1 TABLE OF CONTENTS

I. FORWARD 3

II. INTRO – TAKING ACCOUNT 4

III. 2020 in BLACK MUSIC 7

IV. THE INDUSTRY IN ACTION 8

§ Grades at a Glance 9

§ Music Groups 14

§ Publishing 21

§ The Recording Academy 23

§ DSPs 25

§ Touring and Live Music 28

§ Black music is Country Music, Too 31

§ Can We Learn From Europe? The UK Diversity in Music Report 33

V. CONCLUSION AND SUGGESTIONS 34

VI. APPENDIX 35

2 FORWARD On Behalf of the BMAC Board of Directors

One year ago today, moved by the murder of George Floyd, in addition to the call by Brianna Agyemang and Jamila Thomas for an industry pause, we formed the Black Music Action Coalition to advocate with one unified voice for racial equity and justice within the music industry and broader American Society. We promised, on behalf of our artists, as well as the millions of music fans whom we ultimately serve, to engage in self examination, to hold ourselves, and our industry accountable, to advocate for needed and necessary change. Our inaugural annual report card, which assesses the music industry’s progress on matters of racial equity and justice is therefore a fundamental founding principle of the Black Music Action Coalition, and the result of the core commitment we made at our founding.

We love music. We love our artists. And we love the millions of fans who are inspired by, and consume the music and culture our artists create. We know our industry can and must be better than it has been. We hope our report will be seen as a beginning, as an encouragement to the many companies and individuals who go to work every day making the music that defines our culture and services our humanity to continue digging deeper, to be intentional in pursuing true equity in a substantive and genuinely transformative manner. To those companies who have made the greatest strides over the past year (and beyond), thank you and please keep going. To all of our companies, we have work to do, and we look forward to continuing to do this work with you until we have achieved the objective of a just, fair and equitable business. What a glorious moment that will be!

Binta N. Brown, Co-President BMAC

As the noise of last year’s protests, social justice engagement and initial vocal support for #BlackLivesMatter and #TheShowMustBePaused begins to quiet down, we’re now looking at who is actually doing the work, who was committed to the movement beyond the moment? I applaud the important and transformative work of the task forces and groups that have been established at the labels and publishing companies. They are some of the most brilliant minds in our industry, putting in tremendous time working on solutions that will lead to real change. But BMAC’s job is to make sure their suggestions for change don’t fall on deaf ears. We want to see the commitment to equity go beyond giving a small piece of the massive revenue generated by the culture, back to the community. We also want to see it reflected in empowering the Black Executives and Creatives to share in ownership and profit. The Music Industry has huge cultural currency, and it is our intention to use it to transform our society into a more just and inclusive one.

Wilie ”Prophet” Stiggers, Co-President BMAC

3 TAKING ACCOUNT

For decades, there has been a cycle for Black artists, executives and stakeholders in the music industry. First, there’s the fight for our value and viability to be acknowledged. Next, there’s the fight for our voice to be heard in decision making. Lastly, there’s the fight to retain a fair share of the value and/or returns on our creative input. Rinse, repeat.

In the wake of George Floyd’s extra-judicious murder at the hands of police in 2020, calls for honest conversations and confrontations about systematic racism went out for everything from politics and policy to consumer brand packaging. The country was due for a top-down overhaul. Music executives Brianna Agyemang and Jamila Thomas called for the music industry to take June 2, 2020 as a day of reflection and discussion about how the music business impacts Black lives – the lives of their artists, their executives, and the communities they come from. Music companies readily chimed in with shows of support and solidarity. Unfortunately, however, history suggested any change would be either superficial or short lived.

CYCLES OF PROGRESS AND REGRESSION

The music business has been confronted about practices which marginalize Black artists and executives before, and those confrontations usually lead to some organizational or financial changes, but those changes don’t last.

• In 1972, Columbia Music Group commissioned a study from Harvard Business School that laid out a blueprint for the major label to get into the growing Black music business, including acquiring indie Black labels as a talent and executive pipeline. The other majors followed suit, establishing Black music divisions and joint ventures. Six years later, Philadelphia International’s Kenny Gamble co-founded the Black Music Association because Black retailers, radio programmers, promoters and music executives were being edged out of participation in and decision making about the business of Black music.

• In 1988, R&B singer Ruth Brown finally won a years-long battle against Atlantic Records over faulty royalty accounting and charge-backs, receiving her first royalty check from the label since 1960. In addition to rectifying her accounts, Atlantic committed $2M to launch the Rhythm and Blues Foundation, an organization that would provide grants and assistance to legacy artists in need. However, since its inception, the organization shifted its mission statement to ”preserving the genre’s historical and cultural importance as well as providing a helping hand to those in need,” and has become more of an awards program, offering “honorariums” to celebrants. At the foundation’s 20th Anniversary gala in 2008, it distributed a total of $130,000 to 8 recipients – less than 20K per person.

• In 1987, the NAACP released The Discordant Sound of Music, a study on racial discrimination in the music industry. The study sought to answer four questions: 1. Are Black people receiving a fair share of the economic opportunities generated by the industry? 2. Is there racial discrimination in the industry, and if so, to what degree is it present? 3. Are Black people equitably employed in behind-the-scene jobs? 4. Do Black artists use their influence to promote and provide opportunities for other Black people?

The findings were a stark indictment against the business, charging lack of regulations and oversight with the fact that the majors of the time, including Capitol/EMI, CBS, MCA, Polygram, RCA and Warner Brothers, accounted for 86% of the $4.4 billion in record and prerecorded tape sales in 1985, but had no programs or pipelines for Black executives.

"I think what's really lacking is systems of accountability, and the question is, how do you actually have accountability when you have such deep asymmetries of power between the recording companies and the artists, and also deep asymmetries of information, between the recording companies and the artists signing the contract?” - Olufunmilayo Arewa

4 TAKING ACCOUNT

Public pressure from the NAACP report led to the installation of the first Black label heads and senior executives over the following years. On June 15, 2021 – more than 30 years after The Discordant Sound of Music - The USC Annenberg Inclusion Initiative released the first study of the kind since, which found that out of 70 major and independent music companies, just 4.2% of top executives were Black. Instead of moving forward over the last 30 years, the business regressed.

HOLDING THE BUSINESS ACCOUNTABLE

The Black Music Action Coalition, a body of more than 200 Black artists, managers, attorneys and allies, formed in June 2020 to ensure that promises for change weren’t just conversations for a month or a Summer, but that sustainable action followed. After a year of engagement in COVID 19 relief efforts and voter education, BMAC is now taking a first-of-its kind audit of the words and actions of the music business.

The BMAC’s inaugural Music Industry Action Report Card is a measure of accountability for public pledges and promises made in response to the music industry-wide observation of #TheShowMustBePaused. The call to action issued to the industry is, and has been, for Black people - executives, artists, vendors and stakeholders - to have voice, visibility, participation and ownership on par with the revenue driven by Black music and culture. The biggest barrier to making this happen has been the music industry’s long-standing practice of opacity, which hinders public responsibility and accountability. Case in point, in preparing this report, the BMAC sent a brief survey to more than 60 executives at over 20 companies. Five replies came back, three from the same corporate system. There was an additional reply that asked to stay anonymous and off-record.

Companies did a fair job of visibly amplifying Black voices and causes and putting money back into Black communities and Black organizations over the last year. However, the point is to now hold companies to the task of sustained investment and change. Corporations in general, and entertainment specifically, have been overdue for a standard, public measurement of how their practices impact the Black lives, including executives, artists and the communities they come from.

BMAC’s goal is to expand this report annually, until it represents a 360 degree view of the industry and is acknowledged and respected as a standard and official tool of accountability.

This inaugural review focuses on the public pledges, promises and commitments made by the three major label groups, The Recording Academy, major DSPs, live music companies and talent agencies in June 2020 and the months following; and examines each company’s public actions and plans for future initiatives presented through June of 2021. In the interest of providing an objective and unbiased report, BMAC did not include information gleaned through conversations our leadership has had with various companies if it wasn’t also a matter of public record and/or shared in survey replies.

We assigned scores based on our assessment of the following areas:

1. Initial corporate statement and commitment: • Did the promise match the company’s connection to Black culture? • Did it suggest a true reflection of responsibility to the culture and community? 2. Company representation on a senior executive level: • Do the decision-makers reflect the artists companies are working with? • Are Black senior executives visible and vocal? • Have hiring and promotion practices over the last year exhibited a commitment to genuine internal change, or does it feel superficial? 3. Execution and follow up on commitments and pledges: • Have the companies done what they said they’d do? • Have they executed in thoughtful ways (i.e. giving strategies and vetted partners/grantees) 4. Additional actions and/or plans that lead to sustainable, impactful change of structures and systems: • Did the company take steps to examine and/or change business practices and/or corporate culture to create a more equitable space for Black executives, parity in salary, and fairer deals with Black artists/creators?

5 TAKING ACCOUNT

Overall, the report reveals that while companies took the generous and needed, but relatively easy lift of donating funds or matching employee donations - some with a devised giving strategy - few created mechanisms to tackle and change issues and systems such as talent and promotion pipelines internally. Only a handful had full, multi-tiered plans of action that covered both internal changes and community engagement and giving, and only two labels publicly addressed some form of revisiting and revising agreements for heritage artists - and that is a crucial aspect to working towards parity and equity. But music companies are still resistant to sharing info about artist contracts and pay rates, employee demographics and salaries, so transparency will be the most crucial element in progress.

Our hope is that the MIA Report Card, especially coming on the heels of the Annenburg Study, will spur more conversations and efforts towards, in some cases, disruptive change. We’re applying pressure, and we challenge more companies to take that next step towards honest and transparent dialogue moving forward.

Naima Cochrane Report Lead on Behalf of BMAC

6 2020 in BLACK MUSIC

Like most industries, the music business braced for an uncertain 2020 last March. But largely thanks to on demand streaming combined with lowered operational costs, labels and streaming companies ended the year strong. Album and single sales were down, but overall audio consumption was up, and Hip-Hop /R&B remained the most popular genre for the third year in a row. Urban music owned one third of the total music market (28.7% total volume*), with Black artists putting up several of the most storied projects and moments of the year.

SINGLES AND ALBUMS § The Weeknd’s “Blinding Lights” set a new record for most weeks in the Top 10 of the Hot 100 § Lil Baby’s My Turn was the most consumed album of 2020 § Juice World’s Legends Never Die had the biggest streaming week of 2020 § Pop Smoke’s Shoot for the Stars was the No. 3 most consumed album of 2020 § Roddy Rich’s “The Box” was the most consumed song of 2020

END OF YEAR CHARTS

Rap and R&B artists are… § 7 of the Top 10 most consumed albums of 2020 § 9 of the top 10 digital songs of 2020 § All Top 10 on demand streams (audio + video) and audio on-demand streams § 8 of the top 10 on demand video streams

*BILLBOARD MRC END OF YEAR REPORT 2020

BLACK MUSIC is POP MUSIC!

7 THE INDUSTRY IN ACTION How the Music Business Followed Through After Blackout Tuesday

Tuesday, June 2 saw a flurry of black squares on the social feeds of music and music adjacent companies in support of #TheShowMustBePaused, an initiative spearheaded by executives Brianna Agyemang and Jamila Thomas as a “set time to pause and have an honest, reflective and productive conversation about what actions we (the music industry) need to collectively take to support the Black community.” But as label groups, streaming and content partners, promoters and booking agencies committed to “stand in solidarity,” the Black executives and artists whose creativity keep the business moving made it very clear that this time, superficial support wouldn’t be enough. It was finally time to address the fact that systematic racism and inequity is part of the the music industry’s history as well, and time for companies to give back, in a genuine way, to the culture and community that’s been commodified since the days of Race Records.

As a result of the call for actual commitments that will contribute to change, the music industry started rolling out financial pledges and corporate plans. In addition to widespread engagement in voter education and awareness and COVID-19 relief efforts, companies came up with plans ranging from content programming to $100M funds. Black executives, artists and veterans simultaneously spoke up about the steps they thought would be most impactful, but a few main points were consistent: Transparency in industry practices, representation across all areas of the business to reflect the artists and content they work with, and plans for talent pipelines, development and promotion.

Now, a year later, BMAC has put together a break down examining public commitments and declarations against public actions and initiatives between June 2020 and June 2021.

This report is comprised primarily of independent research (trade publications, company announcements and websites, etc.). BMAC also surveyed more than 60 executives at 20 different companies across the music industry. Only five executives from three different companies responded to the survey (plus one who wanted to remain anonymous and didn’t want the info they submitted included in the report). Unfortunately, this was expected, as the standard practice of opacity in this business is the biggest hurdle to overcome.

Following is an analysis of the racial equity and justice initiatives commenced by the largest companies in the business over the course of the past twelve months, along with our grade assessing their performance.

