Expertise:

I’ve been fortunate enough to be exposed to all aspects of the industry through the many hats we wear on behalf of our artist partners at Rhymesayers. We manage the full breadth of their careers from publishing, to touring, to D2C, to business management, and their intellectual property rights – but if I were to focus on one area of my expertise it would be building D2C infrastructures that help artists own the relationship with their fans to maximize their careers in both cultural and commerical spaces. This space is where all DSP and social platforms will be focusing on in the coming years, and I have specific proven expertise and experience in these areas through my work with MF DOOM, Vinyl Me, Please, and Rhymesayers as a whole to leverage on behalf of the member base.

Priority Issues:

1. Scalable, nuanced D2C solutions that help artists and labels own the relationship with their fans to maximize their careers in both cultural and commerical spaces.
2. AI’s current and impending affect on creative enterprises including the exploitation of intellectual property rights.
3. The causes affecting the shrinking “middle class” of musicians in America, and the disappearing onramps to build sustainable careers and livings purely as an artist.

Focus Issue: 

If I was elected, I’d aim to collaborate with the board of directors, advisory board, and member base to build solutions for these areas, whether that’s new structures accessible to the member base, or govermental oversight on the use of AI with IP and the monopolization of massive corporate infrastructures dominating streaming and live events.

Why is being a part of the independent music/A2IM community important to you?

My north star has always been doing everything I can to help artists make a sustainable living in the most equitable and scalable way possible. I believe that this is the spirit that the independent music and A2IM community embodies and something I’m eager and passionate to contribute to in a meaningful way.

Biography:

David C. Barnes is the COO of Rhymesayers Entertainment and a Tech Stars mentor who utilizes his 15 years of experience in startups and the music industry to help artist partners build sustainable careers. At Rhymesayers, David oversees a business umbrella that includes artist management for the likes of Aesop Rock and the MF DOOM estate, an extensive E-comm D2C operation, live events and touring, along with 30 years of catalog. Previously, he was the Head of Operations at Vinyl Me, Please, helping scale the vinyl subscription business to be the 2nd largest vinyl distributor in the world. David is currently based in Los Angeles.

Expertise:

Sales & Marketing; overall industry knowledge.

Priority Issues:
1. Defending independent labels against major labels.

2. Competing with major labels at DSP’s.

Focus Issue:

I would like the independent community to be able to work closer together so they can share in ideas that will help them compete better.

Why is being a part of the independent music/A2IM community important to you?

It’s important to have an independent contingent that can share and collaborate on ideas that will help the independent community.

Biography:

Benson Curb’s involvement in the music industry began in 1993 when the California native accepted an offer from Mike Curb, to work for Curb Records. Curb started out as an assistant in sales and marketing and by 1995 moved into the position of Director of National Sales for the Curb Group, and by 1997 assumed the position of Vice President of Sales for Curb Records. He has served on the CMTA, and Cystic Fibrosis boards 2002, 2005 respectively, and has been a CMA and ACM member since 1997. He is previously served on the ACM board and his charity work includes help with The Cystic Fibrosis Foundation, Vanderbilt children’s hospital, Back Field in Motion, American Heart Association and Habitat for Humanity.

Curb has over 25 years of label experience in sales and marketing and has been instrumental in the success and development of many Curb artists, including Tim McGraw, LeAnn Rimes, Jo Dee Messina, Rodney Atkins, Natalie Grant, Steve Holy, Selah, Hank Williams, Jr, and Lee Brice. He was also fundamental in the leading of Mike Curb to LeAnn Rimes and Nicol Sponberg (formerly of Selah).

Born in California, Curb attended the University of California at Santa Barbara where he spent four years on the Division I tennis team (he was nationally ranked by the NCAA in 1991), while earning a degree in Sociology. He and his wife, Jacquie, reside in Franklin, Tennessee and are the proud parents of two children, Jackson (15) and Anabel (10). His hobbies are fishing, golf, and tennis.

Expertise:

Having run an independent music company for 21 years, I have experience taking artists from the beginning of their careers to worldwide success both as a label and as a manager. I’m also a music producer, which helps me relate to other artists. We now run a distribution company and analytics platform, among other things, so I know the business from many different angles. I think that diversity in thought is one of my greatest attributes. From developing artists, to acquisitions, to leaving a major label system to start an independent label and making investments in data/tech. Because of this, I have seen how important crafting an organization’s visions and goals are and believe I can lend expertise and a unique perspective to the A2IM board.

