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Blxck Cxsper

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Trans Trenderz Is Making Room For Trans Artists In The Music Industry

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Trans artists have made great strides in the music industry over the past two decades, but many BIPOC trans artists are still finding it hard to make inroads into the world of major labels and mainstream exposure. Meet the label changing that
Robert Ham
GRAMMYs
Aug 27, 2020 - 12:14 pm

Around 2017, Jupiter Gray was on the cusp of something big. The rapper/singer from Columbus, Ohio had already been releasing singles and mixtapes independently when, on the strength of her loose-limbed flow and lyrical attitude, she caught the attention of a major label imprint, who helped her build a repertoire and some buzz. As the relationship continued, label reps sounded more and more excited about signing her.

Then, the phone calls and emails came to an abrupt stop. The reason? According to Gray, it was because she was becoming more public about her wanting to transition.

"The communication stopped completely,” Gray remembers. “Me and my management couldn’t get a hold of anyone. It was a really low point in my career. Being transgender and wanting to make a name for yourself in hip-hop, which is historically, predominantly, male-dominated, it was exciting to get that opportunity. And then it was just nothing once I mentioned that I wanted to pursue my transition."

Trans artists have made great strides in the music industry over the past two decades with the likes of Against Me!'s Laura Jane Grace and pop sensation Kim Petras making serious waves culturally and commercially. But many BIPOC trans musicians and performers like Gray are still finding it hard to make inroads into the world of major labels and mainstream exposure. That struggle is, in part, what is fueling the work of Trans Trenderz, an organization created to support and amplify the work of Black trans artists. 

Started by the Montreal-based producer and performer Blxck Cxsper in 2016, Trans Trenderz is nominally a record label, helping release music from up-and-coming acts like Gray, electro-pop vocalist Heather Hills, and psych-soul singer/songwriter Apollo Flowerchild. Alongside that, the company also began The Ghostly Beats Project, an initiative to help connect trans artists with producers and graphic designers, as well as offering advice on marking and branding.

"I want to help the community as a whole,” Cxsper says. “So let me figure out how I can help people and make the connections needed for them to stay motivated with their music and go further in their careers."

That work has involved some highly visible projects like the release of a mixtape in 2016 featuring nothing but Black trans artists and hosting the Trans Trenderz Music Awards, an event awarding a variety of trans artists like Chicago pop-punkers Size of Sadness and Anjimile, a rising folk artist from Boston, last year. But it's what’s happening behind the scenes that is the true measure of what Trans Trenderz is accomplishing.

This past June, Cxsper announced through their Instagram that they would be willing to hand over a license-free beat to any Black trans artist that needed one. To keep up with the demand, they’ve also opened up a space on the Trans Trenderz website for other producers to offer their services. The label is also making sure their artists have the capacity to make their music sound as good as it can, partnering with Studio G Brooklyn, a recording house co-owned by Joel Hamilton, Chris Cubeta, and former Pere Ubu bassist Tony Maimone, to record new work by some of the artists Trans Trenderz have signed so far.

"We all came from scenes that were marginalized in our own tiny way," says Hamilton, a veteran of the Midwest punk community. "We started this studio on that founding principle of being out on the edges of music. Now we’re in more comfortable positions in life and the music business and we see that there are people in society that are on the edge and being marginalized. It just fit right into what we believe as humans and what we want to be associated with as a recording studio."

All of these various strands of Trans Trenderz’ work were neatly tied together recently with the Ghostly Beats Conference, an online event that served both to help raise funds for the Ghostly Beats Project and to let the folks behind the label and their industry allies share information and resources with up-and-coming trans artists.

Underpinning all of the amazing work Trans Trenderz is doing is the simple truth that by pushing their artists closer to mainstream success and acceptance could go a long way toward pulling up the Black transgender community as a whole.

"The most important thing that we want people to understand is that we’ve always been here," Cxsper says. "There’s always been Black trans artists and there’s always going to be Black trans artists. It’s not a lack of talent—it’s a lack of knowing the industry that’s kept us from trying to get to these places. It’s a lack of resources. It’s doors being closed in our faces as we are progressing. We need platforms to have that visibility."

