(See yuze in 2019!  Until then, take some time and listen to some great music!)

Our next Music Biz 101 & More radio show
will be this Wednesday, December 19th.  It’s a replay of an incredible show we did back in Rocktober with Harlan Frey, the massive VP of Touring and Artist Development for Atlantic Records.

Harlan gives some great information about how his label works with managers.  You can really hear the emotion as he speaks.

While there are some great managers who he works with (or, since I’m a fancy college professor, with whom he works), there are also those managers with whom Harlan works (see what I did there?) who don’t listen, don’t keep him and his team in the loop, and don’t keep trying to learn about the business.

This is a must-listen radio show.  It’s also a podcast, which you can listen to on demand RIGHT HERE.

Big thanks to friend Dan Goldberg, of Warner Music Artist Services, who made the very first introduction of Harlan to Doctor Esteban and me in his office way back last July, when it was warm outside.

If you don’t want to live in an on demand world, stream this week’s pre-recorded show live HERE!

As always, our Twitter account stays alive and active.  Have a question about anything?  Tweet us: @MusicBiz101wp

Now keep scrolling down.  You’ll be glad you read the stuff coming at ya!

See you very soon!

Your Professor David Kirk Philp

Managing Your Band – 6th Edition is out!  Did you buy it?!?

40% discount.  Hurry! 

Music Biz 101 & More Radio Shows: Here’s Who’s Coming Up Soon! 

Great guests are coming over the next few months to your Music Biz 101 & More radio show.

  • December 19 – Harlan Frey, VP Atlantic Records Touring & Artist Development (REPEAT)
  • December 26 – Cindy daSilva & Chris Tuthill, The Rocks Management (REPEAT)
  • January 2 – Harvey Leeds, Southside Johnny manager/Live Nation Consultant (REPEAT)

Tune in at 8 PM each Wednesday for some great, FREE music biz talk.

What’s Goin’ On

No long reads this week from us.  Instead, here are some links worth clicking on to give you updates on the biz.

No long reads this week from us.  Instead, here are some links worth clicking on to give you updates on the biz.

Elizabeth Roe Has Sued The BSO.  Her Case Could Change How Orchestras Pay Men And Women. 

You think the world of pop music is sexist.  Wait until you read this.  The issue is with Elizabeth Rowe, the principal flutist for the Boston Symphony Orchestra.  She feels she should be paid the same as the man sitting next to her, principal oboist John Ferrillo.  He gets paid $64,451 more than her.

Is this fair?  Take a look at this:

“By the time the BSO approached Ferrillo to fill its oboe vacancy, he was a prized member of the Metropolitan Opera Orchestra. In 2001, to lure him away, the BSO paid him twice what the orchestra’s rank-and-file make.”

This tells us two things:  1) There was a bidding war for Ferrillo.  To get him, the BSO had to really open up its wallet.  2)  This took place in 2001.  Rowe wasn’t hired until 2004.  Three years and two different instruments might really make a difference in what somebody gets paid.

We also learn from the article that there were 251 flutists who applied for Ms. Rowe’s position.  There was no bidding war.  The BSO had the leverage, not the musicians who wanted to be hired.  Of course they were going to pay less.  Why?   Because they could.

There’s also this: Rowe is 44 years old.  Ferrillo is 63 years old.  He’s 19 years her senior.  When she was born, he was already in a music conservatory practicing.  He’s put in 19 more years than her.  Why should she be paid the same?

If you look at this strictly from the viewpoint of the open market, Ferrillo was more wanted and more experienced when he was hired.  He got paid more.  In the article, Rowe says that she asked to be paid as much as Ferrillo each year.  But why would they need to do that?  The law of supply and demand was not in Rowe’s favor when she got the job.  It’s fine that she kept asking to be paid the same as him.  It doesn’t make economic sense why she should get that amount, however.

There is a problem in the Classical music world between pay for men and women.  The top male orchestra member in America earns $535,789.  The top female earns $410,912.  That’s a major difference.  Men also make up the majority of orchestras; almost 61% are males vs just over 39% who are women.