Priority Issues:

1. How to make sure independent artists aren’t diluted by the AI music flooding the system.
2. How to give independent artists as much visibility as a major label artists at DSPs.
3. Catalog management and maintaining artist legacies now that private equity has ownership of a lot of classic music.

Focus Issue: 

Why is being a part of the independent music/A2IM community important to you?

Being a part of the independent music/A2IM community is important to me because the organization’s mission to advocate and protect independent music aligns directly with Rostrum’s (and my own personal) mission. Having left a major label system to start an independent company, not only have I focused on supporting musicians, but I have also invested in various companies across the industry. Having a hand in data, tech, marketing, physical distribution and a record label has given me access to understanding how various sectors work together to create one vision. With my experience navigating the industry over the last few decades, I can add a unique perspective to the wider independent community.

Biography:

Expertise:

With my experience across every area of the business, and especially in artist development, tech, sales and marketing, I am fortunate to hold a Global and holistic viewpoint on the issues and technologies that are influencing the industry. Through all of these issues, I hold a focus on supporting the lomg-term Artist development that is the lifeblood of our industry.

Priority Issues:

1. Protecting the value of music and developing new revenue and fan models that help successful artists at different scales forge sustainable and healthy careers from their work.
2. Supporting the independent sector to have access to adequate “big data” insights to compete with the majors, understand music platforms and make informed decisions for it’s catalogs.
3. Promoting a long-term mindset and supporting learning and education to effectively prepare for and invest in disruptive technologies 

Focus Issue: 

As the existing tech titans and emerging blockchain technologies offer new avenues for both creativity and exploitation, many artists are feeling the squeeze on all sides. Big tech consolidates existing power in the hands of a limited number of companies who mostly aren’t dependent on music, while the current streaming environment only widens the gap between successful and emerging artists. We must holistically examine and advocate for measures that will benefit the median artist and not just those at the top, while protecting and enforcing the value of artists’ works.

Why is being a part of the independent music/A2IM community important to you?

Biography:

I am Warp Records’ Head of North America, heading the LLC company. As part of this role I lead global multi-platform works alongside the label’s incredible team and in support of its community of boundary-breaking Artists and Label partners.

I originally started in film before moving into music in 2005 in promotions and International Product Management for the likes of Aphex Twin, Brian Eno, Flying Lotus and many more. Since that time I have continued to specialize in music and art adjacent technology and artist development. In 2014 I moved to the US to take my current role based in New York City, opening Warp’s first west coast operation and growing its bicoastal team. I continue to play a Global role, working directly with the teams in Recordings, Licensing, Sales & Marketing, A&R, Art/Video/Interactive commissions, Traditional and Emerging Distribution, Social Media, Events, D2C, Legal, HR and Finance.

I was honored to serve on the A2IM board between 2020-2023 and I’m eager to continue to build on my contribution in support of the independent community if trusted by the membership for a second term.

Expertise:

Hands on experience in artist management, label management, artist development, radio, streaming, touring and analytics have helped me become an effective generalist with a broad understanding of a variety of segments of the music industry. My management and major label experience helps to compliment the experience and skill of the current board.

Priority Issues:

1. In aggregate, independent labels are bigger than Warner and should have the ability to communicate and take part in the same opportunities across DSP’s, radio and other platforms as the majors.
2. Beyond periodic webinars, the independent sector should have more direct access to charts and data as well as the ability to inquire further about best practices and initiatives across DSP’s.
3. Work to improve levels of compensation and increase the diminishing value of music.

Focus Issue: 

The independent label community has scale comparable to the major label and should be treated as such. If 50% of Spotify’s revenues were generated from indies, then we need to have access to the same features, opportunities, information, and internal contacts as the majors. We need this to apply across all DSP’s and partners. As a representative for so many labels, A2IM can be a force to help leverage parity.

Why is being a part of the independent music/A2IM community important to you?

The independent label community has scale comparable to the major label and should be treated as such. If 50% of Spotify’s revenues were generated from indies, then we need to have access to the same features, opportunities, information, and internal contacts as the majors. We need this to apply across all DSP’s and partners. As a representative for so many labels, A2IM can be a force to help leverage parity.

Biography:

I am the President/COO of Better Noise Music (BNM), an independent global record label focused on artist development with Rock and Alternative artists. For the past 10 years, BNM has a top label on Billboard’s Mainstream Rock Airplay chart. The diverse roster includes Five Finger Death Punch, Asking Alexandria, Dirty Heads, The Hu, Nothing More, From Ashes to New and more.

The label evolved out of a need to provide a home for artists who were not being appropriately served by the major labels.