Two related conversations have unfolded in parallel. First, can the music industry use its vast resources and wide influence to help reduce police brutality and combat systemic racism? Second, can the music industry finally face down its own history of racism and build a more equitable future? – Elias Light for Rolling Stone

8 THE 2021 REPORT CARD AT A GLANCE A SNAPSHOT OF THIS YEAR’S GRADES

LABEL GROUPS

SCORED IN 4 AREAS: SCALE:

1. Initial corporate statement and commitment: A = Company surpasses the average and • Did the promise match the company’s connection to Black culture? demonstrates intentional effort and work in this • Did it suggest a true reflection of responsibility to the culture and community? area. 2. Company representation on a senior executive level: B = Strong performance in this area, but there’s • Do the decision-makers reflect the artists companies are working with? still room for some improvement • Are Black senior executives visible and vocal? C = Meets expectations or industry standards, but • Have hiring and promotion practices over the last year exhibited a hasn’t demonstrated extra measures or efforts. commitment to genuine internal change, or does it feel superficial? D = A minimum or limited effort and/or seemingly 3. Execution and follow up on commitments and pledges: performative steps. • Have the companies done what they said they’d do? F = Made no efforts in this area at all, or fell • Have they executed in thoughtful ways (i.e. giving strategies and vetted drastically short. partners/grantees) 4. Additional actions and/or plans that lead to sustainable, impactful change of structures and systems: • Did the company take steps to examine change in business practices and/or corporate culture to create a more equitable space for Black executives, parity in salary, and fairer deals with Black artists/creators?

1. Initial corporate statement and commitment - C Sony’s Global Justice Fund is substantial, but details about grantees took time to emerge (Sony announced their May round as the third round of giving, but there’s no public news on any earlier disbursements by Sony US). There was also no initial address of internal representation or business practices.

2. Company representation on a senior executive level - B SME’s Jon Platt, Chairman of Sony Music Publishing is the most senior ranking Black music executive in the world, with full authority and discretion over the group. In addition, Sylvia Rhone, chairman and CEO of Epic Records, who reports to Chairman Rob Stringer, is a longtime executive at SME, who for many years was the only Black woman running a tier 1 label. Across label groups SME and it’s tier 1 labels have multiple senior ranking Black executives and have continued to hire and elevate more Black executives over the course of the past year. Given the relative size of SME to its peers, on an absolute basis it is doing better, however there remains much more work to be done.

3. Execution and follow up on commitments and pledges - B Notwithstanding Sony’s slow start in announcing its plan and corresponding details, they executed by quickly hiring Towalame Austin as its EVP of Philanthropy and Social Impact to run and oversee their global racial equity strategy, quickly allocated and disbursed funds to community groups, and made key Black hires throughout the company. Finally, Sony’s surprise recoupment and royalty announcement in June 2021 deserves recognition.

4. Additional actions and/or plans that lead to sustainable, impactful change of structures and systems. - B Sony recently scored major marks in this category with its announcement of a new policy to forgive unrecouped accounts of artists signed before 2000, who had not received any advances since 2000, clearing a massive income hurdle for heritage artists. The decision is reported to have been in the works for some time, which is supported by Sony having done the same with artist disbursements of the company’s Spotify proceeds in 2018. Pass through payments or full write-off of unrecouped balances for legacy acts was on a short list of impactful steps Black industry veterans have been calling for.

9 1. Initial corporate statement and commitment - B UMG made the lowest financial commitment of the “Big three,” but the quick assembly and mission of the Taskforce for Meaningful Change helped the label group stand out. It also signaled UMG’s commitment to internal change as owners of genre- defining and historic catalogs and repertoire.

2. Company representation on a senior executive level - C UMG’s Jeffrey Harleston and Motown’s Ethiopia Habtemariam are the two most senior and visible Black executives at UMG, and have been the visible faces and voices for the music group’s taskforce and voices for Black music industry executives in general. However neither has ultimate discretion with each reporting into UMG Chairman Lucian Grainge. There have also been multiple promotions to EVP or President level over the past year across UMG labels. Still, given the size of UMGs Black music catalogue, the extent to which UMG relies on Black music and artists to maintain market share, continued growth in revenue, and given UMGs overall headcount and size, we expect to see many more Black executives, with true authority and discretion, across the company.

3. Execution and follow up on commitments and pledges - B The Taskforce for Meaningful Change established clear objectives and began implementing in the fall. Under TFMC, UMG has launched the Uplift Mentorship program for connections within UMG’s Black community; the Youth Taskforce for Meaningful Change, a leadership council for young/junior staff; and HBCU mentorship that launches Summer 2021, and is working on D&I training specifically for hiring managers to address unconscious bias in hiring practices.

4. Additional actions and/or plans that lead to sustainable, impactful change of structures and systems. - C Notwithstanding the impeccable work by UMG’s taskforce, BMAC is deeply concerned by the proposed structure of UMG’s proposed initial public offering and the impact the initial public offering may have on artists, in particular the Black artists whose contributions help drive UMG’s valuation. We are also concerned by the decision to list on Euronext Netherlands, as opposed to on the NASDAQ or NYSE.

1. Initial corporate statement and commitment - B $100M is a substantial sum, but Warner is the home of culture shifting artists including Cardi B, Lizz and Bruno Mars, who is the No. 3 top artist of the last decade. Generous donations should be a given. Warner also increased the company’s market cap by $3.5BN the first week of trading on the NASDAQ - the same week as #TheShowMustBePaused. Warner’s initial commitment was also solely financial, and didn’t include mention of changes in corporate culture, practices and/or structures.

2. Company representation on a senior executive level - D Last June, not only were there no Black executives featured on the executive page of WMG’s site, the company IPO’d the same week as #BlackOutTuesday with no Black people on their 11-person board. Since then, they’ve hired one Senior Black Corporate executive, for DEI, and added one Black woman to their board. It’s worth noting that there are Black EVPs and Presidents at subsidiaries Warner Records and Atlantic. According to Warner’s corporate structure included on its web site, there are no Black executives at the company who report directly to WMG Chairman Stephen Cooper, and none with ultimate authority and discretion.

3. Execution and follow up on commitments and pledges - B Warner has been clear about its Social Justice Fund’s giving focus and provided details about its first and second round of grantees, including multiple announcements identifying its grant recipients and amounts. Notably they made a significant contribution to Howard University to establish a music business program and invested in OneUnited Bank, a Black bank. The full list of organizations Warner is supporting is clearly articulated on its website.

4. Additional actions and/or plans that lead to sustainable, impactful change of structures and systems - C Warner hasn’t yet presented a diversity plan for goals among senior staff or board representation, internal pipelines, or mentorship/development programs.

10 1. Initial corporate statement and commitment - B The Recording Academy has had a focus on diversity initiatives since 2018, with Valeisha Butterfield Jones leading the way. This included ongoing conversations about representation in membership and leadership, and increasing the visibility and voices of Black executives and artists.

2. Company representation on a senior executive level - C Harvey Mason, Jr., Valeisha Butterfield Jones and Kelly Purcell (VP, Membership and Industry Relations) are the only three Black leadership executives out of 23 positions total. Even though Mason is the first Black CEO in the Recording Academy’s history, the optics of the leadership page on the Academy’s site don’t completely reflect the diversity commitment of the company (although there is representation in terms of gender and non-Black POC). It’s worth noting that there are two Black members on the four-member trustee board, and representation at the head of local chapters.

3. Execution and follow up on commitments and pledges - B The Recording Academy immediately pulled in other stakeholders working on social justice initiatives and took two timely steps in addition to a financial donation to The Color of Change; the formation of the Black Music Collective and the #ChangeMusic initiative.

4. Additional actions and/or plans that lead to sustainable, impactful change of structures and systems. - B The academy’s #ChangeMusic roadmap, released in December and developed with the Black Music Collective working in partnership with the Color of Change, is an actionable guide “to move the music industry beyond conversation and intention and towards actionable racial justice.”

11 DSPs & STREAMING

Rated on a scale of Unsatisfactory to Excellent based on SCALE: overall effort to respond to the call for change and solidarity: • Did the company (or company’s music division) make a E = Excellent statement, pledge or promise at all? • Did it reflect the company’s connection to Black culture? S = Satisfactory Was it superficial and/or temporary, or a commitment to N = Needs Improvement action? • Did they follow through in a significant way? Does the U = Unsatisfactory company have Black representation in leadership (or at all?)

Amazon Music - S Amazon has two Black Global executives and was one of the few streaming service providers that made a financial commitment outside of its parent company. In addition, they’ve partnered with Pharrell Williams on an education and social justice initiative that launched in June 2021, and with the Recording Academy’s Black Music Collective for an HBCU scholarship and training person.

Apple Music - N Apple’s overall plans and transparency re: DEI are formidable. But, as the home of Beats 1 and with one of the most visible and well-known Black senior executives in streaming, we had higher expectations from Apple Music than dedicated programming. It is possible that they’re working on something under one of Apple’s overall initiatives that isn’t yet public.

Spotify - S It took public pressure from the staff before Spotify initially committed to matching employee donations up to $10M. But the company’s BLK 5-Star Strategy, revealed in April of 2021, suggested the delayed larger scale due to crafting a real plan instead of simply being reactive. The strategy covers giving; internal development, pipelines and hiring practices; participation in policy change; and amplifying creators.

YouTube Music - S YouTube corporate presented an $100M fund and #YouTubeBlack Voices initiative for amplifying and developing Black creators and artists, making it a safer space for users, and taking responsibility for keeping trusted content on the platform as a source of education, and the company has given updates on their progress. The music programming has gotten a little buried, but the company’s most recent update on the initiative’s progress highlighted the music space and new programs launching under the initiative this summer.

TIDAL - S Tidal made no specific pledges or promises on Blackout Tuesday, only because social justice is already a key component of the company’s mission. The streaming service has supported social justice causes through both programming and donations since at least 2016. What’s less clear is TIDAL’s executive makeup. Two of the most visible executives are Chief Content Officer Elliot Wilson and SVP, Artist and Label Relations Jason Kpana, but the company has a history of high turnover in general. Square acquired a majority stake in the company in March 2021, so changes may be on the horizon.

Bandcamp - S Bandcamp is a relatively small but mighty player in the streaming space, with a focus on artist and creator pay and equity. As such, their efforts in 2020 towards both COVID relief and support of the Black community consisted of the company waving revenue on select days. Additionally, they committed 30K a year towards causes for social justice and donating revenues every Juneteenth to the NAACP.

Pandora - U The streaming service has been developing programming around Black stories and creators as part of its “Stand for Sonic Diversity” initiative. However, because Pandora has traded on it’s familiarity with Black and Latinx listeners and their impact on culture, we expected a more significant commitment from them. 12 LIVE MUSIC AND TOURING

E = Excellent S = Satisfactory N = Needs Improvement U = Unsatisfactory

Live Nation - S In July, Live Nation president Mike Rapino sent a memo to global staff emphasizing that as a “leader in live music,” Live Nation has “an opportunity and responsibility to amplify the conversation around anti-racism and Black Lives Matter in order to be part of the solution.” He added that the company also “recognizes the need to expand our efforts across race, ethnicity, gender, sexual orientation, disability and other underrepresented groups. Rapino laid out a multi-point diversity plan with benchmarks leading to an ultimate 2025 goal. The plan is measurable and actionable, and includes a much needed increase in Black staff and board members (there’s currently one Black person on Live Nation’s 11-member board). Now that the touring industry is opening back up, we’ll be watching to see how LNE moves on their plans. Live Nation Urban launched the Urban Tour Directory, a vetted directory of Black tour professionals and companies - a much needed resource to ensure representation on all sides of the live music industry.

AEG - U AEG Presents tweeted that they’d “commit to working to bring about positive change in America,” and shared links for donation to various social justice funds, but has not yet publicly announced any financial pledge, nor have they yet presented any specific plans or initiatives related to social justice. A surprising lack of public action or statement as AEG has been praised for their Diversity work as recently as January of 2020.

UTA - N Pledged $1M to social justice causes to be disbursed by the UTA Foundation over 4 years, plus a commitment to a series of internal initiatives which include raising salary for entry-level positions, unconscious bias training for all colleagues, increasing representation of people of color in senior-level positions and throughout UTA, and promoting senior agents of color to the UTA partnership. They’ve additionally launched an internal ERG, brought on a Black Chief People Officer and added Rich Paul as the first Black person to their board. But there doesn’t seem to be any additional info to how the $1M fund is being disbursed and to whom.

