Concord’s Post

“Quote from Loren Kajikawa’s “Leaders of the New School? Music Departments, Hip-Hop, and the Challenge of Significant Difference,” published in Twentieth-Century Music 18/1, 45-64, 2020 (emphasis added): ‘Personally, I find it pretty wild that engaging Black culture too often involves strategically navigating whiteness. We operate in a system where white gatekeepers present Black culture for the white gaze. Black cultural spaces exist in isolation until they produce something that white people desire. White people rarely enter them until there is something they want to enjoy and eventually control. They exploit structural inequalities by using their capital, connections and other resources (like our grants/philanthropic culture) to control artists and art forms. They become gatekeepers. Sometimes they're scholars, experts, agents, managers, documentarians or non-profit heads. Access goes through them. They create organizations for these traditions and then only hire other white people. Imagine being Black and having to navigate white folks to engage something that emerged from your community. Imagine some white guy vetting you for access to your kinfolk. This is a process of cultural extraction. White gatekeepers use their resources to present these Black traditions to monied white audiences. They present performances, showcases and symposium in spaces far removed from the Black community. And, it's not that there's a lack of spaces in the Black community. It's because the cultural sector is dependent on the white gaze. The goal is to bring the margins to the mainstream because the mainstream won't go to the margins. The processes of white gatekeeping and cultural extraction perpetuate severe inequalities. Sure, these white-led organizations may have diverse programming, but it means very little to me if Black folks (and other people of color) have little access to it. Black-led organizations are resilient, but 'bending but not breaking' is woefully unhealthy. Black culture workers struggle to find any sort of balance between cultural respect, personal fulfillment and financial stability. It is a dirty structure that needs to be destroyed and rebuilt.’ ~Langston Collin Wilkins”

In the ever-evolving landscape of film, TV, advertising, and gaming, the role of a music supervisor has transitioned from a niche career to a pivotal element in storytelling. 🎬🎮 With streaming platforms reshaping how we consume content and popular culture influencing diverse media, the demand for carefully curated music that deeply integrates with narratives is at an all-time high. 🌍 For many, especially in the Black community, the path to becoming a music supervisor is becoming an aspirational goal. It's a chance to influence the soundtrack of the content we consume daily. But the journey isn't without its challenges, especially when it comes to representation and diversity in this field. 🔍 A closer look at projects like 'Insecure', 'The Last Dance', and Nike’s 'Nothing Beats A Londoner' campaign reveals a glaring gap. Despite these narratives being deeply rooted in Black culture and music, their music supervisors don't reflect this diversity. This gap highlights a broader issue within the music industry and calls for a more inclusive approach, where the best person for the job truly represents the breadth of talent available, transcending racial assumptions. 💬 In a candid conversation with fellow Black professionals in London's sync community, the need for greater representation and accessibility in music supervision is evident. The industry's historical framing and cultural barriers often limit the pursuit of such careers within diverse communities. 🌟 Toby Williams, Chi Chi Nwakodo, Rio Attoh-Wood, and Dane Bradshaw share their perspectives on the challenges and opportunities for Black talent in music supervision. From the importance of seeing oneself in senior roles to tackling the industry's systemic issues, their insights are a clarion call for change. ✨ To all aspiring Black music supervisors: Your voice and perspective are vital. Reach out, connect, and be the change you wish to see in the industry. Your journey can be a beacon for others, and your contributions will shape the future of music in media. #MusicSupervision #DiversityInMusic #FilmMusic #TVMusic #GameMusic #AdvertisingMusic #CulturalRepresentation #IndustryInsights

Championing Equity in Music: A Spotlight on Willie "PROPHET” Stiggers, CEO of Black Music Action Coalition As the music industry continues to evolve, leaders who advocate for equity and inclusivity are more important than ever. Prophet Stiggers, the visionary CEO of the Black Music Action Coalition (BMAC), is at the forefront of this vital movement. In a recent interview with Rolling Out, Prophet shares his insights on the challenges and opportunities in the music industry, and how BMAC is spearheading initiatives to ensure that all voices are heard and valued. His dedication to creating a more just and equitable industry is truly inspiring. From advocating for artists' rights to pushing for systemic changes, Prophet's leadership is paving the way for a brighter, more inclusive future in music. As he aptly puts it, "We must continue to push forward and demand equity for all." Read the full interview to learn more about Prophet Stiggers’ impactful journey and BMAC’s mission: https://lnkd.in/eeECiEpY #MusicIndustry #EquityInMusic #Leadership #BMAC #Inclusion #Diversity #ProphetStiggers #BlackMusicActionCoalition #RollingOut #BusinessExchange