I have been with Better Noise (originally, Eleven Seven Music) since its inception in 2006. Alongside our CEO, my responsibilities are to oversee operations for a staff of 40+ who are spread across NY, LA, Chicago, Austin, Miami, London, Berlin, Toronto, and Sydney with added focus on our streaming, digital, radio, touring and analytics departments. I am also involved with our film division and help market and produce feature films and documentaries.

Prior to Better Noise, I was at our sister artist management company, 10th Street Entertainment working in radio, marketing, touring and day-to-day management. Before that, I spent years at major labels working my way up from assistant to senior positions in radio promotion and artist development at Atlantic, Geffen, Columbia, and J/Arista Records.

Expertise:

I have a great deal of board experience mixed with a good dose of common sense. With most of my career in the Christian/Gospel and Bluegrass sectors, my roots are as independent as it gets. My mom started our company in 1981 as a single mother of two kids, so I have seen our company and the music business grow from a unique perspective. I was not born into it, but I have grown up in it and have been fortunate enough to see many sides of the music business along the way.

Priority Issues:

1. AI is a tremendous opportunity and threat and must be considered carefully and restrained accordingly.
2. Cutting through the mass of music released each week is an increasing challenge.
3. Streaming promised a genre-less music approach, and it seems this dream is not being pursued.

Why is being a part of the independent music/A2IM community important to you?

Biography:

Ed Leonard, president of Daywind Music Group and vice president of New Day Christian Distributors, serves these independent, family-owned businesses in leadership and general counsel roles. With labels and publishing companies operating in bluegrass (Billy Blue Records – Doyle Lawson and Quicksilver, Appalachian Road Show, Marty Raybon, Darin and Brooke Aldridge, Carolina Blue, Joe Mullins and the Radio Ramblers and more), Gospel (Daywind Records – Crabb Family, Greater Vision, Karen Peck and New River, Brian Free and Assurance, Blackwood Brothers, and more) and Americana (Billy Jam – Alex Miller and Malpass Brothers), the company continues to build on its nearly 40-year history in the music business. Leonard is also a licensed attorney working mainly in entertainment, intellectual property, estate law, and corporate formation.

A passionate advocate for the rights of creators, Leonard serves as chairman and president of the Christian Music Trade Association (CMTA), co-chairman/advocacy of the Gospel Music Association (GMA), vice president of the Southern Gospel Music Guild (SGMG), member of the Dispute Resolution committee of the Mechanical Licensing Collective (MLC), and as a director on the CMPA board of directors. Past music community involvement includes leadership roles with the CMPA (president), GMA (president and chairman), GMA Dove Awards (executive producer), Christian Booksellers Association (vice chairman), and the Gospel Music Foundation (board member). He is a long-time member of the Recording Academy, Southern Gospel Music Association, International Bluegrass Music Association, Americana Music Association, and a graduate of Leadership Music (2001) and Leadership Bluegrass (2020).

A strong proponent of continuing education, Leonard earned his juris doctor degree with a certificate in entertainment law as part of the charter class of the Belmont University College of Law in 2014, where he co-founded the Entertainment Law Society. His law degree complements a bachelor’s degree from the University of Notre Dame (finance) and a master’s degree from the University of Chicago’s Booth School of Business (finance/international business).

Born at Fort Dix Army Hospital in New Jersey while his father served in the United States Air Force, Ed is a long-time Nashvillian following a six-year stint in corporate banking in Chicago with American National Bank and Banque National de Paris.

Expertise:

I wear many hats at Robbins Entertainment including marketing, distribution, promotion, finance, and business affairs. However, my greatest area of expertise is my project management skills and the ability to be nimble and pivot quickly when needed. My passion to roll up my sleeves and “get things done” have served me well as proven by the creation and success of the A2IM Mentor program.

Priority Issues:

1. The age old gripe of getting more exposure for indie artists on Spotify, Apple, etc. I deal with this every day and know others do too. It’s frustrating and still no real resolution.
2. Improved communication to artists on the value of labels and why they are still important/necessary in today’s (seemingly) DIY world.
3. Better understanding of A1 and how it can be used for “good” to create new music opportunites.

Focus Issue: 

As a previous Board member, I led the charge and created the first ever “A2IM Mentor Program” which officially launched in 2018. The A2IM community response has been overwhelmingly positive with hundreds of members participating (since inception) ranging from label Presidents to those just starting out in the industry.