ICM - N Named Robert Gibbs Head of Music, a first for a major agency. And their internal ERG, Diversify ICM has orchestrated a series of conversations and panels in addition to encouraging new hiring practices internally and creating a new HBCU internship pipeline. The work of agents Yves Pierre, Jacqueline Reynolds-Drum and Mari Davies is responsible for ICM earning a Needs Improvement. However, Black representation is still far too low. Further, ICM has recently come under fire for fostering a toxic work environment, and we’ll be watching how they respond to

CAA - N CAA has launched significant diversity initiatives in the company, including dedicating their annual Amplify Diversity event as a racial justice townhall, a PSA campaign in partnership with client Dwayne Wade’s AMP agency, and appointing co-heads of Cultural Business Strategy. But there’s no specific music focus, which earns them a lower rating for the purposes of this survey.

WME - N WME has launched a multi-point plan for inclusion in partnership with The Color of Change, but it’s focused on TV & Film. Although the hiring and career development initiatives will obviously reflect across divisions, (Cindy Agi was among the Partner class of October 2020, joining partner Kevin Shrives), as with CAA, we would like to see music focused directives.

Paradigm - U After Paradigm posted in support and solidarity for Black lives and Black employees in June, employees and former employees quickly pointed out that the agency had let go of a majority of its Black staff - roughly 60 out of 90 full time employees - as part of a layoff of nearly 200 employees at the beginning of the pandemic. In response, Paradigm acknowledged it has work to do, starting with hiring a head of diversity. Paradigm’s NA music division was recently purchased by Casey Wasserman, so we’ll see what happens under a new regime. 13 SONY MUSIC ENTERTAINMENT SUMMARY

FLAGSHIP SUBIDIARIES PRIORITY BLACK (URBAN) ARTISTS in 2020 § Columbia § Beyoncé (Columbia) § Epic § H.E.R. (RCA) § RCA § Lil Nas X (Columbia) § Doja Cat (RCA) § Future (Epic)

2020 REPORTED REVENUE: $4.51B 2019 REPORTED REVENUE: $4.17B

PUBLIC FINANCIAL PLEDGE: $100M Global Justice Fund + matched employee donations to social justice organizations like the ACLU, Black Lives Matter, the NAACP, the Minnesota Freedom Fund, The Innocence Project and Unicorn Riot.

HIGHLIGHTS: Sony recently scored major marks in this category with its announcement of a new policy to forgive existing unrecouped balances to artists and participant earnings generated on or after January 1, 2021 for eligible artists and participants. SME’s plan will apply to artists who signed to the label prior to 2000, and haven’t received an advance since 2000. The decision was reportedly in the works prior to 2021 and not a rection to Blackout Tuesday, but it’s specifically one of the measures labels are being asked to consider as fairer practice.

GRADES 1. INITIAL CORPORATE STATEMENT AND COMMITMENT - C 2. COMPANY REPRESENTATION ON A SENIOR EXECUTIVE LEVEL - B 3. EXECUTION AND FOLLOW UP ON COMMITMENTS AND PLEDGES - B 4. ADDITIONAL ACTIONS AND/OR PLANS THAT LEAD TO SUSTAINABLE, IMPACTFUL CHANGE OF STRUCTURES AND SYSTEMS - B

TIMELINE

Jun 4, 2020 Announces $100M fund Jul 13, 2020 Announces hiring of Towalame Austin as EVP, Philanthropy and Social Impact Oct 2020 Announces hiring of Tiffany Warren as EVP, Chief Diversity and Inclusion Offer Dec 2020 Announces Andrew Davis as EVP, Global Chief Human Resources Officer Jan 18, 2021 Announces partnership with the National Museum of African American Music May 2021 SMG announces 90 grantees and partners to receive funding from the $100 million Global Social Justice Fund Jun 11, 2021 Announces they will pay through unrecouped balances for heritage artists who signed with the label pre-2000

14 SONY MUSIC ENTERTAINMENT DETAILS

KEY INITIATIVES/PROGRAMS

§ HUE ERG "HUE’s (“Helping Unite Everyone”) mission is to promote the diversity of people of color (“POC”), while also bringing awareness to the company’s large influence to popular culture – specifically in the media industry - by cultivating educational programming and fostering conversations around elevating POC within the industry and at Sony. § Everyday Inclusion, a new cultural competency education program for all SMG employees created in partnership with DE&I specialist JONES. § Sony Music University (SonyMusicU), tbe College Ambassador program, allows students from a variety of backgrounds to work with industry experts to sharpen their professional skills. The program’s network of 65 schools now includes over a dozen HBCU partners.

THE GLOBAL JUSTICE FUND

MISSION: Support the initiatives that promote social justice, support anti-racism initiatives and foster diversity, equity and inclusion both inside and outside the company around the world. Has so far donated to over 300 organizations globally.

THREE PILLARS FOR GIVING: FUND ALLOCATION: § Civic Engagement § 24% Educational initiatives § Criminal Justice Reform § 23% Civic and community engagement programs § Education § 21% Civil rights and social justice organizations § 17% Youth advocacy organizations § 15% Additional equal rights, cultural and wellness programs

REPRESENTATION IN EXECUTIVE AND SENIOR STAFF* (SVP corporate or EVP label and senior): *May not include all executives

§ John Platt – Chairman and CEO, SONY/ATV Music Publishing (SMG) § Sylvia Rhone – Chairman and CEO, Epic Records § Mark Pitts, President – RCA (Promoted in 2021) § Towalame Austin – EVP Philanthropy and Social Impact, SMG (Hired 2021) § Tiffany R Warren – EVP/ Chief Diversity and Inclusion Office, SMG (Hired 2020) § Jeff Walker – EVP Business & Legal Affairs, Global Digital Business, SME § Andrew Davis – EVP, Global Chief Human Resources Officer, SME § Melissa Thomas – EVP, International Marketing, US Repertoire, SME (Promoted 2021) § Carolyn Williams – EVP Marketing, RCA § Camille Yorrik – EVP Creative Content, RCA § Tunji Balogun – EVP A&R, RCA ”It’s been 26 years since I was first Appointed appointed CEO of a major record company; decades later, I am STILL the only African-American female CEO* in this REPRESENTATION IN LABEL STAFF: industry. This is just a small indication of RCA boasts 4 Black EVPs in addition to the recently (and finally) the major work ahead.” promoted President Mark Pitts, as well as multiple VP and senior executives. – Sylvia Rhone Epic Records has two EVP’s reporting to Sylvia Rhone, who was long standing as the only Black female CEO in the business, until 2021. *Before Ethiopia Habtemariam’s promotion to CHAIRMAN and CEO of Motown in 2021 Columbia Records has few senior Black executives, with Phylicia Fant, the current co-head of Urban, soon to be the most senior Black executive at the label. . 15 UNIVERSAL MUSIC GROUP SUMMARY

FLAGSHIP SUBIDIARIES PRIORITY BLACK (URBAN) ARTISTS in 2020 § CAPITOL § The Weeknd (Republic) § ISLAND § Lil Baby (CMG/Motown) § REPUBLIC § Juice WRLD (interscope) § DEF JAM § Pop Smoke (Republic) § MOTOWN § DaBaby (Interscope) § INTERSCOPE/Geffen/A&M

2020 REPORTED REVENUE: $8.4B* *Tencent purchased 10% of UMG in 2020 and an additional 10% in Jan 2021 2019 REPORTED REVENUE: $8.04B

PUBLIC FINANCIAL PLEDGE: $25M

HIGHLIGHTS: A substantial percentage of UMG’s music catalog is Black music. UMG is also home to a variety of differently Soul, R&B and Hip-Hop labels. The work of the Taskforce for Meaningful Change this year signaled an understanding of their connection to the culture and a desire to reflect that as a company.

“We are charged with reviewing the company’s commitment to addressing and promoting tolerance, equality, and elimination of bias, within UMG, the music community and the world at large,”t is our mission to identify the gaps and deficiencies and to strengthen UMG’s plan with new initiatives.” – Jeff Harleston & Ethiopia Habtemariam

GRADES 1. INITIAL CORPORATE STATEMENT AND COMMITMENT - B 2. COMPANY REPRESENTATION ON A SENIOR EXECUTIVE LEVEL - C 3. EXECUTION AND FOLLOW UP ON COMMITMENTS AND PLEDGES - B 4. ADDITIONAL ACTIONS AND/OR PLANS THAT LEAD TO SUSTAINABLE, IMPACTFUL CHANGE OF STRUCTURES AND SYSTEMS - C

TIMELINE

Jun 4, 2020 Announced Taskforce for Meaningful Change and $25M Change Fund Jun 5, 2020 Republic Records announces the removal of “Urban” from company verbiage Jun 26, 2020 Announced Annenberg Inclusion Initiative studio on systematic racism in the Music Industry Aug 25, 2020 Announces Youth Taskforce for Meaningful Change in honor of John Lewis Sep 30, 2020 Hires Eric Hutchinson as EVP & Chief People and Inclusion Officer, UMG Oct 2020 Series of programs and panels on Black Music during the Congressional Black Caucus Oct 20, 2020 UMG announces it will IPO in 2022 Nov 11, 2020 Announces HBCU Internship Program in partnership with the Thurgood Marshall Foundation Feb 3, 2020 Announces Dr. Menna Demessie EVP/Executive Director, Taskforce for Meaningful Change Mar 1, 2021 Ethiopia Habtemariam promoted to Chairman, CEO Motown Records 16 UNIVERSAL MUSIC GROUP DETAILS

INDIVIDUAL LABEL COMMITMENTS

INTERSCOPE/GEFFEN/A&M - Pledged an undisclosed amount to protester bail-out organizations and other charities fighting for social justice, and suspended new releases for the week of June 1..

CAPITOL MUSIC GROUP - Pledged an undisclosed amount to Color of Change, a civil rights advocacy nonprofit, and Black Lives Matter

REPUBLIC RECORS – Announced they’d be removing the term “urban” from their company language, launched the Republic Records Action Committee, and suspended new releases the week of June 1.

DEF JAM – Encouraged employees to make donations equivalent to their June 2nd earnings to causes for social justice

REPRESENTATION IN EXECUTIVE and SENIOR STAFF (SVP corporate or EVP label and senior) *May not include all executives

§ Ethiopia Habtemariam – Chairman and CEO, Motown Records – Promoted 2021 § Jeff Harleston – EVP Busines and Legal Affairs, UMG / Interim Chairman and CEO, Def Jam § Katina Bynum – EVP East Coast Labels, Urban – Promoted 2020 § Latrice Burnett – President, 4th and Broadway/ EVP Island – Promoted 2020 § Richelle Parham – President of Global E-Commerce and Business Development, UMG § Eric Hutcherson – EVP & Chief People and Inclusion Officer, UMG – Hired 2020 § Dr. Menna Demessie – SVP and ED, Taskforce for Meaningful Change – Hired 2021 § Steven Victor – EVP A&R, UMG *Victor also launched his own Victor Victor Foundation with $1M to “to continue the fight to affect systematic change, to support economic empowerment for our next generation and to aid in the needs of our community.” Additionally, Victor pledged $25K to the Fund for Public Schools designated to aid Brooklyn students impacted by COVID-19

17 UNIVERSAL MUSIC GROUP DETAILS

THE TASK FORCE FOR MEANINGFUL CHANGE

Mission: A driving force for equality and social justice, the Task Force for Meaningful Change (TFMC) works to amplify and expand UMG’s current programs, devise new initiatives and support marginalized communities in the ongoing fight for equality, justice and inclusion. Our work is divided into six areas.

Six Target Areas: 1. Aid/Charitable Giving - Support initiatives with organizations working in areas such as: economic empowerment and business development; housing; legal services and bail; mental health services; legislative reform; physical health services; and voting resources and education.

2. Global - Acknowledging that racism, intolerance and bias know no borders, identify and adopt global policies and initiatives to address equality, bias, equity and inclusion efforts for all UMG offices and their communities around the world.

3. Internal/Institutional Change - Examine UMG’s workforce policies and procedures, and work environment. This includes identifying areas to improve access, recruitment, advancement and retention of a diverse workforce at all levels within the company but with a focus on leadership positions and other senior-level roles. We work closely with UMG HR’s Diversity & Inclusion team to continue its ongoing efforts and build upon the company’s partnership with USC Annenberg’s Inclusion Initiative.

4. Legislative/Public Policy - Pursue constructive social change by supporting public policies via: Federal, state and local legislation to challenge laws and regulations that promote bias and systemic discrimination; and voter education, registration and participation.

5. Partners - UMG has a history of investing in, and partnering with, entrepreneurs who have grown their business out of the community, building some of the most impactful and dynamic voices in entertainment today. Working alongside partners in their focused efforts to initiate and support change in their communities, UMG reaps the benefit of their insights, which help us continue to grow our own efforts in the fight for justice and equality.

