan of electronic music and have always admired what Deorro has contributed to the culture. We're excited to welcome our first electronic artist to the family.” Pictured: George Prajin, Deorro and Erick Begazo
billie eilish pca
7/16/24
Taylor Swift, Billie Eilish and Beyoncé got a big boost from multiple physical releases of their latest albums, driving them to the top of Luminate's 2024 midyear music report. Per the study, the Top 10 physical albums in the U.S. averaged seven vinyl variants, 13 CD versions and two cassettes. The top U.S. album so far this year is... wait for it... Swift's THE TORTURED POETS DEPARTMENT, with 4.66m album-equivalent units. The Top 5 is rounded out by Morgan Wallen’s One Thing at a Time, Noah Kahan’s Stick Season, Beyoncé’s COWBOY CARTER and SZA’s SOS. Measuring pure sales, TTPD is again at the front of the pack, alongside Eilish's HIT ME HARD AND SOFT, COWBOY CARTER and two other Swift albums: 2023's 1989 (Taylor’s Version) and 2019's Lover. The top streaming song so far this year is Benson Boone's "Beautiful Things," with 1.43b on-demand audio streams worldwide. Overall, global on-demand audio streams rose 15% year over year, with U.S. on-demand audio streaming slightly behind at 8.1%. In terms of genre, hip-hop and R&B make up nearly 25% of total volume, Latin music being the fastest-growing U.S. genre thanks to a 15% uptick in on-demand audio streaming. Luminate data indicates that Latin actually has more listeners (35%) than any other genre over the past 18 months. Although streaming has surely leveled the playing field for unsigned artists, 43 of the 46 acts with more than 1b U.S. on-demand streams enjoyed major distribution for their most-streamed track. Independents accounted for 62% of artists with between one and 10m streams. The robust health of the concert sector is also borne out by Luminate data, showing that 64% of all money spent by U.S. consumers on music-related purchases went to live events. What's more, Gen Z'ers spent 23% more per month on live shows than the average music listener. Maybe there's still hope for us all!
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7/16/24
The ACM Awards will return to Frisco, Texas, on 5/8/25 for a third consecutive year, streaming live from Ford Center at the StarDallas Cowboys HQ—via Prime Video. Sixteen-time ACM winner Reba McEntire will return to host the show—the 60th—marking her 18th such appearance. “We’re excited to honor and celebrate the legacy of the ACM Awards all year long surrounding the 60th anniversary show,” said ACM CEO Damon Whiteside. "Reba has hosted more ACM Awards shows than any other artist, and after her triumphant return this year for the 59th show, there is clearly no one better suited to helm this milestone show! Our 50th anniversary show in 2015 marked our debut in Texas, and we’re thrilled to return again to celebrate another major moment in ACM history. We look forward to seeing our industry, artists and fans celebrate in Frisco next May for an unforgettable week!” Added McEntire, “I’m thrilled to be coming back to host the 60th ACM Awards. It’s going to be an absolute can’t-miss show, and I can’t wait to see everybody back in Texas!” Additional ACM 2025 details will be announced in the coming months.