The A2IM Mentor program has become one of the most successful value-adds for existing members and an impressive selling point to attract potential new members. I’d like to take this program a step further and propose creating an “Associate Advisory Panel” for A2IM members under 30. As part of Mentor committee for the past 6 years, I’ve seen and worked with many smart talented young people who are current A2IM members and looking to get more involved (beyond just the Mentor program).

I believe harnessing the the power and potential of young(er) members will bring a fresh new perspective to the Board and A2IM as a whole. I’d like to use my energy, talent, and team spirit to further build on this initiative as an official Board member.

Why is being a part of the independent music/A2IM community important to you?

The independent music community is scrappy and resourceful. Always thinking fast on its feet and able to push the envelope and make critical changes when necessary. I remember being told years ago to think of A2IM as another employee at your label, and that has turned out to be very true. We’ve called upon the experience and expertise of A2IM many times over the years (i.e. price discrepancy, copyright questions, distribution & DSP issues) and have always received thoughtful advice/answers. A2IM is the heart of the the indie music community, giving a voice to many independent artists & labels who bring a diverse range of styles and sounds to the music industry, and that voice must always be protected. I loved serving on the A2IM Board in the past and would be honered to have that opportunity again.

Biography:

I am the Vice President of Digital & Product Management at Robbins Entertainment overseeing all new release & catalog streams, sales, marketing, and distribution. Working alongside industry verteran, Cory Robbins for 25+ years, I have been a key contributor to the label’s many successes including hits such as Afrojack’s “Take Over Control”, Runaground’s “Chase You Down”, Glenn Morrison’s “Goodbye”, Cascada’s “Evacuate The Dancefloor” & “Everytime We Touch”, DHT’s “Listen To Your Heart”, and DJ Sammy’s “Heaven”.

Expertise:

Decades of knowledge and a keen interest and understanding of technology.

Priority Issues:

1. AI threat
2. Antitrust
3. Protectionism

Focus Issue: 

AI is both an opportunity and a threat. The major threat is that VC funded ventures don’t value the creative space and this puts Recording Artists and Records Labels at great risk. Social Media companies are fostering cultural divides and are too powerful Protectionism under the guise of culture and regulation will impede the free movement of music across borders and create AI based walls within algorithms

Why is being a part of the independent music/A2IM community important to you?

Almost 40 years ago I cofounded a music company with a simple belief to release musiuc that I love, with the hope that the music I supported would make this world a better place. That belief and my passion for that lives within the Artists that I support.

Biography:

Co-founded Nettwerk in 1984 with my long time business partner Mark Jowett. Spent the first 20 years as an artist manager where I helped launch the careers of Coldplay, Sarah McLachlan, Avril Lavigne, Barenaked Ladies, Dido, Sum 41 and many others. In 1998 I helped co-found the “Lilith Fair” festival with Sarah McLachlan, Marty Diamond and Dan Fraser. Lilith Fair went on to be the largest ever Woman’s travelling festival for 3+ years and in the process donated millions of dollars back to local Woman’s shelters. As CEO of Nettwerk my focus the past 15 years has been to build the Record Label roster of over 275+ Artists with my team around musical communities. Key signings have included Passenger, SYML, Vacations, Paper Kites, Hollow Coves and many others.

Recognition – At the 2003 Juno Awards McBride received the Walt Grealis Special Achievement Award, recognizing an outstanding individual who has contributed to the growth and advancement of the Canadian music industry

In 2003, Nettwerk Management was the recipient of Ernst & Young’s Entrepreneur Of The Year award. McBride has also twice been awarded the Pollstar Industry Award for Personal Manager of the year for his work with Sarah McLachlan (1997) and Avril Lavigne / Coldplay (2002)

Expertise:

My greatest area of expertise is strategic business development, particularly in corporate development and brand partnerships. I think I can identify with most of our members who care passionately about their artists, their artists’ careers and their own, and/or maintaining that independence while making sure that they can continue to grow equitably and access opportunities in fundraising and partnerships in an increasingly fragmented music industry. I think I can help bring an outside view on how to position the independent sector in the fundraising, strategic business development partnerships, and brand partnerships world so that we can leverage A2IM’s amazing member-base and deep expertise to create true commercial opportunities for our members.

Priority Issues:

1. Access for independent artists and labels to equitable and sustainable funding sources on par with major labels and the larger independents.
2. Commercial representation for independent artists and record labels in terms of monetization through streaming rates and new commercial models.
3. Access to strategic, culturally relevant partnerships that can move the needle for independent artists and their labels to compete with the cultural moments that large, individual artists can create on their own.

Focus Issue: 

Funding, commercial partnerships, and brand partnerships are three areas where the independent music sector actually has distinct advantages because of our flexibility and the incredible artists that comprise it, but where we seem to struggle the most.