6. Programming/Curation – Promote dialogue and understanding through speakers, counseling, and educational and creative programming focused on the themes of tolerance, equality and inclusion – especially around the intersection of Black Music, art, lifestyle, fashion, technology and creators, as well as celebrating Black artists and creators, and conducting thoughtful discussions on current events. Will continue to expand upon UMG HR’s Diversity & Inclusion programming, including their Belonging Table town hall series about diversity and inclusion and other series bringing outside experts to address relevant topics, ranging from economic empowerment and business development, mental health and voting.

Key Work to Date Includes: § Youth Taskforce for Meaningful Change – An extension of TFMC comprised of a group of entry-level employees from across UMG to further amplify young voices on issues of social justice. § Uplift Mentorship Program – Created to foster meaningful and impactful connections within UMG’s Black community, working to build personal and professional development of entry and mid-level employees. § Black Caucus Music Series of panels, talks and education around Black music, equity and social justice. § HBCU Internship Program, launching Summer 2021 § D&I training of hiring managers with education to address unconscious bias. § Established the Fund for Justice to fund a range of organizations whose focus includes racial justice, criminal justice reform, legal aid and community support.

18 WARNER MUSIC GROUP SUMMARY

FLAGSHIP SUBIDIARIES PRIORITY BLACK (URBAN) ARTISTS/ACTS 2020 § WARNER RECORDS § Cardi B (Atlantic) § ATLANTIC RECORDS § Megan Thee Stallion (Atlantic) § Roddy Ricch (Atlantic) § Lil’ Uzi Vert (Atlantic) § Kehlani (Atlantic)

2020 REPORTED REVENUE: $4.463B* *WMG’s June 2020 IPO was among the 10 biggest of the year

2019 REPORTED REVENUE: $4.475B

PUBLIC FINANCIAL PLEDGE: $100M + Undisclosed donation to Black Lives Matter on behalf of its labels

HIGHLIGHTS: WMG launching their IPO without a BIPOC on the board of directors, the day after #TheShowMustBePaused, was a misstep, although they corrected it before end of year. Similarly, while there are Black executives at or near the top of the individual labels, right now the most visible WMG senior executive was just hired over the last year. It will be key for Warner to add plans for talent pipelines on a corporate level.

*Source: Billboard

GRADES 1. INITIAL CORPORATE STATEMENT AND COMMITMENT - B 2. COMPANY REPRESENTATION ON A SENIOR EXECUTIVE LEVEL - D 3. EXECUTION AND FOLLOW UP ON COMMITMENTS AND PLEDGES - B 4. ADDITIONAL ACTIONS AND/OR PLANS THAT LEAD TO SUSTAINABLE, IMPACTFUL CHANGE OF STRUCTURES AND SYSTEMS - C

TIMELINE

Jun 2, 2020 Commits $100M Jun 3, 2020 Announces IPO with no people of color on 11-member board Jun 20, 2020 WMG BFF Social Justice Fund names Board of Directors Oct 1, 2020 Announces election of Ceci Kurzman to the Board of Directors Feb 21, 2021 First round of grantees announced March 21, 2021 Howard University 4.94M gift announced May 21, 2021 Second round of grantees announced

19 WARNER MUSIC GROUP SUMMARY

The Warner Music Group/BFF Social Justice Fund

Mission: The Warner Music Group / Blavatnik Family Foundation Social Justice Fund was created to acknowledge the contributions Black culture has made to the profitability of today’s music industry. Over ten years, the fund will invest in organizations around the globe that build more just and equitable communities and create real change in the lives of historically underserved and marginalized people.

Sustained, long term investments (over ten years) focus on three key strategic pillars: education, arts and culture, and criminal justice, with the belief that work in these areas will aid in dismantling structural racism and advancing equity and justice for all people. Grant recipients to be announced twice a year.

Strategic Pillars § Education § Arts & Culture § Criminal Justice

Partners: § Banking Partner – One United Bank, largest Black-owned bank in the US § Fiscal Sponsor – Moore Impact, division of Black Woman-owned Moore Philanthropy

Grantees to Date: Black Cultural Archives, Black Futures Lab, Florida Rights Restoration Coalition (FRRC), Howard University, REFORM Alliance, Rhythm & Blues Foundation, Ashé Cultural Arts Center, Overtown Youth Center, The Africa Center

REPRESENTATION IN EXECUTIVE AND SENIOR STAFF* (SVP corporate or EVP label and senior) *May not include all executives § Dr. Maurice Stinnett - Head of Global Equity, Diversity and Inclusion, WMG § Camille Hackney - Chief Partnerships Officer Atlantic/Head Global Brand Partnerships WMG § Temi Adeniji - SVP International Strategy and Operations, WMG* *Leaving the US team in September 21 § Mike Keyser - President of Black Music, Atlantic Records § Chris Atlas - EVP Urban Marketing, Warner Records § Julian Petty - EVP, Head of Business and Legal, Warner Records § Ryan Press - President, A&R US, Warner/Chappell Music

*Dr. Maurice Stinnett, Head of Global Equity, Diversity & Inclusion WMG, is the only Black executive featured on the management page of WMG’s website as of June 2021.

REPRESENTATION IN LABEL STAFF: Atlantic Records has senior Black executives across nearly every division of the company; possibly the one major label to do so. They’re also one of the last labels to have maintained a “Black” music division, instead of changing the genre umbrella to the more ambiguous Urban. Atlantic

In addition to Atlantic’s Black employee ERG, nine non-Black employees founded Off-Color in January of 2020 to expand their understanding of race and the ways in which it affects their day-to-day experiences as music industry professionals. They’ve worked with Atlantic Black to create a Racial Equity Glossary for the label.

20 PUBLISHING

STAYING UNDER THE CORPORATE UMBRELLA

Pledges from the three major music groups were inclusive of their publishing companies, so no scores here. Sony ATV’s Jon Platt, the highest-ranking Black music executive in the world, went the additional step of heralding a call for change in advance of Black Out Tuesday /#TheShowMustBePaused, and SONY/ATV has a publishing-focused initiative under the Sony Global Fund. Publishing companies will need to join the conversation in a more substantial way soon, as examining deals is an essential part of addressing ownership and equity. BMG Rights Management, the smallest of the big players, took an initiative towards genuine change that hopefully set a precedent for others to follow.

SONY/ATV § MAJOR BLACK WRITERS/CATALOG INCLUDE– Kanye West, Michael Jackson, Cardi B, Marvin Gaye, Pharrell Williams § SENIOR BLACK EXECUTIVES: Jon Platt, Chairman and CEO; Audrey Ashby, SVP, Business Affairs and Catalog § INITATIVES: Platt issued an open letter to the music industry the day before #TheShowMustBePaused calling for change. Sony/ATV partnered with Bleeding Fingers Music (Hans Zimmer) to establish the Screen Scoring Diversity Scholarship for Black composition students within the Screen Scoring Master’s Program at USC.

UMPG § MAJOR BLACK WRITERS/CATALOG INCLUDE– Kendrick Lamar, Meg the Stallion, Nicki Minaj, Alicia Keys, Otis Redding § SENIOR BLACK EXECUTIVES: Walter Jones - Co-head A&R, Stephen Francis – Director of Global Finance § INITIATIVES: Formed their own company ERG in addition to Jones serving on the TFMC

WARNER/CHAPPELL § MAJOR BLACK WRITERS/CATALOG INCLUDE: Quincy Jones, D’Angelo, Solange, The Dream § SENIOR BLACK EXECUTIVES: Ryan Press – President of US A&R § INITIATIVES: WC says they’ve created room for open, ongoing discussions about racial justice.

BMG RIGHTS MANAGEMENT § In June 2020, label and publishing company BMG conducted a contract audit of their recorded music catalog to uncover any evidence of racial bias. They completed the review in December, and revealed they found “discriminatory contract terms for Black artists” in several of their catalogs.

PROs:

BMI § Created a $275K fund that will be dispersed to nine different groups ($25K each) specializing in voting rights, underserved communities and social justice reform. An additional $25,000 will be divided among a group of smaller, locally focused organizations in the cities where BMI has offices. In keeping with the spirit of BMI and its mission, the remaining $25,000 will be donated for the creation of the Black American Music Walk of Fame in Atlanta, GA, to preserve, protect and promote the legacy and future of authentic Black American music.

ASCAP § Stated that they’re committed to “amplifying the voices of our members, who are using their talents to fight for change. And we are also committed to working together as a community to learn, grow and raise our voices to combat racism.” § Created a Fight for Change resources page on their site, featuring links for action and donation/financial support. § Matched employee donations to Color of Change and the NAACP LDF fund. § Observed Juneteenth as a company holiday.

21 PUBLISHING CON’T

THE BMG REVIEW

§ BMG’s catalogs includes recordings on 33 labels by 3,163 artists of whom 1,010 (32%) are Black § BMG’s recorded catalogs date back to the 1960s and were acquired by BMG between 2008 and 2019 § BMG did not negotiate any of the original deals § Their recorded music catalogs encompass 15 labels whose rosters include both Black and non-Black artists § Of those 15 labels, an examination of recorded royalty accounts showed that in the case of 11 of them, there was no evidence of racial disadvantage. Either 1) Black artists earned the same as non-Black artists or 2) there was no statistically significant difference between Black and non-Black artists or 3) Black artists earned slightly more than non-Black artists; § In the case of four labels there was a statistically significant negative correlation between being Black and receiving lower recorded royalty rates, a difference ranging from 1.1 to 3.4 percentage points. § To serve as a control for the review of historic recorded catalogs it has acquired, BMG applied the same methodology to the more than 800 recording agreements it has itself negotiated since it was established in October 2008 § The inquiry established there was no negative correlation between lower recorded royalty rates and Black artists across those deals; § As with the results for historic acquired recorded catalogs, the methodology and analysis was verified by external auditors. § The report also noted caveats on the results: The BMG study is of recorded royalty accounts and is therefore limited to remuneration. It has nothing to say about other facets of the relationship between the original labels and Black artists and cannot therefore be relied upon as either proving or disproving discrimination against Black artists in terms of expectations, label commitment or other non-financial parameters

§ BMG’s next step is a deep dive into the contracts in question to identify cause for the found disparities. § Then, BMG plans to introduce measures that will benefit the lowest paid recording artists across its catalogs. § BMG’s Black music representation isn’t significant, so they put a call out to labels and publishers with a more substantial catalog of Black music to follow suit.

“We acknowledge that the totality of the Black music experience cannot be captured in a numerical study, but we wanted to forensically address racial disadvantage in its most tangible form – the payments artists receive from their labels … We have found a number of both Black and non-Black artists with terms in contracts signed decades ago which we feel are not appropriate. While these legacy contracts may have been entered into willingly, are fully legally enforceable and we paid the previous owners full market value for them, we feel we can do better.” - BMG COO Ben Katovsky

22 THE RECORDING ACADEMY SUMMARY

EXISTING D&I OBJECTIVE & FOCUS – In March 2018, the Recording Academy launched their Diversity and Inclusion Task Force in order to “examine issues of diversity and inclusion within the Recording Academy and the broader music community”, and the DEI department’s North Star has been “To reflect the diverse music community that we represent by becoming the most inclusive organization in music and the world.”

SENIOR BLACK EXECTIVES & OFFICERS – Harvey Mason, Jr., President CEO; Valeisha Butterfield Jones, Chief Diversity, Equity and Inclusion Officer; Kelly Purcell, VP Membership and Industry Relations; Rico Love, Vice Chair, Board of Trustees; Om’mas Keith, Secretary/Treasurer, Board of Trustees

2020 COMMITMENTS AND INITIATIVES § $1M contribution to and partnership with Color of Change § Established the Black Music Collective, “A group of prominent Black music creators and professionals who share the common goal of amplifying Black voices within the Academy and the wider music community.” § Led the #ChangeMusic Summit § Let multiple internal DEI Summits § Installed DEI Ambassadors across 12-chapters to drive impact and change for Black and underrepresented creators, professionals and emerging leaders across the Recording Academy and music industry. § The #ChangeMusic Roadmap A detailed, actionable plan that provides direction and resources for the industry to change patterns of exclusion and degradation and take action toward progress through five points of focus, with multiple suggestions for action in each area.

GRADES 1. INITIAL CORPORATE STATEMENT AND COMMITMENT - B 2. COMPANY REPRESENTATION ON A SENIOR EXECUTIVE LEVEL - C 3. EXECUTION AND FOLLOW UP ON COMMITMENTS AND PLEDGES - B 4. ADDITIONAL ACTIONS AND/OR PLANS THAT LEAD TO SUSTAINABLE, IMPACTFUL CHANGE OF STRUCTURES AND SYSTEMS - B

TIMELINE

Jul 2020 $1M Donation to Color of Change

Sep 2020 Announced the formation of the Black Music Collective (BMC), Sep 2020 #ChangeMusic Initiative and summit

Dec 2020 Introduced the #ChangeMusic Roadmap (in partnership with Color of Change): “A tool to help people at all levels of the music industry take action to enact racial and social justice within the industry.”