Let’s go back to that open market idea.  If women are paid less and there are more men in orchestras, if I’m an orchestra trying to survive in a competitive entertainment landscape, why wouldn’t I hire more women?  My orchestra would ultimately make more money.

Now, this is an odd bias.  I’d be favoring women, which could be nice (but still a bias).  But I’d also be paying them under market value because they are women.  That’s not good.

Orchestras start their audition processes with the decision makers and musicians separated by a curtain.  The race and sex of the musician is hidden.  No bias exists aside from a desire to hear the best player.  But some orchestras, like the BSO, lift the curtain for the final audition round.  Whether you want to be biased or not, the person you’re considering hiring is right there in front of you.

In this particular case, even though there is an over all problem in this industry, does that make it fair to the BSO and Ferrillo for Elizabeth Rowe to be paid the same as him?  Imagine if you worked in a highly skilled job and were paid handsomely.  Then imagine somebody almost 20 years younger than you was hired for a similar job and that person demanded the same wage.  Would you feel this was fair?  Shouldn’t your 20 years of experience be valued more than the the person just hired?While there is a problem in the music industry, and in America, in which there is a wage gap between men and women – and that is NOT fair, in this particular case, with the information we have, I don’t think Rowe should win her lawsuit.  Unfortunately for the BSO, they’re caught in a culture change.  They will probably settle and Rowe will get a substantial raise.  The same pay as Ferrillo?  If I’m him and she gets it, I’d be insulted.  In fact, you know what I’d do?  I’d ask for a raise.

She Is The Music – Global Database of Women In Music Launches 

You should click above, just out of curiosity.  But, if you’re female, you should click above, get to the database, and bookmark the site.  You’ll want to register if you’re in the industry now.  You’ll want to register once you get in.  This seems like an important initiative to help empower women throughout the industry.  Participate.

Women In Music 2018: Six Emerging Execs Shaping Music’s Future

This is an important read.  There’s a blurb below about America’s top-paid radio hosts.  They’re all men.  In this era of #MeToo, it’s important to understand that women keep pushing themselves and keep succeeding.  There’s more Women In Music that you should read. Some of it’s meh (yes, Ariana Grande is successful, next…).  Wade through this for what can really help you.  It’s worth your time.

Podcast of the Week

One Of America’s Best

(Ben Weinman, Kimbra’s manager and former Dillinger Escape Plan guitarist, with a WPU MBA class in 2018.)

Billboard Magazine officially announced its top 2018 music business programs on June 27th, and William Paterson’s undergraduate and MBA Music & Entertainment Industries programs received this national recognition.  Read the full article HERE.

If you didn’t click above, here’s what they said…

Wayne, N.J.

“There is no doubt in my mind that William Paterson University does an amazing job preparing students for the future,” says RCA Records co-president Joe Riccitelli, an alumnus of the school. “Their courses are relevant and competitive in today’s music business.” WPU’s music and entertainment industries program is now complemented by an MBA in music and entertainment management. The school produces the Music Biz 101 & More radio show and podcast, whose recent guests have included Scooter Braun and Florida Georgia Line manager Seth England.

Faculty: The school, 20 miles west of Manhattan, has visiting music/entertainment industry experts who lecture undergraduate and MBA students. Along with Riccitelli, recent participating executives have included Atlantic Records executive vp promotion John Boulos, Warner Music’s Matt Young and Dan Goldberg, and Atlantic head of digital strategy, marketing and e-commerce Paul Sinclair.


For full details about the Music & Entertainment Industries Program, including courses, the minor, and our MBA, click HERE.


For full details about the WPU Pop Music Studies Program, including courses and audition requirements, click HERE.


Professor David Philp is Assistant Professor Music & Entertainment Industries and Popular Music Studies at William Paterson University. He is the co-host of the only FREE advice college radio-based music & entertainment industry talk show in America, Music Biz 101 & More, which airs live most Wednesday nights and is available as a podcast HERE every night (days too).  Your favorite professor is also co-author (with Dr. Steve Marcone) of Managing Your Band – 6th Edition.  Reach him at PhilpD@wpunj.edu or find him on LinkedIn HERE.

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