Why couldn’t we raise a fund to invest into indepent artists and record labels, and create an incubator system to help give those artists and record labels the tools and inside track to building sustainable businesses? Why isn’t there more transparency into rate negotiations with streaming partners? Why couldn’t A2IM’s members utilize each label’s distinctive taste and strengths to help create unique programs for partnership opportunities?

These are the questions and initiatives I’d hope to represent if I was elected a member of A2IM’s board.

Why is being a part of the independent music/A2IM community important to you?

Like a lot of A2IM’s members, I started working in music purely out of a passion and love for working with artists and records. When I got my first job in music after over a decade of working in business development and brand partnerships, I had to take an almost 40% pay cut to pursue working in a career I always dreamed about and with an organization (A2IM) that I knew actually cared about maintaing equity for the independent music sector.

Like a lot of our members, back in the day I came out of a DIY scene. And I started out in music as a “side hustle.” I’ve been lucky enough to turn my passion for working with artists, producers, and songwriters from a “side hustle” to a full time career over the course of almost a decade and a half.

I appreciate the journey of the independent artist and the iconic record labels that support them, many of those labels being started by one to three people while they were working full time day jobs and turning into those “overnight” successes over the course of 10, 15, 20+ years–if they last that long.

I can personally appreciate how difficult it is to be an independent artist or record label. And I appreciate, in part because I worked there for two years and saw how we did things internally, how important it is that an organization like A2IM is in helping to keep the independent music ecosystem fair and equitable.

It’s important that we keep to that mission of representing, nurturing, and growing the independent music community because otherwise we’ll lose a lot of the diverse talent and artists that we all love.

Biography:

I’m a co-founder of Pack., an independent record label and artist partnership company focused on creating immersive worlds around each artist they work with. Inspired by the melting pot of NYC where I now live and New Orleans, where I’m from, Pack.’s roster is diverse in sound, story and style. Pack focuses on catering artist projects and careers to the individual stories, strengths, and passions of the individual artist and helping artists create meaningful careers that create culture.

In just under four years, we’ve helped grow Pack. to a boutique, full service independent record label, publisher, and management company that’s achieved just over a half billion streams and growing at an annualized quarterly CAGR of 22%. Through Pack., we’ve been lucky enough to help launch the careers of artists like Disco Lines, REI AMI, OTR, aldn, Blood Cultures, Godford; producers like Hazey Eyes (Jeremy Zucker, QuinnXCII, Chelsea Cutler), CONNIE (JELEEL!, Zack Fox, grouptherapy., Merlyn Woods and Ameer Vann of BROCKHAMPTON); and songwriters like Sam DeRosa (co-writer of the longest charting song in Billboard Alternative chart history, lovelytheband’s “Broken” and Dixie D’Amelio’s “Be Happy”).

Prior to Pack., I have over 13 years experience in the brand-side and agency-side strategic consulting world combined with partnership-focused business development roles. In music, I was previously Director of Brand Patnerships at A2IM where I helped develop our partnership strategy to generate one fifth (20.11%) of organization’s topline revenue starting from $0 on day one and almost doubled (80.35%) brand partnership and sponsorship revenue in my two years there. As Director, Business Development at UnitedMasters, reporting directly to Steve Stoute, I helped negotiate UnitedMasters distribution agreements, licensing agreements with DSPS, and brand partnerships with American Eagle, Bose, 2K Interactive (NBA 2K), and Major League Baseball.

Prior to these roles, in my consulting and business development roles at ExpandTheRoom (a consulting firm now sold to Infinium) and Big Spaceship (an award-winning mid-sized advertising agency), I worked with brands like Dannon (Oikos and Light & Fit), Wenner Media (Rolling Stone, Us Weekly), Live Nation, Scholastic, ESPN, MTV, SiriusXM and the Game Show Network.

Expertise:

I work with and develop very small artists well before they show the traditonal indications of commercial promise. In a world where major labels only sign acts who alredy have audiences, I think that this trait and track record of success at Dots Per Inch is an expression of some of the greatest attributes of the indie community writ large. I think that my perspective as a young label founder is also unique and will enrich the board’s perspective in some of the newer entities they represent.

Priority Issues:

1. Developing tools in concert with DSPs and start-ups that can realistically monetize fandom will help forge a stronger path forward than the fashionable fatalistic attitude shown by many (very) small companies today.
2. Organized efforts to increase monthly subscription fees at DSPs will not only earn our labels more money, but also remind the public that music has value.
3. A2IM should provide some more focus and attention to very new music companies and explore the viability of having members’ fees for labels with gross income <$50,000/year paid for by sponsors.