23 THE RECORDING ACADEMY DETAILS

The #ChangeMusic Roadmap A detailed, actionable plan that provides direction and resources for the industry to change patterns of exclusion and degradation and take action toward progress through five points of focus, with multiple suggestions for action in each area.

1. Invest in Black talent + careers by supporting retention and training measures for Black people. 2. Commit to transparent reporting of Black representation by conducting a third-party and public-facing diversity audit and annually reporting pay disparities 3. Align and partner with the Black community by contracting with Black- owned and Black-led businesses and partnering with brands that are in alignment with anti-racist social justice values. 4. Promote civic advocacy and participation by giving employees paid time off to participate in national elections. 5. Invest in Black safety by aligning with and supporting current calls around reexamining the role of police in Black communities and addressing structural issues in the criminal justice system.

24 DSPs & STREAMING

The major Digital Service Providers in part leaned on the support, donations and/or action plans of their parent companies. The streaming arms mostly focused on programming, But Amazon Music, and YouTube Music also have music-centered initiatives. Additionally, Spotify and Bandcamp made commitments that lead beyond one year.

To note, BMAC remains deeply concerned by the exceptionally low payout to artists and rights holders from DSPs, although we note that one platform, YouTube, has recently made strides to improve the way artists are paid. We are also carefully monitoring programs such as Spotify’s reduction in a payment of royalty rates to artists in exchange for an improvement in algorithmic treatment which strikes us as a form of payola that hurts independent and legacy artists income streams. These are conversations we’d like to see happen soon.

AMAZON MUSIC - S • Contributed an undisclosed amount to organizations which combat racial injustice. • Amazon proper pledged a total of $10M to organizations including the ACLU Foundation, Equal Justice Initiative, the National Urban League and the NAACP. • Amazon Music & Amazon’s Future Engineer paired up with GA Tech Pharrell Williams’ education equity nonprofit YELLOW to launch “Your Voice is Power,” a curriculum of five teaching modules with lesson plans that teach coding while kick-starting meaningful conversations among middle and high school students and their teachers about the importance of racial justice. • Partnered with the Recording Academy's Black Music Collective to create a multi-year scholarship and mentorship program in partnership for HBCU students. The Black Music Collective will select three HBCU students who will each be awarded $10,000 scholarship for the 2021-22 school year. The scholarship recipients will also participate in a two- week immersive rotation program with Amazon Music department leads. Additionally, Amazon Music will provide a $20,000 donation for musical equipment to two HBCU music programs.

APPLE MUSIC - N • Apple announced donations of an undisclosed amount to groups including the Equal Justice Initiative, plus matching two- for-one all employee donations to those groups for the month of June. • On June 11, Apple CEO Tim Cook announced a $100 million initiative to promote racial justice inside the company ,and Apple corporate has a robust diversity initiative. • Apple Music shifted Beats 1 programming to music produced by black artists. It highlighted a “For Us, By Us” playlist in its recommendations tab, and dedicated a full page featuring a message of support for the protest movement.

YOUTUBE MUSIC - S • Parent company Google donated $12M to organizations “working to address racial inequalities,” including grants of $1M each to the Center for Policing Equity and the Equal Justice Initiative. They also committed to match employee donations to causes for justice. • YouTube pledged $1M in support of efforts to address social injustice. • In June 2020, YouTube announced a multi-year $100M #YouTubeBlack Voices fund dedicated to "amplifying and developing the voices of Black creators and artists and their stories.” • In June 2021, the fund is highlighting initiatives geared towards music, including: • On June 21, grant applications for the #YouTubeBlack Voices Fund Class of 2022 with expanded eligibility to include songwriters and producers. • New partnership with 1500 Sound Academy, founded by Grammy-Award winning songwriters and producers James Fauntleroy and Larrance “Rance” Dopson featuring a #YouTubeBlack Music Future Insiders Scholarship, funding 10 full rides to the Academy’s Live Online 1500 Music & Industry Fundamentals program. During the six-month scholarship term, recipients will take courses in music production, engineering, songwriting, mixing, music business and much more. • Creation of a #YouTubeMusic Moments, a collection of content series, live streams, and events that held the primary goal of celebrating Black culture, identity, and experiences from the perspective of artists and thought leaders in Music. Including 2 Chainz “Money Maker Fund,” which incentivized HBCU students to put together business pitches that 2 Chainz would evaluate and potentially fund. The 5-episode series saw 2 Chainz rewarding $55,000 to Black entrepreneurs. • YouTube Music has trusted industry veterans in leadership positions, including Tuma Basa, Jessica Rivera and Kathy Baker.

25 DSPs & STREAMING CON’T

SPOTIFY - S • Committed to match up to $10 million globally in employee donations to organizations “which fight racism injustice and inequity”. • Launched the Spotify BLK 5-Star Strategy: “Creating a holistic and lasting impact at Spotify through focus on People, Donations & Fundraising, Policy, Content, and Spotify Culture” (see details on following page)

TIDAL - S • TIDAL showed support for #BlackOutTuesday through programming, including speeches from Angela Davis, Malcolm X, and Dr. Martin Luther King. Jr.; featured Jay-Z’s “Songs for Survival 2” playlist, and highlighted music by Black artists who “have always used their work to paint a vivid image of the reality of racial injustice.” • They made no additional commitments to funding at the time, but Social Justice is already a key part of the company’s corporate mission, and they have an existing record of giving and programming that amplifies and supports causes..

BANDCAMP - S • Donated the company share of all Juneteenth (June 19) sales to the NAACP Legal Defense Fund, with a commitment to do the same every Juneteenth hereafter, plus a commitment of $30K per year to partner with racial justice organizations.

PANDORA - U • Pandora and parent company Sirius XM have been a bit passive in their response to calls for justice and equity, considering not only that the streaming service over-indexes with both Black and Latinx listeners, but that Pandora partnered with Burrell Communications in 2019 for a study called “The Impact of Black Influence on Culture and Advertising.” They know the power and influence of their audience. • On Black Out Tuesday, Pandora had 3 minutes of silence which, per employee memo from SiriusXM CEO Jim Meyer, was “one minute to reflect on the terrible history of racism, one minute in observance of this tragic moment in time and one minute to hope for and demand a better future.” • Meyer also pledged SiriusXM and Pandora will continue to amplify Black voices by being a space where Black artists showcase their music and talents, and by carrying the message that racism will not be tolerated. • Pandora has featured a broad and deep selection of programming in celebration of Black Music month this June, and in March announced a joint initiative called Stand for Sonic Diversity, “aiming to eradicate the sonic color line with concrete policies meant to boost Black voices within the audio industry, especially in advertising voice-overs.”

26 DSPs & STREAMING

SPOTIFY BLK 5-Star Strategy: - Spotify’s strategic plan is transparent, actionable, and measurable. It encompasses employee representation and hiring practices, staff pipelines and growth, thoughtful giving – with a concentration on funds led by Black artists, and highlighting creators.

PEOPLE

• Launched Inclusive Hiring Strategy. As of the end of December 2020, representation of Black Spotifiers in the U.S. increased to 8.3% (from 6.4% in June 2020, 5.7% in 2019, and 3.7% in 2017), with 7.2% at Director+ level by the end of December 2020. • Reorganizing and expanding the Diversity, Inclusion, and Belonging (DIB) team to encompass DIB Strategy Specialists, Early Career Pipeline, Heart & Soul, Inclusive Hiring, and Social Media & Digital Storytelling teams. • Launched the Black Coaching Initiative, with over 60 BLK members participating in executive coaching and 30 BLK members participating in the personal branding academy. • Developing an education hub for Diversity, Inclusion & Belonging learning & development. • Updating Racial Equity content on our external career website and expanding our content on DIB via the 2020 Sustainability, Equity, and Impact Report.

POLICY

• Effecting Policy Change – Using Spotify’s global reach and influence to effect and drive real change. We will do this by supporting legislation and funding organizations that are truly making a difference in the search for racial equity. • Continuing to analyze any pay gaps for Black employees at Spotify with a commitment to adjusting compensation levels, if necessary.

DONATIONS AND FUNDRAISING

• Racial Equity Donations & Giving Program has committed $10M—including the matching of $3M from Spotify employees’ donations around the world—to over 300 organizations. • The remaining $7M will be donated to 15+ organizations dedicated to inspiring, connecting, and elevating the next generation of Black voices and creators. These include: All Star Code, Black Girls Code, .PAAK House, The Great Khalid Foundation, Trombone Shorty Foundation – Pathway to Careers Program, Girls Make Beats, Code 2040, Project Go Dark , United Negro College Fund, The One School & The Marcus Graham Project & Multicultural Advertising Intern Program & D&AD, Executive Leadership Council, Color of Change, Ad Color, 4As Vanguard Program, Vale do Dendê (Brazil), The Black Curriculum (UK) • Spotify is sponsoring the Racial Justice State Legislative Tracker, which tracks and recommends state and local government policies that address police practices, the criminal justice system, and ballot access. Specifically, Spotify is supporting bills on police reform (including the George Floyd Justice in Policing Act) and making Juneteenth a U.S. holiday.

CONTENT

• Empowering and Celebrating Creators On Platform - empowering and celebrating creators of every race, ethnicity, religion, sexual identity, and gender, and curating top audio destinations featuring Black, LGBTQIA+, women, AAPI, and other underrepresented voices. Examples include: The Resistance podcast, Our Black History is Now hub, The EQUAL initiative, Our Stop Asian Hate campaign, The Ramadan hub, Our Sound Up program

SOURCE: Spotify.com

27 TOURING & LIVE MUSIC SUMMARY Black executives and agents are still grossly underrepresented at live entertainment companies and talent agencies. The Annenberg Inclusion Initiative’s June study on diversity in the music industry noted that live touring/promotion had the fewest underrepresented executives (12.5%) and no Black senior management team members listed on their websites. As such, there wasn’t wide participation in the conversation around justice, equity and ownership in music, even though this is a key area of artist revenue.

The emphasis on music is because talent agencies ICM, CAA (considered a leader in the field for social impact) and WME Endeavor have spent time addressing disparity on the Film & TV side, but the music side is often overlooked.

In terms of vocal and visible Black leadership, Live Nation Urban President Shawn Gee has been an active and vocal participant in conversations towards change, including championing the creation of the Black Tour Directory.. WME Partner Kevin Shivers issued an open letter calling for intentional efforts to change recruitment, development and mentorship within organizations

VISIBLE BLACK LEADERSHIP ACROSS TOURING AND LIVE MUSIC:

§ Shawn Gee – President, Live Nation Urban § Heather Lowery – President and CEO, Femme it Forward § Robert Gibbs – Head of Contemporary Music, ICM (first Black Department Head of a major agency music department) § Joe Hadley and Mark Cheatham – Co-heads of Global Hip-Hop/R&B Touring, CAA § Kevin Shivers – Partner, WME Music Division

TOURING AND PROMOTION:

LIVE NATION - S

§ Live Nation Diversity 2025 Plan – In addition to a donation of an undisclosed amount to the EJI, Live Nation CEO Mike Rapino ran down the company’s plan to hit key diversity goals both in the company and at events by 2025, calling it a “movement, not a moment,” including: § Increasing Diversity at every level of the company § Putting diversity center stage at events around the world. § Increasing spend with Black and minority-owned vendors. § Amplifying social justice causes. § Holding themselves accountable as a company.

§ The Live Nation Urban Black Tour Directory – Launched in October 2020 as “the most comprehensive industry resource developed to bolster inclusivity and expand opportunities for Black professionals and Black-owned companies in the world of live music.” The site lists “qualified, experienced, and trusted” Black tour managers, production managers, sound engineers, lighting experts, stage and set designers, stage managers, techs, travel agents, caterers, tour accountants, bus companies, security staff, and more.

Proximity is key issue in diversity, as far as being in the same room, being on the calls, having a seat at the table, being at a show. - Jennifer Smith, Director, US Concerts Tour Marketing

AEG - U • AEG Presents tweeted that they’d “commit to working to bring about positive change in America,” and shared links for donation to various social justice funds, but has not yet publicly announced any financial pledge, nor have they yet presented any specific plans or initiatives related to social justice. • To note, AEG has been recognized for its commitment to diversity and inclusion in the past, including receiving a perfect score received a perfect score of 100 on the Human Rights Campaign Foundation’s 2021 Corporate Equality Index (CEI), and CEO Dan Beckerman signing the CEO Action for Diversity & Inclusion pledge, in which company heads commit to: • Creating and maintaining a workplace environment that allows for conversations about diversity and inclusion. • Implementing and expanding unconscious bias education to help employees recognize, acknowledge and minimize any potential blind spots they may have. • Sharing both successful best practices and programs and unsuccessful actions around diversity and inclusion. • And creating and sharing strategic inclusion and diversity plans with their board of directors, or equivalent governing bodies. … so the absence of public commitment and/or initiative here is surprising.