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Nick Demangone of Exeter Township sanitizes his hands before browsing records for sale at Vertigo Music in West Reading

Photo: MediaNews Group/Reading Eagle via Getty Images / Contributor

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RIAA 2020 Mid-Year Report: Recorded-Music Revenues In The U.S. Grew More Than 5 Percent During The First Half Of 2020 Amid Coronavirus Pandemic

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A new study from the RIAA shows that revenues from recorded music in the U.S. grew to $5.7 billion in the first half of the year, a boost largely driven by strong streaming numbers.
John Ochoa
GRAMMYs
Sep 10, 2020 - 11:55 am

A new mid-year report from The Recording Industry Association of America (RIAA) shows that revenues from recorded music in the U.S. grew to $5.7 billion, up from $5.4 billion as Billboard reports, in the first half of 2020; the change marks an increase of 5.6 percent.

Paid streaming subscriptions, which increased by 24 percent to more than 72 million on average, a growth of 14 percent in the first half of 2020 when compared to the first half of 2019, largely drove the aforementioned revenue growth.

Streaming music revenues—returns from subscription services like paid versions of Spotify, Apple Music, Amazon and others; digital and customized radio services, including revenues distributed by SoundExchange like Pandora, SiriusXM and other internet radio; and ad-supported on-demand streaming services like YouTube, Vevo, and ad-supported Spotify—grew 12 percent to $4.8 billion in the first half of 2020. 

Paid subscription revenues grew 14 percent to $3.8 billion, and further increased their share as the largest contributor, accounting for 67 percent of total revenues in the first half of 2020, according to the RIAA report. 

Digital downloads, a market that continues to shrink in the streaming age, fell from 8 percent to 6 percent for the category's share of total revenues in the first half of 2020. 

As the COVID-19 pandemic continued to wreak havoc on the U.S. and international music business as well as the global advertising markets, "growth in ad-supported streaming revenues slowed dramatically," the RIAA writes.

As well, revenues from physical products decreased by 23 percent year-over-year to $376 million in the first half 2020, Variety reports. The RIAA report indicates a "significant impact from music retail and venue shutdown measures around COVID-19, as Q1 2020 declines were significantly less than Q2 compared with their respective periods the year prior." 

Revenues from vinyl albums increased in this year's first quarter, but later decreased in the second quarter, resulting in a net overall increase of 4 percent for the first half of 2020, the report reports. Vinyl album revenues, which reached $232 million, accounted for 62 percent of total physical revenues, marking the first time vinyl exceeded physical CDs for such a period since the '80s, as well as 4 percent of total recorded-music revenues.

Read the RIAA's 2020 mid-year report in full.

RIAA Report: Latin Music Is Growing Faster Than The Overall U.S. Music Market

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Downtown Music Hosts A Free Virtual Summer School For Students & Recent Grads

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Running from July 21-31, Downtown Summer School is a free, week-long series of virtual classes designed to provide insightful music business education for future industry professionals
Ogden Payne
GRAMMYs
Jul 6, 2020 - 11:22 am

While the ripple effect of COVID-19 has limited, if not eliminated, the possibility of hosting in-person events for some, Downtown Music Holdings has found a way to keep its commitment to providing quality education and opportunity to the next generation. In place of their on-site internship program, the company has announced its inaugural Downtown Summer School, a free, week-long series of virtual classes designed to provide insightful music business education for future industry professionals.

"We’re excited to reimagine our internship program for a virtual audience this year and fuel the next generation of music business leaders and creative entrepreneurs," said Justin Kalifowitz, CEO of Downtown Music Holdings. "Downtown Summer School will help participants understand the building blocks of the industry so we can continue to support a thriving creative class, now and in the future."

Beginning July 27, high school students, college students, and recent grads will have the opportunity to participate in morning and afternoon sessions on topics such as "How Unsigned Acts Distribute, Monetize and Promote their Music Today," "Crafting Hit Songs Around the World," "Music on Screen," "Diverse Career Paths into the Music Industry," and "The Future of Music Streaming." Guest speakers include Molly Neuman (President, Songtrust), Joe Kentish (Head of A&R at Warner Records, UK), Tracy Gardner (Head of Label Licensing and Partnerships at TikTok/Bytedance), and more.