Focus Issue: 

The very small and new labels in our indie community could use more insitutional recognition. The instituions that help them can use the knowledge gained by helping to guide and push policy in proactive ways. There is not enough fresh thinking in rooms where policy is made and there is not enough belief in ability to have an impact on policy where the greatest ideas are forming.

Today, the foundational ideological support of copyright law looks less stable than ever, but that does not mean that the companies that have exploited copyright law to build and support talent should not exist in this changing world. Indie labels can act as collective bargainers for musicians, and despite their flaws, we can all agree that these systems protect artists’ interests well. The alternative, as I imagine it, of a radically fractured community of artists appealing individually to behemoth DSPs is a story we can all too easily see the end of.

Treating DSPs skeptically but nonetheless as partners is a middle path that I would love to see adopted more by smaller labels such as my own. I think that having a boardmember who represents the very-small rights organizations of our membership would go a long way towards correcting this.

Why is being a part of the independent music/A2IM community important to you?

Being a part of the independent music community is important to me becuase I deeply belive that labels help artists realize the best presentations of their work to a world that otherwise very difficult to navigate. Labels, typically being organized by taste and vision particular to musical styles and sounds, are excpetional mediators of art in a world where too much human expression is being boiled down to ‘content.’

Biography:

I founded a small but commercial record label in 2016 while programming underground spaces. Unlike some micro-labels, Dots Per Inch Music has had a forwardly commercial focus since its inception—its goal is to make artists money and help them navigate the shifting landsapes of digital music listening.

Part of what has informed much of my practice is my extensive experience in live music. I have co-run the indepenednt music venue Baby’s All Right in Brooklyn for seven years, have opened performance spaces, and have programmed shows and events across the country. All of my work in live music has been around rising, independent talent.

Dots Per Inch Music is a record label that has fun figuring out problems and supporting unique talent.

Expertise:

I have experience working for both music services and content providers (large and smaller). I have seen the music business from the inception of the “digital business” and played a significant role in the transition away from physical product (terrific resurgence in vinyl aside!).

EMPIRE’s founder, Ghazi Shami, is an innovator who embraces culture, technology and change. He is motivated by empowering creators to achieve and become their best selves – his passion infuses the EMPIRE team and our creator partners alike.

I would bring these range of experiences and motivations to contribute to the A2IM board dynamic.

Priority Issues:

1. Generative AI (training and/or uses of IP in connection with same)
2. The growing caste systems developing within music (e.g., small developing creators vs. mega superstar artists; indie retailers vs. larger distributers) and the potential loss of opportunities to find voice, audience and a livelihood
3. Under-monetization of music and underutilization of technology to encourage deeper artist fan engagement and music discovery

Focus Issue: 

1. The potential dangers and benefits from AI applications in music require thoughtful discourse, monitoring and action (whether in support of some applications and/or resistance to others)
2. I am concerned about the rise in arbitrary phrases such as “professional music” and “legitimate artists” and the potentially self-serving motivations and judgments behind inserting these types of classifications into our music lexicon, which I believe can stifle the introduction of new artistic voices and economic opportunity
3. Technology brings about change and enables new user experiences, some of which may de-emphasize or marginalize music—we cannot control this entirely—but we want to preserve a music environment that leads to fandom, discovery and the life changing experiences inherent in music at its true core
   
   

Why is being a part of the independent music/A2IM community important to you?

AI and musical “classicism” (for wont of another term) is a threat to the creation of art and discovery of same at a time when the world needs unfettered access to just that. The indie community is the heart and soul of the music industry. We are a community with varied opinions and perspectives but all share a genuine deep-rooted love for music and its future. We need to be heard and ever present.

Biography:

I am a seasoned digital media and technology executive with deep global experience in content licensing, content creation, technology transactions, and corporate work (securities and M&A). I have a unique experience base spanning multiple geographies and representing both major licensees and licensors and have served in both commercial and legal roles.

I currently work at EMPIRE, a unique company in many ways – it is the largest private, independent label in the world, with a significant physical presence in the United States, Europe, Africa, Latin America, and APAC, and celebrates a varied diverse repertoire (e.g., Hip Hop, R&B, Latin, Afrobeats, Afropop, Amapiano, Country, and Pan-Asian). As General Counsel, I execute this company’s worldwide commercial initiatives, including negotiating and documenting all agreements with DSPs and facilitating collaboration between stakeholders on both sides, working on corporate transactions and advising on digital strategy and legal rights matters.