§ GV BLACK – AEG company Golden Voice has launched GV Black. Founded by Black executives and managers at Goldenvoice, the production company for Coachella, to “help create initiatives to highlight the Black experience at our organization and expand representation of the Black community at Coachella.” 28 TOURING & LIVE MUSIC SUMMARY “It’s incumbent upon all of the agencies to step up, educate and BLACK BOARD OF DIRECTORS REPRESENTATION truly mentor — to not only get § Lorrie Bartlett – ICM people of color in the door but to § Lisa Joseph Metelus – CAA make sure we’re there to walk § Rich Paul – UTA them through the process.” § Fawn Weaver – Endeavor (WME) – Robert Gibbs, ICM

TALENT AGENCIES

§ UTA - N § Pledged $1M to social justice causes dispersed by the UTA Foundation over 4 years, plus a commitment to a series of internal initiatives which include raising pay for entry-level positions, unconscious bias training for all colleagues, increasing representation of people of color in senior-level positions and throughout UTA, and promoting senior agents of color to the UTA partnership. The company announced its biggest promotion class in company history in May 2021, with 35% of the more than 100-person group self- identifying as a BIPOC. § The Justice Now internal task force was formed to reverse systemic racism in the industry through four pillars: education, mentorship, empowerment and fearless imagination. § Hired Jean-Rene Zetrem as Chief People Officer and added Rich Paul to Board of Directors

§ ICM - N § ICM named Robert Gibbs to Head of Contemporary Music in 2020, making him the first Black head of a major agency’s music department. § Agents Yves C. Pierre, Mari Davies, Jaqueline Reynolds-Drumm and other ICM agents of color formed internal ERG Diversify ICM to “combat internal iniquities and foster participation in initiatives that support underserved Black communities” The group steered the agency to commit to a goal of 50% hiring of diverse and inclusive candidates for all open positions going forward in 2020, and helped launch an internship program with HBCU in LA as a pipeline for Black talent. § The company came under fire in May amid reports of sexual harassment and a toxic work environment, including allegations of having having Black admin staff pose as agent trainees for a diversity video for improved optics.

§ CAA - N § Richard Lovett stated at the company’s Amplify Town Hall in June, “This is the moment to turn words of support and belief into actions…actions that become habits, and habits that become the change that is necessary. It is up to all of us — no matter how well- intentioned we may have been in the past — to do the honest, sobering and essential work of dismantling systemic racism, including in our own organizations,” § The company dedicated their 4th Annual Amplify diversity event to a townhall discussion about George Floyd, racial justice and the path forward § CAA is known as an industry leader in Social Impact, but similar to other agencies has focused diversity initiatives- including a PSA they created and released in partnership with Dwayne Wade’s CAA AMP - around the TV, film and sports divisions. § In terms of senior execs, Joe Hadley and Mark Cheatham were promoted to co-heads of Global Hip-Hop/Touring § CAA additionally appointed Lisa Joseph Metelus to their 11 member board (formed in January 20) in June.

§ WME - N § WME has launched a multi-point plan for inclusion in partnership with The Color of Change, but focused on TV & Film, although some initiatives may also translate to the music side, like: § Committing $5 million over the next three years toward community programs and inclusion initiatives; partnering with select colleges to recruit students from underrepresented backgrounds; disclosing the company’s diversity numbers; providing an inclusion rider template to all agents and clients. But it’d be good to see a music-focused plan from them. § Signed Black Lives Matter Co-Founder Opal Tometi

§ PARADIGM - U § When Paradigm posted a message of solidarity with the Black community, it came to light the the agency furloughed 61 of 94 full time employees of color at the beginning of the pandemic (part of a layoff of nearly 200 employees total). § An internal memo to address the issue announced the search for a DEI executive, and a promise the agency would “refocus efforts to target qualified agents and executives of color as well as recruits from colleges and universities across the nation, including graduates of Historically Black Colleges and Universities (HBCU). We will enhance our career training and individual mentoring – all with the goal of increasing the diversity of our workforce and providing our team members with a clear path for career advancement and success. This is paramount to our collective future.” § In March of 2021, Paradigm announced that its live music division was being acquired by Casey Wasserman.

29 TOURING & LIVE MUSIC SUMMARY

LIVE NATION DIVERSITY 2025 PLAN – Live Nation Head Mike Rapino shared the company’s plan to achieve key diversity goals both within the company and at events by 2025. The plan is detailed and measurable, but now that the touring industry is ramping back up, it’s time to see if they execute and how quickly. There were job postings for a Global Director of Diversity and Inclusion in April 21 which had job responsibilities tied to some of the bullets below, but no announcement in the role yet.

§ Increasing Diversity at every level of the company § 30% BIPOC Board of Directors by 2025. (Live Nation’s board currently consists of 18% BIPOC people: 8 white men, 1 Asian woman, 1 white woman and 1 Black man). § With respect to its executive leadership (director and above), LN is setting representation goals on a country-by-country basis in order to acknowledge local dynamics and best serve each region. In the US, LN intends to double its Black leadership representation, and to increase its overall BIPOC representation to 30% by 2025. § LN pledged to invest at least $10M globally over the next two years to expand and launch new programs focused on developing, promoting and hiring Black and underrepresented talent, including expanding Future Nation, formalizing mentorship programs, building career training and coaching opportunities, growing scholarship offerings, developing pipelines for more diverse hiring, and other efforts.

§ Putting Diversity center stage at events around the world. § Ensure live music continues to unlock opportunities for equity and prosperity, and taking steps to broaden the range of artists promoted around the globe. § LN pledges to continue developing and investing in more music ventures, as well as festivals, tours, and programs that empower Black, Latin, female and other underserved groups as they continue to shape the future of music and culture. § LN’s 100+ festivals will strive to present more diverse lineups, including more artists from underrepresented races, ethnicities, sexual orientations and genders.

§ Increasing spend with Black and minority-owned vendors. § LN spends over $2 billion each year on staging and sourcing for shows, with a supply chain that spans the globe. They’ll use that spending power to drive economic empowerment and help grow small and disadvantaged businesses. § In the future, they’ll look for opportunities to support minority-owned business wherever possible, from stage lighting companies to 401k investment managers, and more.

§ Amplifying its social justice causes. § Music has the power to shift perspective and drive change, and many of the artists LN works with are at the forefront of the social justice conversation. In 2019 LN helped bring concerts to over 40 countries and 100 million fans; they’ll utilize their global platforms to increase awareness and engagement for artist causes. § Once shows are back to scale, LN will also be able to develop programs and initiatives that artists, brands, and fans can tap into, including championing voter registration on-site at venues and online as part of the ticket-purchase experience.

§ Holding themselves accountable. § LN will be providing anti-bias education training, tracking diversity data globally, facilitating ongoing pay equity analysis, tying goals to leadership compensation, and establishing an Equity Accountability Board led by different leaders from across the business to govern and influence LNE’s goals, the ultimate being to become a more actively anti-racist organization.

30 COUNTRY MUSIC IS BLACK MUSIC, TOO BLACK ARTISTS ARE READY FOR NASHVILLE TO OPEN ITS DOORS

In December 2018, an indie artist named Lil’ Nas X uploaded a song called “Old Town Road,” to Soundcloud. In 2019 the track, a country/hip-hop blend, quickly went viral on Tik Tok, helping drive the song to debut on three Billboard charts simultaneously: The Hot 100, Hot R&B/Hip Hop Songs and Hot Country Songs. In late March, Billboard removed “Old Town Road” from the Country chart, citing a lack of “elements of today’s country music.” But as there’s no firm sonic parameters to what defines the country genre – at least none that anyone could distinguish between “Old Town Road” and some other more modern country tracks – the industry reexamined a years-old conversation: Why can’t Black artists break into country music? Ask someone to name Black country stars, and they’ll probably respond with Charley Pride, Darius Rucker…. And that’s it. In March 2021, SongData released “Redlining in Country Music: Representation in the Country Music Industry (2000-2020).” The study revealed that BIPOC artists are less than 4% of the country music industry, and have only accounted for 2.3% of country music airplay over the last 19 years. Additionally, BIPOC men comprised the majority of that small amount of airplay.

HISTORIC BARRIERS TO ENTRY Black music is in country music’s DNA; blues is part of its roots. In the 1920s, record companies started dividing music with the same blues-bred sound into “Hillbilly” and “Race” music charts dependent on the artist’s race (Billboard’s first Hillbilly records chart was published in 1939). In part because of the regional containment of the country business to Nashville, it’s been difficult for Black artists to get a foothold in the genre ever since, even though some of the sonic styles and lyrical content is similar to, and derivative of R&B and the Blues. The most famous example of the kinship between the two genres is probably “I Will Always Love You,” originally a country hit for Dolly Parton which became one of Whitney Houston’s biggest songs. The Pointer Sisters, Aaron Neville, Lionel Richie, Tina Turner and Millie Jackson have all ventured into the space with varying degrees of success. R&B artist K. Michelle is probably the most recent, having relocated to Nashville for a better chance at making the transition. But these artists all attempted to cross into the genre after they were established stars. Even Darius Rucker was already known as the front man of rock group Hootie & the Blowfish. Breaking into country as a brand new Black artist seems impossible.

THE BLACK COUNTRY MUSIC ASSOCIATION In 1995, Black country singer Cleve Francis, frustrated with his own efforts in the country space after three years and only one moderate hit, established the Black Country Music Association. The organization of artists, journalists, and music industry staffers was intended to “educate the public about the role black artists have played in country music’s history, and provide a space for black artists currently working in the genre to join together in force.” Similar to Billboard and Lil’ Nas X, Guyton was told he didn’t have the ”right material” for country, but observed that those standards didn’t apply widely, “A lot of the white guys who were singing country music [at the time] were from New Jersey or New York. They’d just come to town, put a cowboy hat on, and all of a sudden, you become country. It was a costume. Why couldn’t we do that?”

Francis left Nashville in 1996, but BCMA continued under the leadership of singer Frankie Stanton, who’s had a career of one-off singles, and by the late ‘90s was holding Black country music showcases all over Nashville and worked with Warner Records to release a box set, Where I Stand, which chronicled the history of Black artists in country music. The organization was helping Black artists make inroads and starting to establish a name for itself in Nashville, but because it was volunteer-led, activities and membership dwindled in the early 2000s. The founding members are now discussing reviving the group.

MICKEY GUYTON HIGHLIGHTS THE DIVIDE In 2021, Mickey Guyton made history as the first Black solo female artist nominated for a Grammy in a country music category for her song “Black Like Me.” Guyton is also the only Black woman signed to a major Nashville label. However, despite her recognition from the Recording Academy, Guyton’s 3 2020 singles only accounted for a combined .01% of country music radio airplay for the year, and most of those during overnight programming. Because Guyton has never gotten traction at country radio, in ten years as Capitol Nashville artist and five years since her first single, the label has yet to invest in a full LP for the artist. This is the cycle that Black artists have often found themselves in with country; Guyton was a rare case of the industry taking notice anyway.

31 COUNTRY MUSIC IS BLACK MUSIC, TOO BLACK ARTISTS ARE READY FOR NASHVILLE TO OPEN ITS DOORS

COUNTRY MUSIC HAS A RECKONING In light of the recent success of newer Black country artists like Jimmy Allen and Kane Brown, the continued success of Darius Rucker, who’s had nine No. 1 country hits over the course of his career; plus the reckoning the music industry is having in general regarding its relationship with Black artists and executives, Nashville may be ready to examine its inclusivity.

The biggest signal that Nashville is ready to change wasn’t about a Black artist at all, but rising country star Morgan Wallen. When TMZ aired a February 2021 video of the Big Loud artist calling his neighbor a ”ni**a,” the country industry responded with surprising speed and force to disavow Wallen’s actions. His current single was enjoying its third week at No. 1 when it was pulled from almost all country radio programing. CMT pulled his videos from rotation. Big Loud “suspended” Wallen (the label ended his suspension in May 2021), streaming platforms pulled his music from promoted playlists, the Academy of Country Music removed him from award eligibility, and album producer Jason Isbell pledged to donate his proceeds to the NAACP. Such a reckoning in country music was unprecedented. Still, Wallen’s sales shot up 231% as fans showed their continued support, which perhaps highlights country’s biggest problem with breaking and supporting Black artists.

NASHVILLE MUSIC EQUALITY Dialog and education is going to be essential to any path forward, and in observance of #TheShowMustBePaused, three Black executives in Nashville – Cameo Carlson, Beverly Keel and Kortney Toney - organized a town hall for that purpose. The initial discussion, joined by 1,000 people, led to the formation of Nashville Music Equality. NME’s mission is to “create conversations that educate and provide resources that create long lasting impact.” One of the NME’s early initiatives was a panel discussion with founding members of the Black Country Music Association, who are now considering reactivating the organization.