"For many of us at Downtown, internships were our first pathways to exploring the business and developing our networks," Kalifowitz said. "We’ve been offering music industry internships at Downtown for over ten years and have had the good fortune to hire many of our interns to join us full time as the company has grown."

In addition to Downtown Summer School, the company has supported similar education initiatives such as Sound Thinking NYC. The program addresses gender and racial diversity by introducing students to the basics of the music industry and has reached over 500 students from 50 public schools in its first year.

Despite the spread of COVID-19 across the U.S., Kalifowitz sees a silver lining. The decision to utilize an online platform for their initiative creates an opportunity for Downtown to reach a wider audience than their on-site internship programs might have. Virtual or not, Kalifowitz says the company looks forward to "future iterations once we hear feedback from participants, educators, and our colleagues."

With brands such as Downtown Music Publishing (home to John Lennon & Yoko Ono, Benny Blanco, George Gershwin), Songtrust, and CD Baby under its umbrella, there might not be a better company than Downtown to extend its resources to the next generation. Rather than aim to outshine similar programs, the company looks to add a new option for future generations to take advantage of.

"Downtown Summer School is really focused on sharing our company’s unique perspective on the music business," Kalifowitz added. "It has less to do with addressing what’s missing in other programs and more to do with giving people a behind-the-scenes look at what we’re doing across Downtown every day."

Those interested in participating are encouraged to register here by July 22.

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Mixing desk inside Nevo Sound Studios in London

Mixing desk inside Nevo Sound Studios in London

Photo: Rob Monk/Future Music Magazine/Future via Getty Images

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The Recording Academy's Producers & Engineers Wing Shares List Of Safety Measures For Studios Preparing To Reopen

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The safety measures, which were compiled through interviews and conversations with recording studio owners, engineers and other professionals around the country, cover a range of concerns and precautions related to limiting the spread of the coronavirus
John Ochoa
GRAMMYs
May 30, 2020 - 2:25 pm

The Producers & Engineers Wing, a membership division of the Recording Academy that focuses on the technical and professional matters of the recording industry, has released a detailed list of potential safety measures for studio owners, engineers and other recording professionals looking to reopen their physical locations and recording studios. 

The safety recommendations come as states across the country are beginning to reopen and physical business locations are starting to welcome customers through their doors once again after the coronavirus pandemic shut down many U.S. regions and severely shuttered the international live concert and events industry. 

The safety measures, which were compiled through interviews and conversations with recording studio owners, engineers and other professionals around the country, cover a range of concerns and precautions related to limiting the spread of the coronavirus in a studio setting, including: social distancing in recording studios, complexes and rooms; protective gear, like face coverings and disposable gloves; limitations to studio access, control rooms and/or performance spaces for personnel and visitors; routine cleaning and disinfections of frequently touched surfaces, such as workstations, and commonly used and shared equipment, like microphones; and more. 

Read: Recording Academy And MusiCares Establish COVID-19 Relief Fund

In a letter accompanying the list of safety measures, Maureen Droney, Sr. Managing Director for the Producers & Engineers Wing, addressed the ongoing challenges and effects the recording industry faces as a result of the COVID-19 pandemic. 

"The Producers & Engineers Wing, like its membership, is resilient," she wrote in the intro letter. "The Wing has been a resource for the recording community for nearly 20 years, and will continue its work with you long after this crisis has passed. We hope this information is helpful, and wish you and your loved ones good health and safety as we navigate this crisis. 

"Knowledge about the COVID-19 pandemic is constantly evolving, and, as always, we are open to, and grateful for, comments and suggestions from others in our recording community, so please feel free to contact us at pe.wing@recordingacademy.com."

The letter also recommends those looking to reopen their studios and physical locations to regularly consult the guidance provided by national, state and local government agencies, including the guidance for businesses and employers from the Centers For Disease Control And Prevention (CDC). 

David Messier, owner of Same Sky Productions, a recording studio in Austin, Texas, and Leslie Richter, a Nashville-based engineer, instigated this project, which also included thoughts and suggestions from Ivan Barias, Ann Mincieli, Michael Abbott and many others. 