Previously at SoundCloud, I led this company’s legal content licensing activities, working closely with the content partnerships team for sound recording and music publishing rights for the listener business. Advised general counsel on legislation and regulatory matters affecting the company’s business.

While at RDIO, as General Counsel, I was lead or co-lead for content licensing, M&A (including the sale of the company to Pandora in December 2015), corporate transactions, joint ventures, strategic marketing agreements, distribution agreements and general legal (including privacy, litigation, HR, regulatory, trademarks).

While at Apple, I had primary responsibility for all legal efforts relating to iTunes entry into unlaunched countries in Latin America, Asia, Europe and other regions (92 countries in total).

While at Warner Music, I led legal team responsible for all aspects of global music company’s digital transformation. Lead or co-lead negotiator on all significant transactions, including licensing, JVs, and corporate work.

Expertise:

I consider my greatest area of expertise to be the discrepancies in the value gap for independent artists. As CEO Richard Burgess has touched on in the past, recorded music industry revenues are “still artificially suppressed” and my expertise provides valuable insights into the complexities of revenue distribution within the music industry and offers practical solutions to address existing challenges. By leveraging my knowledge, the music board can make more informed decisions and take meaningful steps to support the interests of music rights-holders, including independent artists and labels.
One of the areas in which this is critical on a go-forward basis is the developing arena of AI. It is important that the industry come to terms on training and output compensation. WIth both my legal background and track record of innovation, I’m proud to have authored a forthcoming whitepaper that proposes concrete models and solutions for AI training and output compensation for our industry.

Lastly, while we work to rightsize compensation gaps in established markets, A2IM can play a leading role in ensuring emerging markets in MENA, South Asia, and West Africa do not suffer from the same problem early on – and that their device saturation comes to maturity in a way that benefits the industry, and independent labels, as a whole.

Priority Issues:

Control, Compensation, and Credit in Generative Artificial Intelligence.
I recently wrote a legal whitepaper on the topic that will be released publicly soon alongside an OpEd in Rolling Stone.

Closing the Value Gap
Digital social platforms have ten times the users but pay music rights holders only 1/10th as much as licensed premium music services. This is a challenge. I have written two white papers on this. One can be found here.

Copyright Reform
This is related to closing the value gap through thoughtfully revising safe harbors for online service providers. I wrote a whitepaper on EU Article 13 you can find here.

Focus Issue: 

Advertising supported platforms like YouTube are important to the music ecosystem and music rights-holders should be grateful for their consumer reach and investment in label tools like Content ID. However there is a gap between what paid music streaming services and free ad-supported services like YouTube (and Facebook) deliver in terms of revenue per stream to music rights-holders. One way rights-holders can close the gap in value delivered is to charge a fixed CPM (cost per thousand views or streams). This CPM could be fixed and based on each agreed-upon business model and territory irrespective of the platform.

In the future Apple, Google, and Spotify could pay the same on a per stream basis. The retailers control their platforms and reap the benefits of their success (such as enterprise value in the stock market). Rights-holders on a rev-share don’t control the platforms or reap the rewards of success yet bear the risk of platform failure. The fixed CPM strategy aligns with the risk/reward tradeoff in that it shifts the business execution risk to the platforms and away from rights holders.

Additionally, to ensure responsible GAI development, I’ve explored a number of different topics in a recent white paper surrounding the need for property rights to include copyright and personal digital replica rights, statutory licensing for training and direct licensing for outputs, performers’ voices and likenesses to only be used in outputs with their consent and fair market compensation for specific uses, and more.

Why is being a part of the independent music/A2IM community important to you?

As we enter a transformative time in the industry, independent music is not only responsible for an increasing amount of market share, but it’s also primed to take a leading stance on the issues that affect us most, from discrepancies in the value gap to AI and beyond. With so much at stake, strong advocacy is important, and community is imperative. I am honored to participate in A2IM activities, and believe that joining the board of directors is the next step in elevating my contributions to the organization.

Of course this isn’t just about giving back and helping elevate the voice of independent music for the benefit of my and others’ companies in the face of increasing competition and change. It’s also about taking a leading role in building bridges to other industries, especially in the content world, something we’ve done with our companies Cinq Music and Comscore ranked #1 Latin outlet mitú. It’s also about continuing to foster a sense of community across the industry – drawing insights from each other and mentoring the next generation of leaders through increased mentorship programs, support, and networking.