For years, there’s been the expectation and assumption that Black artists will hit barriers in Nashville, but that’s no longer an acceptable norm. Nor is it acceptable that there are nearly no Black executives in Nashville’s famed Music Row. The BMAC will closely watch Music Row moving forward, and will support the organizations working there to help bring country music into the future and help the genre acknowledge its past.

32 CAN WE LEARN FROM THE UK? THE UK MUSIC DIVERSITY TASKFORCE HAS VESTED BUY IN FROM THE INDUSTRY

Established in 2015, the UK Music Diversity Taskforce works with the UK music business, government and “other stakeholders” to “boost inclusion and diversity across the industry.”

Its membership is representative of all sectors of the industry, including major and indie record labels, music publishers, professional organizations, live music industry. 2020 was the Taskforce’s third industry-wide survey and report, focusing primarily on race/ethnicity and gender. The latest survey had 3,670 respondents, increase of 33% from 2018. There’s a greater level of transparency and willingness to participate than we usually encounter in the US, which already makes for a better report.

Among the key findings in the 2020 Music Industry Workforce Diversity Survey are: § Representation of Black, Asian and other ethnic minorities among those aged 16-24 in the music industry stands at a record 30.6% - up from 25.9% in 2018. § Proportion of women increases from 45.3% in 2016 to new high of 49.6% in 2020. § Number of people from Black, Asian and other ethnic minority communities at entry-level rises from 23.2% in 2018 to new high of 34.6% in 2020. § Number of women in the 45-64 age group drops from 38.7% in 2018 to 35% in 2020. § Representation of Black, Asian and other ethnic minorities at senior executive levels rises from 17.9% in 2018 to 19.9%. The year’s diversity report also included a 10-point plan, based in part on the findings from the 2016 and 2018 reports, which “aligns evidence and metrics to strategic actions to help increase diversity and boost inclusion at the trade bodies that represent the majority of the UK music industry.” Their focal points are closely aligned with ours in the US.

THE TEN POINT PLAN 1. Urban classification to be replaced in all reports and communications – either by genre such as Soul or Rap; UK Music members will commit to support those who wish to use the term “Black music”. Members to stop using the acronym BAME – use Black, Asian or ethnic minority background rather than acronym. 2. Members to compile a database of persons accountable and responsible for diversity across organization. 3. Members to commit and spend an allocated amount of their annual recruitment budget to ensure a diverse candidate pool. 4. Members to allocate a certain amount of their annual training budget on a 12-month diversity Continuing Professional Development training program to ensure fair career opportunities for all. 5. Members to allocate budget and implement a program to increase diverse representation in middle and senior management. 6. Member to help UK Music implement better transparency around gender and ethnic pay gap – move towards lower reporting rate of 50+ employees. 7. Member to identify a socially engaged organization whose work relates to gender or race whom they can invest in on a long-term basis. 8. Each UK Music member to develop diversity policies and internally set diversity targets for core staff. Targets to be published and reported to UK Music and updated annually in order to assess progress. Member bodies to promote diversity and inclusion to partners and stakeholders ensuring industry standards are met. 9. UK Music members to amplify their work with UK Music Diversity Taskforce to increase the response rate and ultimately the data collected in the biennial UK Music Workforce Diversity Survey with both their own employees and membership. Aim to have 80% of core staff respond to next survey. 10. Each UK Music members to work towards increasing diversity on its executive bodies and boards – 30% diverse (race) and 50% (gender). Progress towards these goals is to be reported to UK Music as part of annual progress audit. 33 CONCLUSION THE TAKE-AWAYS

MORE FOCUS ON COMPANY STRUCTURE & REPRESENTATION § Companies focused primarily on establishing funds and giving; we look forward to seeing greater and improved emphasis on deep changes, including improved treatment of legacy artists, and the advancement and promotion of Black executives across genres and disciplines. § The appointments of Chief People and DEI officers by each company, while helpful and necessary, are not an answer to improving and increasing racial diversity among senior executives. Notwithstanding the importance of these roles, if Black executives are primarily in DEI roles across the industry, the industry has not meaningfully improved diverse representation. § Every company in this report needs to substantially increase Black C Suite representation (beyond DEI officers) and Black board member representation. § Black executives should have autonomy, discretion and decision making ability. We are seeking to see Black executives in Chairman, President, CEO, COO, CFO roles, in addition to A&R roles. Black executives should not be limited to R&B, HipHop and Soul. True diversity dictates inclusion across genre.

TRANSPARENCY IS NECESSARY TO CREATE CHANGE § Only two companies addressed contracts and royalty payments, and that’s a conversation the music groups and DSPs need to prepare for. The call for transparency in accounting, royalty payments and contract elements has been a steady drumbeat for over 50 years. We can’t say we’re ready to implement genuine change if that’s not part of it. § If companies genuinely plan to make changes to representation in leadership, we also need transparency in payment and bonus structures. § The entertainment industry has maintained a standard of opacity for decades, making it harder to truly be competitive and to ensure fairness. Companies will have to commit to a bold and possibly uncomfortable level of honesty.

RADIO NEEDS TO JOIN THE CONVERSATION § Urban music dominates all forms of streaming but still lags at pop radio. The disparity between the two consumption methods is so stark, it can only indicate bias in radio programing and a level of format gatekeeping.

TALENT AGENCIES ARE NEGLECTING THEIR MUSIC DIVISIONS • Between #TheOscarsSoWhite and the #MeToo movement, diversity in Hollywood has been a strong focal point for years, and it’s an easier focus than music because it’s all literally visible. But agencies are hyper focused on their talent divisions without investing the same efforts in their music divisions. We’d like to see initiatives that are focused on live music agents and touring talent as well.

EMPLOYEES ARE MOTIVATED § One of the most encouraging things to see in research is that Black employees are motivated to create systems, spaces and opportunities where corporate either hasn’t yet, or is moving too slowly. From ERG groups and mentoring programs to GV Black x Coachella to the idea of the Black Touring Directory, junior executives are stepping up to the plate and stepping in with ideas and resources. Hopefully senior executives take note.

NOT EVERYONE’S PREPARED FOR THE LONG HUAL § Some company commitments aren’t built to carry over and/or build year to year (which this report is created to prevent from happening). Immediate action is important. Sustainable change is possibly even more important. It should not however land squarely on the shoulders of Black employees to create and nurture necessary change. Non-Black employees and executive leadership must continue to commit themselves to change.

34 APPENDIX

7 African-American Country Singers Who Shaped Country Music Could Music Companies Help Black Artists By Adjusting Old Record https://www.wideopencountry.com/6-african-american-country-singers/ Deals?https://www.rollingstone.com/pro/features/music-black-artists-old-record-deals- 1011447/ A Conversation With Towalame Austin, Sony Music Group’s Executive Vice President Of Philanthropy And Social Impacthttps://www.sonymusic.com/inside-sony- Country Music Reckons With Racial Stereotypes And Its Future music/towalame-austin-global-social-justice-fund https://apnews.com/article/country-music-us-news-ap-top-news-lil-nas-x-music- interview/#:~:text=A%20Conversation%20With%20Towalame%20Austin,and%20Social%2 c34fd394a0275f0726cb5bb231f70833 0Impact%20%2D%20Sony%20Music&text=On%20June%205%2C%202020%2C%20Son y,racist%20initiatives%20around%20the%20world. Country star Jason Isbell will donate his profits from Morgan Wallen's album to the NAACP A Year Ago, the ‘Big Three’ Record Companies Pledged $225 Million to Racial https://www.cnn.com/2021/02/11/entertainment/jason-isbell-morgan-wallen-naacp- Justice. Where Did It Go?https://www.vice.com/en/article/88ngp5/what-happened-to-the- trnd/index.html#:~:text=An%20artist%20whose%20song%20Wallen,to%20the%20NAACP' money-record-companies-universal-sony-and-warner-pledged-to-racial-justice s%20Nashville%20chapter.

AEG Diversity and Inclusion Crisis and Conscience at Live Nation https://www.aegworldwide.com/about/aeg-we-are-1-diversity-equity-and-inclusion https://www.forbes.com/sites/ericfuller/2020/08/18/crisis-and-conscience-at-live-nation-ceo- michael-rapino-pivots-toward-social-justice-and-builds-consumer- AEG Earns Top Marks in 2021 Corporate Equality Index affinity/?sh=a3c0c3b5e516 https://www.businesswire.com/news/home/20210129005528/en/AEG-Earns-Top-Marks-in- 2021-Corporate-Equality-Index Deep Asymmetries Of Power: How The Recording Industry Spent Decades Denying Fair Payment To Black Artists Amazon Music Names Head of Editorial https://www.grammy.com/grammys/news/deep-asymmetries-power-how-recording- https://www.billboard.com/articles/business/executive-turntable/9437869/amazon-music- industry-spent-decades-denying-fair-payment-black wave-national-music-publishers-association Diversity, Equity & Inclusion: Watch The Recording Academy’s "Change Music" Apple Music, ASCAP, Spotify and TikTok Celebrate Black History Month With an https://www.grammy.com/recording-academy/news/diversity-equity-inclusion-watch- Array of Curated Playlists, Specials and Programming recording-academys-inspiring-change-music https://currently.att.yahoo.com/att/sounds-blackness-apple-music-ascap-000000895.html Down With 'Urban’ Artists Urge Music Companies to Donate to Fight Racial Injustice: Here Are the Ones https://variety.com/2020/music/opinion/music-industry-urban-race-1234628235/ That Havehttps://www.billboard.com/articles/business/9395882/list-music-companies- labels-donations-racial-inequality Dr. Menna Demessie Appointed Svp And Executive Director Of Universal’s Global Task Force For Meaningful Change Backlash after Lil Nas X's "Old Town Road" removed from Billboard Hot Country https://www.musicbusinessworldwide.com/dr-menna-demessie-appointed-svp-and- Chart executive-director-of-universals-global-task-force-for-meaningful- https://www.cbsnews.com/news/old-town-road-lil-nas-x-billboard-removes-song-from-hot- change/#:~:text=Menna%20Demessie%20as%20Senior%20Vice,the%20music%20industr country-critics-question-race-factor/ y%20and%20beyond.

Bad Deals are Baked Into the Way the Industry Operates Ed Eckstine may get the top American spot. He would become the first black head of https://www.vice.com/en/article/y3gmjw/bad-deals-are-baked-into-the-way-the-music- a major U.S. record company outside of Motown. industry-operates?series=ar3vn6 https://www.latimes.com/archives/la-xpm-1990-06-09-fi-623-story.html

Billboard 2020 Year End Charts Endeavor CEO Unveils Inclusion Plan: $5M Donation, Disclose Diversity Numbers, https://www.billboard.com/articles/business/chart-beat/9501884/interscope-geffen-am-top- Update Hiring Policy label-2020-year-in-charts/#:~:text=time%20since%202013.- https://www.hollywoodreporter.com/news/general-news/endeavor-unveils-inclusion-plan- ,Interscope%20Geffen%20A%26M%20(IGA)%20finishes%202020%20as%20the%20Top 5m-donation-disclose-diversity-numbers-update-hiring-policy-1304165/ %20Label,the%20top%20Billboard%20200%20Label. Ethiopia Habtemariam promoted to Chairman and CEO of Universal Music Group‘s Billboard Hip Hop and R&B Power Players 2020 Motown Records https://www.billboard.com/articles/business/9481918/billboard-rb-hip-hop-power-players- https://www.universalmusic.com/ethiopia-habtemariam-elevated-to-chairman-ceo-of- list-2020/ motown- records/#:~:text=SANTA%20MONICA%2C%20March%201%2C%202021,and%20CEO%2 Billboard MRC 2020 Year End Report 0Sir%20Lucian%20Grainge https://www.billboard.com/p/u-s-music-year-end-report-2020/ Fighting to Be Heard: The Story of the Black Country Music Black Artists Built Country Music, Then it Left Them Behind Associationhttps://www.rollingstone.com/music/music-features/black-country-music- https://time.com/5673476/ken-burns-country-music-black-artists/ association-nashville-1088363/