The list of potential safety measures, the names of the project's contributors and Maureen Droney's letter are available in full on the Recording Academy's website.

Learning In Quarantine: 5 Virtual Music Industry Conferences To Enhance Your Career 

Valeisha Butterfield Jones

Valeisha Butterfield Jones

Photo: Erik Umphery

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The Recording Academy Welcomes Valeisha Butterfield Jones As First-Ever Chief Diversity & Inclusion Officer

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The newly appointed global business leader will join the executive leadership team responsible for advancing the Recording Academy's mission and ensuring that diversity and inclusion are core to business values and standards
GRAMMYs
Apr 30, 2020 - 6:30 am

The Recording Academy has appointed Valeisha Butterfield Jones as its first-ever Chief Diversity & Inclusion Officer. 

Butterfield Jones, who will report directly to Academy Chair and Interim President/CEO Harvey Mason jr. effective May 11, will join the executive leadership team responsible for advancing the Recording Academy's mission and ensuring that diversity and inclusion are core to business values and standards and demonstrated throughout the organization.

Butterfield Jones, an award-winning and globally recognized business leader with proven impact at the intersections of technology, politics and entertainment, joins the Recording Academy family following recommendations set forth by the Recording Academy Diversity & Inclusion Task Force in December 2019 with a request for the Academy to hire a Diversity & Inclusion Officer at the executive level responsible for enterprise-wide diversity and inclusion efforts by May 1, 2020. As set forth in the recommendation, Butterfield Jones will bring business acumen and strategic rigor to inclusion practices across all areas of the Recording Academy, including internal and external programs, organizational and staff culture, membership, awards and related initiatives. As Chief Diversity & Inclusion Officer, Butterfield Jones will design, build and implement world-class programs and industry standards focused on inclusion, belonging and representation for underrepresented communities and creators.

"We are thrilled to welcome Valeisha Butterfield Jones into the Recording Academy family," Mason jr. said. "Valeisha has been a force in driving systemic change and enhancing equal opportunities for underrepresented groups across entertainment, technology and politics. I'm excited to work with her to continue evolving the Recording Academy as an organization that represents our music community and a place where all voices are welcomed, supported and nurtured. We are so fortunate to have Valeisha's leadership in this crucial area."

"It's imperative that the music industry continue to make strides toward a more equitable and inclusive industry, and I am pleased to see the Recording Academy take this important step toward change within its own walls today by appointing Valeisha Butterfield Jones as its first-ever Chief Diversity & Inclusion Officer," Tina Tchen, chair of the Recording Academy Diversity & Inclusion Task Force and president and CEO of TIME'S UP, said. "Creating this executive-level position was a principal recommendation of our Task Force because it is one significant way the Academy can demonstrate that issues of diversity are mission-critical and will be prioritized in the future."

"The Recording Academy has an opportunity and responsibility to ensure that diversity and inclusion is embedded in its core values. I'm deeply honored to join the Academy as we enter a new chapter of transformational growth, leadership and change," Butterfield Jones said. "During this unprecedented time in world history, together we will double-down on our focus to drive systemic change and equitable outcomes for underrepresented communities and creators."

Butterfield Jones formerly served as the global head of inclusion for Google, Inc., where she was responsible for accelerating diversity, equity and inclusion outcomes for underrepresented communities internally and externally across the global brand. Prior to joining Google, Butterfield Jones served as the national youth vote director for the Obama for America campaign, deputy director of public affairs for international trade at the U.S. Department of Commerce in the Obama Administration, executive director at Rush Communications (Def Jam Enterprises, Baby Phat, Phat Farm, Hip-Hop Summit Action Network) and as the national director of diversity and inclusion for the Alzheimer's Association. Her two-decades-long career began at Home Box Office (HBO Sports).

As a philanthropist, Butterfield Jones co-founded the Women in Entertainment Empowerment Network (WEEN) in 2007, a nonprofit global coalition of women and men committed to the balanced, positive portrayal of women in the entertainment industry. She also serves on the National Board of Directors of ColorComm, MC Lyte's Hip Hop Sisters Network and iVote.

How The Recording Academy Is Making Significant Strides Toward Diversity & Inclusion

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