Biography:

Jason Peterson is currently an A2IM advisory board member. He is an experienced entrepreneur, attorney, and producer named as one of the ‘Top 50 Indie’ and ‘Top 40 under 40’ Power Players in music by Billboard.

Jason is the founder and Chairman of GoDigital Media Group (godigitalmg.com) which operates Grammy winning label and distributor Cinq Music (cinqmusic.com) and music royalty finance firm Sound Royalties (soundroyalties.com). Artists signed by Jason include Daddy Yankee, Janet Jackson, Jason Derulo, Master P, and T.I..

Jason is an innovator who brings vision and a deep technical understanding of market dynamics to the A2iM board. Jason has written thought leadership for A2IM on:

-Internet Neutrality
-The Value Gap
-The Payment Gap
-The Confluence of Laws Governing Generative Artificial Intelligence

He has produced dozens of major music videos that have won “Video of the Year” at the Gospel Music Awards, MTV Latin Video Music Awards as well as “Best Directorial Debut” at the MVPA awards.

He currently is a member of the Wall Street Journal CEO Council, The World Economic Forum, the Music, Film and Entertainment Board of Directors at City of Hope Hospital, the Advisory Board to the Music Business Association, the Board of Directors for OTT.x, the trade group for the $43B home entertainment industry, and the Advisory Board to the Business of Cinematic-Arts Program at the University of Southern California.

Expertise:

I believe my greatest area of expertise is the combination of experience, strong relationships across the industry, humility, passion, and the ability to help build consensus on complex topics and issues. I started Hopeless Records 30 years ago out of a bedroom and have experienced running a very small label as well as it’s growth to a large label. I try to remember each stage of the business and put myself in others’ shoes, understanding where they and their company are in their journey. Having served on the a2im, merlin, WIN, and music business boards, I have a deep understanding of the various issues our community faces, the stakeholders involved and ways we can work together to make the independent music community stronger. I also believe music has the power to change the world and there are many opportunities for our community to be leaders in making the world a better place for more people.

Priority Issues:

Three issues our community faces are:

Community unity: We are naturally fragmented because we are hundreds of independent companies each with our own identities, culture, values, interest and decision making power. This poses a vulnerability that large companies have exploited over the years. I believe we can become more unified on the most important issues and use our diversity and independence as a strength to ensure that our and our artists’ music is fully valued, that we always have a seat at the table and that we create an environment where independent companies and their artists can thrive.

Fully valuing music: While overall revenue in our industry and community has been rising over the past 7 years due to streaming, the value of each artist’s music is declining.

Creating more opportunities: Our community together is strong, diverse, experienced, knowledgeable and resourceful. We can find better ways to share all of these for the benefit of each member and our community.

Focus Issue: 

There are multiple threats and opportunities for our community including AI, streaming payout models, digital payola, fraud, amongst many others. I hope to help better organize the stakeholders so we can prioritize the issues/opportunities and create unified strategies and organized plans to have a positive impact on our community.

Why is being a part of the independent music/A2IM community important to you?

The independent music community has given me and our company the environment where we can succeed and make a positive impact. It’s important for me that the community continues to get stronger, so the next generation of entrepreneurs and music lovers have even more opportunity to develop great art and culture and to make a difference in the world.

I believe that the independents are the drivers and leaders of this industry. They take chances on artists early. They continue developing and supporting artists over a long period of time. They are at the forefront of creating culture, lifestyle, new genres, social mobility, social change and so much more. I can’t imagine a world where music was just created for the masses.

Biography:

I am Louis Posen, a human being that lives in Los Angeles with my wife and 16 year old daughter. I founded Hopeless Records 30 years ago as a dare from orange county punks “Guttermouth” while directing a music video for them. Hopeless is now one of the largest independent record labels and has sold more than 15 million albums from such artists as Avenged Sevenfold, All Time Low, The Wonder Years, Neck Deep, Scene Queen, and Destroy Boys to name a few.

To celebrate our 30th year we have built a museum exhibit, which initially showcased at the Valley Relics Museum in Los Angeles and will be moving to A2IM Indie Week in June, the Rock and Roll Hall of Fame in August, and the Punk Rock Museum in October.

I also am the Executive Director of our non-profit 501C3 organization, the Hopeless Foundation, which runs the Sub City program and has raised over 3 million dollars for over 50 important charities. The independent music community has provided me, Hopeless and our artists the environment to get started, survive and thrive. For this reason, I have dedicated a significant portion of my time to strengthening the independent music community through volunteer board positions at Merlin, A2IM, WIN, Music Biz, and others. I hope to again have the opportunity to represent your voice and interests on the A2IM board.