Black Executives Climbing To Top Of Record Industry Grammys 2021 Performer Mickey Guyton Makes History — Without Country Radio's https://www.sun-sentinel.com/news/fl-xpm-1992-01-02-9201010292-story.html Help https://www.nbcnews.com/think/opinion/grammys-2021-performer-mickey-guyton-makes- Blackout Tuesday One Year Later history-without-country-radio-ncna1261044 https://variety.com/2021/music/news/blackout-tuesday-one-year-later-music-industry- 1234985926/ Here's How White and Male the Executives of the Music Industry Are https://www.rollingstone.com/pro/news/music-industry-executive-diversity-usc-1184000/ BMG Removes Label Deductions https://www.musicweek.com/labels/read/bmg-removes-poisonous-label-deduction-that- How the Country Music Industry is Responding to George Floyd's reduces-artist-songwriter-income-will-others-follow/081461 Deathhttps://www.washingtonpost.com/arts-entertainment/2020/06/09/country-music- george-floyd-reaction/ BMG to Review Historic Record Contracts https://www.theguardian.com/music/2020/jun/12/bmg-to-review-historic-record-contracts- How the Music Industry Can Keep Its Promises for Black Out due-to-shameful-treatment-of-black-artists Tuesdayhttps://www.rollingstone.com/pro/features/music-blackout-tuesday-week-later- 1011478/ Breaking Down ‘Those Color Lines’ in a Music Industry That Drew Themhttps://www.nytimes.com/2020/06/04/arts/music/ed-eckstine-blackout-tuesday- Howard University School of Business Announces $4.9 Million Gift from Warner music.html Music Group / Blavatnik Family Foundation Social Justice Fundhttps://www.wmg.com/news/howard-university-school-business-announces-49- Can Nashville Heed the Morgan Wallen Wake Up Call and Actually million-gift-warner-music-group-blavatnik-family Diversify?https://www.billboard.com/articles/columns/country/9525220/morgan-wallen- nashville-wakeup-call-diversify/ Industry wide get out the vote initiatives https://www.billboard.com/articles/news/9453577/music-industry-get-out-the-vote-2020- ChangeMusic Roadmap https://changeindustries.org/changemusic/ election/

Jon Platt’s Op Ed/ Open Letter https://variety.com/2020/music/news/sony-atv-publishing-jon-platt-op-ed-1234622087/

35 APPENDIX

Kevin Shivers’ Open Letter Sony Global Justice Fund Supports 90 New Organizations https://www.pollstar.com/article/why-our-industry-needs-to-wake-the-f-up-now-guest-post- https://www.musicbusinessworldwide.com/sony-music-groups-100m-global-social-justice- by-wmes-kevin-shivers-144806 fund-supports-90-new-organizations/

Lil Nas X and the Segregation of Country Music Sony Music Group Appoints Tiffany R. Warren Executive Vice President, Chief https://www.washingtonpost.com/outlook/2019/06/20/lil-nas-x-continued-segregation- Diversity And Inclusion Officer country-music/ https://www.sonymusic.com/sonymusic/sony-music-group-appoints-tiffany-r-warren- executive-vice-president-chief-diversity-and-inclusion-officer/ Live Giants Show Support for George Floyd Protesters https://www.iq-mag.net/2020/06/live-giants-show-support-for-george-floyd-protestors/ Sony Music Revenue 2019 https://www.musicbusinessworldwide.com/sony-music-revenues-grew-by-over-250m-in- Live Nation Board of Directors calendar-2019-topping-4bn/ https://investors.livenationentertainment.com/corporate-governance/board-of-directors Sony Spotify Cash Out Live Nation Urban Tour Directory https://www.blacktourdirectory.com/ https://variety.com/2018/music/news/sony-music-spotify-windfall-artists-labels-get-750- million-1202905781/ Live Nation's Diversity Commitments https://www.livenationentertainment.com/2020/07/live-nations-diversity-commitments/ Sony Spotify Shares https://www.musicbusinessworldwide.com/confirmed-sony-cashed-in-50-of-its-spotify- Mark Pitts Promoted To President, RCA shares-for-768m-in-q1-this-year/ https://www.billboard.com/articles/business/record-labels/9511434/rca-promotes-mark- pitts-president-john-fleckenstein-coo Sony/Atv And Bleeding Fingers Expand Opportunities For Black Composers With Usc Screen Scoring Diversity Scholarship Music Industry’s Black Execs Face ‘Downsizing’ https://www.musicbusinessworldwide.com/sony-atv-and-bleeding-fingers-expand- https://www.today.com/popculture/music-industry-s-black-execs-face-downsizing- opportunities-for-black-composers-with-usc-screen-scoring-diversity-scholarship/ wbna8703380 Spotify Reffirming Our Commitment To Combating Inequality NAACP Discordant Sound of Music Report https://pr-newsroom-wp.appspot.com/2021-04-27/reaffirming-our-commitment-to- https://www.latimes.com/archives/la-xpm-1986-06-26-me-21470-story.html combating-inequity/

NAACP Hits Music Industry Spotify, Black Out Tuesday https://www.washingtonpost.com/archive/lifestyle/1987/01/07/naacp-hits-music- https://www.theverge.com/2020/6/1/21277501/spotify-blackout-tuesday-george-floyd- industry/0beb1ad7-34bf-43a9-a983-3e6b96fe183f/ racism-police-brutality-violence-protest

NAACP Report On Hiring Bias Criticizes The Music Industry Stand for Sonic Diversity https://www.nytimes.com/1987/04/27/arts/naacp-in-report-on-hiring-bias-criticizes-the- https://www.adweek.com/media/stand-for-sonic-diversity-pledge-aims-for-bipoc-talent-to- recording-industry.html make-up-50-of-ad-voices/

Pandora and Burrell share impact of Black Influence on Culture Tech CEOs Speak Out Against Racism As Others Stay https://www.burrell.com/news/2019/5/1/pandora-burrell-share-impact-of-black-influence-on- Silenthttps://tpinsights.com/2020/05/31/twilio-box-spotify-and-other-tech-ceos-speak-out- culture-amp-advertising against-racism-and-police-brutality-others-stay-silent/

Pandora Black Music Month Programming The Music Industry is Wrestling With Race. Here's What it has https://www.pandora.com/blackmusicmonth/ promisedhttps://www.nytimes.com/2020/07/01/arts/music/music-industry-black-lives- matter.html Pandora SXM: The Impact of Black influence on Culture and Adversiting https://www.sxmmedia.com/article/the-impact-of-black-influence-on-culture-and-advertising The Music Industry Was Built on Racism. Changing It Will Take More Than Donationshttps://www.rollingstone.com/music/music-features/music-industry-racism- Recording Academy Executive Page 1010001/ https://www.grammy.com/press-room/executives The Recording Academy Establishes Black Music Recording Academy’s Black Music Collective Partners With Amazon Music to Award Collectivehttps://www.grammy.com/recording-academy/news/recording-academy- Scholarships for Students at Historically Black Colleges and Universities establishes-black-music- https://www.businesswire.com/news/home/20210222005195/en/Recording- collective#:~:text=The%20Recording%20Academy%20has%20today,and%20the%20wider Academy%C2%AE%E2%80%99s-Black-Music-Collective-Partners-With-Amazon-Music- %20music%20community. to-Award-Scholarships-for-Students-at-Historically-Black-Colleges-and-Universities The Recording Academy Reveals Leadership Council For Newly Launched Black Redlining in Country Music - SongData Report Music Collective https://songdata.ca/wp-content/uploads/2021/03/SongData-Watson-Redlining-Country- https://www.grammy.com/recording-academy/news/recording-academy-reveals- Music-032021.pdf leadership-council-newly-launched-black-music

Robert Gibbs Billboard Interview The Ruth Who Swung Into history As Atlantic Records' first https://www.billboard.com/articles/business/9573731/icm-robert-gibbs-touring-industry- MVPhttps://www.goldminemag.com/articles/meet-the-ruth-who-swung-into-history-as- interview-photos/ atlantic-records-first-mvp

Ron Sweeny Open Letter The Very White Ways of American Top 40 https://www.musicbusinessworldwide.com/the-elephant-in-the-room/ https://theoutline.com/post/1148/the-very-white-ways-of-the-american-top-40

Ruth Brown and Atlantic Records The Women Behind #TheShowMustBePaused https://www.latimes.com/archives/la-xpm-1988-07-03-ca-8887-story.html https://www.billboard.com/articles/business/9399509/the-show-must-be-paused-founders- billboard-cover-story-interview-2020 SiriusXM, Pandora, iHeartRadio, CMT Pull Morgan Wallen’s Music https://variety.com/2021/music/news/iheartradio-morgan-wallen-removed-airwaves-racial- Today, Stand with Bandcamp to Support Racial Justice, Equality, and slur-radio-1234899502/ Changehttps://daily.bandcamp.com/features/bandcamp-naacp-ldf-fundraiser

Sony Distribution of Spotify Shares Tracing Country Music's https://www.musicbusinessworldwide.com/revealed-how-sonys-750m-spotify-equity-cash- Rootshttps://www.washingtonpost.com/nation/2019/08/02/tracing-country-musics-roots- will-be-shared-with-artists/ back-th-century-slave-ships/

Sony Forgiving Unrecouped Royalties UK MUSIC DIVERSITY REPORT https://www.rollingstone.com/pro/news/sony-unrecouped-royalties- https://www.ukmusic.org/wp- 1182591/?ref=upstract.com&curator=upstract.com content/uploads/2020/11/UK_Music_Diversity_Report_2020.pdf

Sony Giving Back https://giving-back.sonymusic.com UMG Appoints Richelle Parham President Of Global E Commerce https://www.universalmusic.com/universal-music-group-appoints-richelle-parham-as- president-of-global-e-commerce-business-development/

UMG Taskforce for Meaningful Change 36 https://www.universalmusic.com/umgs-task-force-for-meaningful-change/ APPENDIX

UMG TFMC Black Caucus What Major Companies Actually Did On Blackout https://variety.com/2020/music/news/public-enemy-chuck-d-universal-music-black-caucus- Tuesdayhttps://pitchfork.com/news/what-major-music-companies-actually-did-on-blackout- 1234785416/ tuesday/

Unitedmasters Launches ‘Cash For Change’ Grant Program To Showcase Artists What The Rise And Fall Of Black Leadership In The Music Industry Says About Advocating For Social Justice Equality Today https://www.musicbusinessworldwide.com/unitedmasters-launches-cash-for-change-grant- https://www.wbur.org/artery/2016/10/05/black-leadership-music-industry program-to-showcase-artists-advocating-for-social-justice/ Why Aren't There More Black Executives At Music Universal Music Executive Steven Victor Pledges $1 Million to Launch New Labels?https://www.billboard.com/articles/business/8313035/hip-hop-boom-black- Foundation executives-music-business-labels https://variety.com/2020/music/news/steven-victor-foundation-pledge-1234629512/ WME Impact Initiatives Universal Music Group Hires Nba’s Eric Hutcherson As Chief People And Inclusion https://www.wmeagency.com/responsibility/#:~:text=Born%20from%20this%20responsibilit Officer https://variety.com/2020/biz/news/universal-music-group-eric- y%2C%20we,equality%2C%20democracy%2C%20inclusion%20and%20sustainability hutcherson-1234757852/ WMG Blavatnik Family Foundation Social Justice Fund UTA Million Dollar Commitment to Social Justice Boardhttps://www.wmg.com/news/warner-music-group-blavatnik-family-foundation-social- https://deadline.com/2020/06/uta-million-dollar-commitment-social-justice- justice-fund-announces-external-members organizations-1202970867/ WMG Board of Directors, One Woman, Zero Warner Music Group / Blavatnik Family Foundation Social Justice Fund Announces POChttps://www.billboard.com/articles/business/8551215/warner-music-group-board- Second Tranche of Grants diversity-one-woman-zero-people-of-color https://www.wmg.com/news/warner-music-group-blavatnik-family-foundation-social-justice- fund-announces-second-tranche YouTube 100M Fund https://variety.com/2021/digital/news/youtube-music-100-million-black-voices-fund- Warner Music Group / Blavatnik Family Foundation Social Justice Fund Disburses 1234992433/ Grants to Organizations Working Toward the Advancement of Black Populations Around the Globe YouTube Black Artists Grant https://www.wmg.com/news/warner-music-group-blavatnik-family-foundation-social-justice- Programhttps://www.billboard.com/articles/business/9509542/youtube-black-artists- fund-disburses-grants creators-grant-program/

Warner Music Group elects Ceci Kurzman to Board of YouTube Black Voices First Class Directorshttps://www.billboard.com/articles/business/executive-turntable/9458747/ceci- https://variety.com/2021/digital/news/youtube-black-voices-class-creators-music-artists- kurzman-warner-music-group-elects-ceci-kurzman-board-of-directors/ 1234883636/

Warner Names Six Initial Recipients Of Grants From Its $100m Social Justice Fundhttps://www.musicbusinessworldwide.com/warner-names-six-initial-recipients-of- Youtube Launches $100m Fund Dedicated To Amplifying And Developing The Voices Of grants-from-its-100m-social-justice-fund/ Black Creators And Artists https://www.musicbusinessworldwide.com/youtube-launches-100m-fund-dedicated- to-amplifying-and-developing-the-voices-of-black-creators-and-artists/

BMACOALITION.ORG

37