New Post: Overnight Success Is Very Rare in Music — And There’s Data to Prove It  - https://lnkd.in/g_FHmMFd - What’s the best way to become a superstar? First, become a successful mainstream artist.   That’s one of the key takeaways from the inaugural annual report from music data company Chartmetric.   Of the roughly 710,000 new artists added to Chartmetric’s platform in 2023 that placed into one of six career stages — ranging from “undiscovered” to “legendary,” only a small fraction of a percent finished the year amongst the top 35,000 artists. Instead, most new artists — 87.6% of them — fell into the “undiscovered” category, while 12.3% of them reached “developing,” one category above.    The upper echelons were incredibly difficult for new artists to reach. Just 0.05% of new artists — about 355 — finished in the mid-level category or higher — meaning they ranked in the top 35,000 on the platform. Chartmetric created its proprietary Career Stages categories by taking into account artists’ performance across streaming services, social media platforms and radio airplay.   But wait, the numbers are even more imposing! There were actually 1.3 million new artists added to Chartmetric in 2023, but only 710,000 of them were actually assigned a career stage. Chartmetric told Billboard it does not assign every artist a career stage to limit duplicates, remove non-artist profiles and filter out artists with limited data.   Chartmetric’s statistics throw cold water on the notion that social media and do-it-yourself distribution can help any artist reach the levels of success previously attainable only to artists on record labels. Those rare instances grab headlines and feed the narrative that technology has eroded traditional gatekeepers’ powers and democratized access to audiences. And while it’s true that artists such as Armani White and Jxdn rode TikTok fame to major-label record deals, those success stories are outliers. Anonymity, or something close to it, is the norm.  Economic mobility is far from impossible, though. Because Chartmetric tracks so many artists, even incredibly low odds of success can result in a meaningful number of artists moving up the ranks. The 355 new artists that broke into or surpassed the mid-tier level is a big enough number of breakthrough new artists to feed a system of record labels and artist-services companies that must constantly seek out young candidates to become future stars.   Still, the challenging math underpinning success in music makes sense. Getting heard is difficult when audiences live under a constant deluge of listening options. A massive amount of music is released every day — more than 110,000 on average every day in 2023, according to Luminate. Chartmetric added 17.2 million new tracks to its database in 2023 — 7.7 million were released last year — and has 103.9

I had a chance last week to join Cara Kneer and her incredible team at Atlanta & Co. to talk about Black Music Month and Atlanta's musical contributions. The conversation around equity has to continue beyond June. Here are my big takeaways on the issues in the industry as it stands for black artists and professionals and my proposed solutions to help make the music industry a more successful industry for all. The Issues:  We have little to no control of how the music comes out and is shared/framed with the public, the labels and system do. This prevents us from moving culture in a positive way. We have little to no control over finances. This creates opportunities where young people and young leaders can be taken advantage and "pimped out" for short-term corporate profits.   We have little to no control of the people. Sure, we are seeing more black executives than in the past, but in the system they are reinforcing the institution. When I was in this system I gave up my freedom to be able to create systemic change and I knew that. That change has to be done by means of getting the full trust that other groups have over their music (Latins running Latin music, Nashville people running country music) I KNOW all of this is because I was in this and lived this and when I tried to change things I got the boot. The Solutions: Grassroots community building - we as a black community need to start investing in each other and passing our knowledge on in an impactful way to the generation behind us. We need to bring awareness to our non-black friends to understand what we are up against and how this is actually preventing moving culture forward for all of us. Real ACTUAL inclusivity, not empty titles/positions where black leaders can't actually lead https://lnkd.in/er-kD3jS #blackmusicmonth #dei #diversity #equity #blackprofessionals #blackbusiness #musicindustry #music #entertainment #entrepreneurship #raydaniels

Everyone bears the responsibility of being a change agent. Kenny Burns said this at The Black Music Action Coalition awards gala. I couldn’t agree more. We all have a platform, and we should use it to bring about change. It doesn’t matter how big your platform is. Bringing forward evident issues helps put them at the forefront of your network’s minds. It fuels conversation which leads to action. We all have a part to play and there’s no place for a passive approach. Let’s openly discuss these issues, let's bring about change. #change #platform #issues

It’s Juneteenth AND June is Black Music Month, which celebrates the vast influences that Black artists have contributed to various genres and musical traditions. Check out our latest story on how Black listeners enjoy audio experiences. Some highlights: 🎶When it comes to music discovery and engagement, traditional radio remains critical for the U.S. Black audience, especially younger generations. Black 18-to-34-year-olds in the U.S., for example, are nearly 20% more likely than the general population to discover new music by listening to traditional radio. 🎤According to a recent Black Diaspora study from Nielsen, two thirds of Black Americans agree that attending concerts and festivals is a great way to connect with their culture. https://lnkd.in/dQ2dj7ac

Authenticity in Action: Supporting Black Creativity Beyond Black History Month As the owner of a 100% Black and women-owned music publishing company with a 20-year track record of creating and licensing competitive music – Transition Music Corporation – it was disheartening to witness yet another Black History Month pass without a single project opportunity centered on our work. While I applaud the many corporations and independents who uplift Black voices and businesses during February, I believe there's room for deepening truly inclusive practices. Authentic support for Black creators and entrepreneurs extends far beyond a designated month. It's about recognizing that: - Black-owned businesses contribute to a vibrant creative industry all year round. - Our expertise and experience bring unique perspectives and value propositions. - Sustainable, equitable representation necessitates consistent and intentional inclusion. For all those committed to social consciousness and diverse representation, I pose these questions: - How can inclusion practices be actively audited to ensure Black-owned businesses have genuine opportunities? - Are Black creators and entrepreneurs integrated into creative decision-making and procurement processes beyond symbolic gestures? - If not now, when? When will we see a shift towards consistent, rather than performative, support? I invite you to consider Transition Music Corporation, and other Black-owned music companies, as you seek diverse perspectives and high-quality content throughout the entire year. Let's build a more inclusive industry where Black excellence is celebrated and supported every day. #BlackHistoryMonth #BlackOwnedBusiness #MusicIndustry #DiversityAndInclusion #Authenticity Note: Transition Music Corporation (TMC) is 100% women and black-owned, and ranks among the top 100 music publishers in the United States. TMC is the exclusive music provider for Byron Allen’s Allen Media Group, 34 series. TMC creates original music and licenses music to the major studios and independents alike. TMC music can be heard in films, TV shows, and promos, resulting in more than 500,000 global annual performances.

The Black Music Project shares their mission of celebrating, promoting, and preserving the idea that the history of Black American music is the story of America with their #MadeInWebflow experience. Explore artists and genres, and learn more through short stories, at blackmusicproject.com #webdesign #webdevelopment #design